RESPECT is one of the "Three Rs": Respect, Reciprocity, Replies.  For more details about the two others, please see earlier blog posts (listed below) that have been highlighted in bold.

Back to basics:  showing respect for others

1. Arrive on time.
2. Listen with interest and focus.
3. Follow up on and stick to what’s been planned or discussed.
4. Give a  “please,”  “thank you,”  “sorry,” without prompt.
5. Show that we all matter equally, regardless of position.
6. Put yourself in the other’s shoes: value and acknowledge their effort.
7. Be prepared in advance, and present on the spot:  don’t waste anyone else’s time or energy.
8. Offer compensation or alternatives when/if things go wrong.
9. Don’t let your cell phone interrupt or take over.
10. Check self-importance at the door.

It’s surprising when (and where) there’s a need to point out “basics.”  Sadly, those in positions of the greatest authority may show the least consideration.  Expectations of them can lead to disappointments, and disappointments may be justified. The only “higher-ups” that deserve RESPECT are the ones who are able to give it.  In a world, and an economy, where anything can happen, being able to get back to basics helps us know (not just feel) what might be right and/or wrong.

How do you confirm you’ve not been respected?  

1. If 5 or more items on the ten-point list (above) appear to have been ignored, intentionally or not.  
2. If you have a stress response later, like IFS (Instant Fatigue Syndrome)

IFS (Instant Fatigue Syndrome)

Fatigue seems to come from nowhere.  One minute you were fine. The next, you feel drained.  Stress can do this!  A feeling of powerlessness and disappointment take over, and nothing (not even the kind words of those who understand) appears able to lift your spirits or energy.  

To go with the fatigue or not?  Sometimes you don’t have a choice.  Being able to sleep things off is a luxury and necessity. Dragging yourself around in pain (without gain) can often make things worse.  Take the time out that you need to regroup, and know better for next time, that no else has the power to drain your essential energies, hopes, and inspiration.  You are weren’t problem!  They were…  Let this be an isolated experience and learning opportunity…

Too polite, or awkward, to let it be known how you feel?

You are not alone!  Most of us would have a similar reaction.  If we were to speak up, we might not be heard anyway. So, what would be the point?  No one likes to be criticized, and complaints often fall on deaf ears.  No wonder there’s so much glumness around!  Fight glumness by moving on. When it’s clear that another can’t show you the respect you’re due, step back and away.  But, don’t be silent about what occurred, indefinitely.  Help make sure that no one else be unnecessarily upset in the same way.  “Forewarned is forearmed,” or so it’s said.

Earlier respect-related Blog Posts include:

• Relationship Watch: Don’t Know What to Do? Do Something! Doing (and Thinking) Differently in 2009 (January 18, 2009)
• New Year’s Resolutions for 2009: Forgiveness Tops Many a List (December 30, 2008)
• Reflections on “The Season of Giving”: Who Cares? Doers, Takers, Nosey-Pokes, Nothingers (December 28, 2008)
• Veterans Day and SHARING (November 11, 2008)
• Secondhand Stress: Breaking-Up and Making-Up, “Frienemies,” and “Used-to-be-Friend” Types (November 16, 2008)
• MANIPULATION (August 9, 2008)
• No “PLEASE,” No “THANK-YOU,” No HAPPY (May 30, 2008)
• RECIPROCITY (February 8, 2008)
• CONFIDENCE (Februrary 1,2008)
• DEPRESSION ALERT! and Heath Ledger’s Unfortunate Death (January 24, 2008)
• GIVING: Give to Give (September 5, 2007)
• Keep Your Word (July 25, 2007)
• The COURAGE to Speak Up—Use POETRY (July 10, 2007)
• “A” and “B” List FRIENDS (July 8, 2007)
• COMPARISON-MAKING, ENVY, JEALOUSY (June 23, 2007)
• ABUSE Checklists (May 26, 2007)
• TRUTH Matters (May 8, 2007)
• Make Things CLEAR—Avoid MISUNDERSTANDINGS (April 17, 2007)
• A “NO” REPLY is Better than NO REPLY (April 13, 2007)
• REJECTION Protection (February 25, 2007)
• TIME is Precious (December 15, 2006)
• FRIENDS Help Friends (December 7, 2006)

Before there were digital alternatives, it was easy to accumulate stacks of paper (filed or unfiled).  This year’s spring clean-up, I’ve been able to be a little more ruthless than usual, but probably not ruthless enough… I know I’m not the only one!

Some Spring-Clean Strategies

1. If you haven’t looked at, or used, something in a couple of years, likely you’re not going to again.  Get rid of it!
2. Save the extremely sentimental stuff, or one of everything, but more than that isn’t necessary.  Less is more!
3. Out goes the negative:  rejections, sad letters, photographs of unhappy memories.  Looking forward, it’s preferable not to have reminders of what wasn’t or can’t be!
4. With every year that goes by, it can get easier to part with what we no longer use.  Take advantage of that!  Don’t hoard for the sake of it.
5. Don’t pressure yourself to do it all at once.  Bit by bit, day by day, systematically, work your way from cupboard to cupboard, drawer to drawer.  Don’t just tip everything out on the floor, all together.  Being tidy, and working in stages means you can leave off at anytime without feeling you’re in a total mess.
6. Have background music or TV to help you along.  Sometimes chatting on the phone (multi-tasking) can help too.
7. Be prepared with garbage and recycling bags that nothing lies around.  Then, go to    the trash as soon as possible so you don’t change your mind about what you are discarding.
8. Recycle!  Likely there’ll be many folders and files that can be emptied of content, instead of thrown out with them…  Then there’s all the paperclips and elastics.  White sticky labels will cover what was there before.  And, if it old names and labels show through, don’t worry.  It’s trendy to be “green.”
9. Pets can be welcome spectators (though they might sleep on the job). Human buddies might give you a helping hand, if they can.
10. Don’t give up!  Take a break, then start again in a day or two.  

Cleaning up makes us feel lighter and brighter—helps remove weight and worries.  Even if we make a concerted effort to clean up/throw out annually, and don’t think there could be that much to do, there always is.  Celebrate what you’ve been able to do.  Don’t dwell on what seems impossible!

Family Day, a holiday that’s unique to Ontario, Canada, and in its second year, proves challenging to some who live solo. Local decision-makers might not have realized and/or taken into account all the variables and ramifications. This province-wide holiday comes just two days after Valentine’s Day. Valentine’s Day might have felt awkward for individuals without a “special someone” in their life with whom to celebrate. The next day, they recuperate:  move on from worries about having been unable to identify.  Then, another blow: a similar holiday in rapid succession that seems to have even less relevance to their status, experience, and/or interests.

That the number of singles (never married, divorced, widowed, or separated) is growing, in Canada and elsewhere, is not just a fact.  It’s a reality! Unfortunately, most events scheduled in and around Toronto (as listed in the Toronto Star for Family Day) don’t appear to take this into consideration.  A lot of Torontonians can’t but help feel left out.  However, it’s embarrassing for them to complain out loud. So, what can they do, and how might legislators show greater sensitivity in future years?  Should a “Solo Day” be inserted into the calendar too?

Even if  “Family Day” alienates with a name that’s not every-citizen-inclusive, it’s still important to make the most of the opportunity for a day off, and find alternative purpose for festivity. Better not to lament over what the day might be supposed to represent if you are without family and/or have unhappy familial associations. More advisable to try and make the effort to do something worthwhile, memorable, productive, or relaxing, how ever possible.

Here are some suggestions (in random order) to assist solos who might feel disconnected and/or blue on, or due to, Family Day.  Though each person might have different priorities (needs, limitations, capacities, and capabilities), staying optimistic and being open to doing, thinking, and believing differently is important:

1.   Focus on other personal positives and accomplishments.
2.   Stay active (and distracted) with work projects and/or hobbies.
3.   Avoid situations and venues that cause discomfort.
4.   Hang out with others in similar circumstances.
5.   Volunteer and help those less fortunate.
6.   Welcome invitations that are feel-good opportunities, for self or others.
7.   Relax and rest at home if going out doesn’t seem like it will be fun.
8.   Enjoy pets and focus on spending quality time with them.
9.   Catch up with administrivia (bills) and housekeeping (clean up).
10. Smile! (even if you don’t want to)—perhaps the simplest way to start feeling better.
11. Self-Indulge:  read a good book, go for a run, have a glass of wine or massage…
12. Host a get-together or pot-luck: invite other solos and/or families.

Hats off to families (and friends) who are able to reach out to solos and include and/or make a fuss of them, on Family Day especially!  

Earlier related bog posts include:

Others might not like to admit to creativity lulls or feelings of let-down.  But, as my blog evinces, throughout, I think it’s important to be real and not sugar-coat.  Information sharings can be helpful all round:  affirm we are not alone and others have been there too (and got through).  If we don’t acknowledge all our mood-shades (blacks, as well as whites and grays), appearances risk being deceptive.  Life is seldom as perfect as it might be thought for anyone, and authenticity matters.

I am still on a hiatus from painting.  By the close of 2008, I’d participated in three big shows and series (07 - 08), directly after art school graduation (06). Also, as is familiar to most other "emerging artists," the cumulative run-around from a variety of solicitors (galleries, dealers, agents, businesses, and organizations) who’d proved less reputable and reliable than hoped and assumed, was straining.  End result:  a loss in momentum— the need to take time for the "Three Rs," Rethink, Relax, Reboot.

My slow-down really began when I was too sick (medically/physically) to paint. Until I’m properly well, it’s not wise to resume. That said, it’s not something I’m rushing to do…  A dear artist friend recently shared details of her own time-out.  Her example and perspective were inspirational. A wonderfully talented individual, I was in awe of her insight and understanding (journey and recovery) and lack of competitiveness. 

There is always light at the end of the tunnel, but we need to be kind to ourselves (and have others be kind to us), and not push.  At least that’s the advice I tend to share in other contexts…

My studio isn’t empty.  The last painting that I finished (in October 08) jumps out on entry.  It’s a 60 x 40 inch oil on canvas abstract that became a horse:  a beautiful, calming soothing creature who looks like she’s confident and peaceful.  This piece was different in style than what’s been typical for me, over the past few years.

Thinking back to when I painted this last piece, I realize I sensed that something was going on. (The art therapist in me kicked in.) What I was trying to paint wasn’t coming out as I’d planned.  But, when does it ever, really?  I gave in and let happen whatever wanted to manifest on the canvas. 

This Horse piece followed on from a Duck, a Bird, and a Deer/Fox.  All four paintings will appear in the DocSusan artwork galleries, eventually… with stories about them.  In the meantime, please be patient—with me, yourself, and othewise.  Though we seem to live in a "quick-fix society," real life doesnt work that way.  All good things are worth the wait!

Earlier blog posts on artistic challenges include:

▪ Torrit Grey and Regenerating Creativity (October 11, 2008)
▪ Art Shows: Business Priorities Versus Exhibitor Satisfaction (July 23, 2008)
▪ #20. PRECIOUSNESS/VALUE (Reflection While Painting “Buon Appetito!”) (November 30, 2007)
▪ #19. SHARING (Reflection While Painting “Buon Appetito!”) (November 29, 2007)
▪ #18. LIMITATIONS (Reflection While Painting “Buon Appetito!”) (November 28, 2007)
▪ #17. MESSAGE(S) (Reflection While Painting “Buon Appetito!”) (November 27, 2007)
▪ #16. (SPECIAL) GIFT(S) (Reflection While Painting “Buon Appetito!”) (November 26, 2007)
▪ #15. ARTIST PLUS (Reflection While Painting “Buon Appetito!”) (November 25, 2007)
▪ #14. TIME (Reflection While Painting “Buon Appetito!”) (November 24, 2007)
▪ #13. THE PUZZLE (Reflection While Painting “Buon Appetito!”) (November 23, 2007)
▪ #12. SERENDIPITY (Reflection While Painting “Buon Appetito!”) (November 22, 2007)
▪ #11. ORGANIZATION (Reflection While Painting “Buon Appetito!”) (November 21, 2007
▪ #10. PRICES (Reflection While Painting “Buon Appetito!”) (November 18, 2007)
▪ #9. SUPPORT, PATRONAGE, GRANTS (Reflection While Painting “Buon Appetito!”) 
(November 16, 2007)
▪ #8. “JK ROWLING SYNDROME” (Reflection While Painting “Buon Appetito!”) (November 14, 2007)
▪ #7. PAINTER’S FATIGUE (Reflection While Painting “Buon Appetito!") (November 12, 2007)
▪ #6. NOTICING THE DETAILS (Reflection While Painting “Buon Appetito!”) (November 10, 2007)
▪ #5. STRATEGIC/CONSCIOUS PAINTING (Reflection While Painting “Buon Appetito!”) 
(November 8, 2007)
▪ #4. CREATIVE PRESSURE/RELEASE (Reflection While Painting “Buon Appetito!”) (November 4, 2007)
▪ #3. SACRIFICE (Reflection While Painting “Buon Appetito!”) (November 1, 2007)
▪ #2. STAMINA (Reflection While Painting “Buon Appetito!”) (October 28, 2007)
▪ #1. ENDURANCE (Reflection While Painting “Buon Appetito!”) (October 24, 2007)
▪ Candid Artistic Ramblings: Reflections While Painting “Buon Appetito!”—Preparing for the Florence Biennale (October 19, 2007)
▪ INSTINCT, EXPRESSION, and CREATIVITY—in WRITING, PAINTING, and MUSIC (July 31, 2007)
▪  PAINTING and PERSEVERANCE (July 27, 2007)
▪  Entering PAINTING COMPETITIONS Can Be Disheartening (July 16, 2007)
▪  Stages of My PAINTING PROCESS (July 5, 2007)
▪  PAINTERS and WRITERS: Survival Tips, Cautions, and Experiences (March 30, 2007)
▪  PAINTING: Getting to the heART of why we do it (January 5, 2007)

By chance, on Thanksgiving eve, I received notification that two more Boston charities were to be given my artwork for display.  I greatly appreciate how The Art Connection makes artist donorship possible, even for those who no longer live in the area.  I became involved with the Art Connection in 2006, and feel proud and honored to have had several dozen works chosen by 15 of their local charities in the last two years.  My artwork is now enjoyed by:

• Andrew Peabody School (A Rigorous Academic Approach with a Commitment to the Arts), Cambridge, MA
• Boston Public Health Commission (protecting, promoting, and preserverving the health and well-being of all Boston residents, particularly the most vunerable, Boston, MA
• Boston Rescue Mission (Transforming Lives at Risk Since 1899), Boston, MA
• Casa Esperanza (a bilingual bicultural Latino community sanctuary for those overcoming homelessness and/or addictions), Boston, MA
• CFCS_TLC (Cambridge Family and Children’s Sevice—Teens Learning Choices Programme), Cambridge, MA
• Community Work Services (promoting independence through employment, for challenged indivduals), Boston, MA
• Goddard House (Serving Elders Since 1849), Jamaica Plain, MA
• HAWC (Help for Abused Women and their Children), Salem, MA
• Health Care for All (providing comprehensive, affordable, accessible, culturally competent, high quality care for everyone, especially the most vulenerable), Boston, MA
• Malden Senior Community Center (a newly developed property providing services to Malden area seniors who previously utilized a center in a windowless basement), Malden, MA
• MAP for Health (health link for MA Asian and Pacific Islanders), Boston, MA
• Sherrill House, (a not-for proflt skilled nursing and rehabiliation Center), Jamaica Plain, MA
• St. Francis House (largest day shelter for the poor and homeless in New England), Boston, MA
• Triangle Inc (helping people with disabiliites), Malden, MA
• Year Up Inc (helping urban young adults), Boston, MA

In keeping with today’s food/Thanksgiving theme, the image at the start of this post is called "Ripe," and comes from the trilogy, "Ripe, Sweet, and Lonely," at St. Francis House (each image: 24 x 24, oil on canvas, 2005).  "Sweet" is inserted above this note, and "Lonely" below it. Thanksgiving is a great time to send kind wishes to, and care for, the "ripe," the "sweet," and the "lonely" —in the environment where this artwork is now on display, and beyond.  What a suitable home these paintings have found! 

Interestingly, The Art Connection is working on a "pilot project" at St. Francis House.  Accordingly, they asked me to write about the the pieces I have hanging there, including the "Ripe, Sweet, and Lonely" trilogy. In an effort to make art placements a bit more educational for clients, a statement from the artist, it’s hoped, can help give the viewer a better understanding of the work. This is what I wrote:

 "Ripe," "Sweet," and "Lonely":  three things I thought about while painting this trilogy.  Even though I’m ripe (all grown-up) and sweet (kind), I’m often lonely (as a single adult), just like so many others out there.  People might be compared to fruit, with outside (skin) and inside (taste) provoking different responses  Also, fruit cut up into pieces (like for a salad), can be arranged on the plate in a variety of ways.  Some fruits are placed close together and/or touch.  Others end up further apart.  Each of the three paintings focus on one description—the" ripe," the "sweet," or the "lonely"—and they are intended to be arranged in that order, from left to right.  I am quite comfortable painting food, as well as writing about it.  As an art therapist, I had a book published called, More Than Just a Meal:  The Art of Eating Disorders. (2000).  Also, when I didn’t get into a conventional landscape painting class at SMFA (the Museum of Fine Arts School, Boston) I decided to create my own landscapes in other ways.  Food offers many possibilities and gives much cause for thought.  There is not only the selecting and arranging of it, but the eating (to celebrate) that comes afterwards.  In my earlier work (to which these paintings belong) I came to like using pale blue backgrounds.  They show reflections and shadows well, especially when objects are not crowded together.  I also like the softness (and restfulness) of this color, and the contrasts it can encourage.  All the fruits painted in the "ripe, " sweet," and "lonely" set are among my favorites.  Their shapes, colors, textures, and flavors each have their own significance, as well as work well together.  As with most of the artwork I create, I don’t  like to create one-off single pieces.  I also prefer to work on several pieces simultaneously, going from one to the next, consistently.

To view more of my "food art," please check out the Snack Happy! and Buon Appetito! collections as well as the Representational Gallery, all on the DocSusan website.

Anne Curry spoke by phone (live) from Kilimanjaro, today. Yes, breathing might be difficult, but wireless connections do work almost all the way to the top.  Many guides have cell phones, and chat and text frequently, while taking breaks!

How is Anne really doing?  Something viewers, and the other presenters, are clearly wondering.  Her voice definitely sounds like she’s experiencing altitude sickness.  Also, she must be fatigued from the climb, and the thinner air makes it difficult to speak normally.  Despite this, it’s obvious her spirits are high, as she confirmed.  What an accomplishment—not only to participate on the ascent, but to work as hard as she has done by bringing us such insightful, unique, and careful reporting, regardless of obstacles!*

The MSNBC crew are now at 15,700 feet, where, we’re told, they will have several days to adjust and relax.  Rest, perseverance, and teamwork, will, hopefully, see them through!  In my experience, the last 4,000 feet come more easily, thanks to the added benefits of Diamox, hand-warmers, adrenaline, warm clothes and water, and lots of faith.  Also, very important to know, Tanzanian guides and porters are incredible!

Be assured, each climber will be assisted and/or encouraged every step of the way from here on in—and checked with a pulse oximeter, frequently!  Also, please know that when I made it to the top on my own climb, I wasn’t able to take any photos or video footage.  The agony—and ecstasy—were simply too great!

All the best to Anne and her team. Even if the Today Show climbers don’t make it all the way, they’ve still given us a wonderful gift.  * The focus on water conservation—the real purpose of the trip—has been inspiring!  Most people who climb Kilimanjaro return home with life-changing/saving ideas, that hopefully will translate into actions, big or small.  I made a personal list, shared in a blog piece entitled, Lessons from Kilimanjaro (January 11, 2008). 

For further information on climbing Kilimanjaro, and firsthand accounting, please check out other earlier blog entries, listed in yesterday’s (November 17, 08) blog piece:  Anne Curry Climbs Kilimanjaro: “Today Show” Goes to the Ends of the Earth to Examine Life-Sustaining Sources of Water and Threats to Them.

For further details on how to become more "green," please check out NBC Universal’s Green Your Routine links.

On October 16 (today), the Portrait Society of Canada has a studio day at Toronto Arts and Letters Club.  This will be a nice chance to reconnect through art-making, before its "The Miracle of the Portrait" Portrait Arts Festival and Competition (December 4 - 7, 09).  Recently, another of my "sharings" was included on the Artists Talk page of the Portait Society’s website. It is pasted below:

When I saw people for therapy, I had a sliding scale.  Different individuals had different needs (emotionally and financially). I tried to accommodate as far as possible, understanding circumstances and limitations.  Artwork, not surprisingly, seems to have sliding scales too.  That said, you can’t please all of the people (and yourself) all of the time. There is a point when too low is too low.  For instance, should a $2000 painting be reduced to $750 if it is a commission and you have a "soft spot" for the clients involved?  If you know they don’t have the means this is easier. (If they do have the means, it’s another matter.)  Then there’s those who like to spend more on the frame than the piece.  Again, a whole other story… Priorities, pressures, and obstacles are case specific, of course.  

What about the time, energy, and materials you have put in, as a professional (not for a hobby)? Are you worth a couple of cents an hour or more?  Is what you’ve created a "labor of love," or "slave labor"? Is a work of $2000 being sought for $750 as a bargain?  Or, should you create another piece that ’s more price-adjustable—a $750 work that really has a  $750 value?  Will it still be as pleasing and purchasable?  

Who and what really determines worth and appropriateness?  And, what about fairness, honesty, and trust?  Artwork has a sentimental, as well as investment/ commercial value. Also, instinct can blend with business savvy, or remain distinct.  We all (should) have our price points, as well as integrity and pride. And, of course, there’s experience too.  Capacities and expectations, however, may vary, for buyer as well as seller. And, cliché as it sounds, pride shouldn’t come before a fall.  Hardly surprising the term "starving artist" is so well known and a common reality.  Do others have hard and fast rules for how to deal with those who try to price adjust and bargain down? When does reasonable haggling become insulting?  When do you prefer to hold onto a piece rather than sell it at any price?

For more on related subject matter, please check out my "Candid Artistic Ramblings"  on the DocSusan website in the artist’s galleries section.

Gamblin are my favorite oil paints.  In August, I discovered that they have an annual competition.  This year’s was number 15.  Robert Gamblin invites painters to experiment with "value," and see how light and dark can have as much impact as color.  For me, as a "colorist," this would have been an interesting challenge. Unfortunately, I found out about the competition a little too late.  The folks at Above Ground gave me a tube, after I commented on all the other shades of Gamblin’s grey I was buying that day (but the competition deadline date was too tight).  

Torrit Grey is made up from pigments collected from Gamblin’s air filtration system that are mixed and recycled to form a unique color.  There is no charge for this product.  

We all have our creativity slumps, and sometimes don’t know how to move beyond them.  A couple of months on from receiving the Torrit Grey tube I still hadn’t used it.  Now, the timing was right and better.  Perhaps this little tube could help restore creativity—kindle an element of surprise and wonder and motivate me to get back into a "flow."

You may view the DocSusan website and blog and think that my creativity comes easily.  Nothing comes easily, even if it may look that way.  Common "creativity blockers" and "enhancers" are listed below.  Perhaps you can identify?  Perhaps you have you own special solutions for navigating between them?
 
Creativity Blockers

• Emotional upsets
• Rejection/lack of appreciation
• Physical illness
• Burn-out
• Isolation
• Lack of motivation/goals

Creativity Enhancers

• Emotional stability and calm
• Appreciation
• Good health
• Rest
• Connection and belonging
• Surprises

p.s. I used the Torrit Grey in a a small work entitled, Love = Poodle for Me.  Love = ? for You? This was for the Love Show, an 8 x 8 fundraiser organized by the Londsdale Gallery, to be held at Toronto’s Gallery 1313 (October 30 - November 9, 08 Auction November 9), to benefit "Nomads" (street youth).

About this piece: Love hides in many places. Some never find it.  Others see it peeping through clouds—dream, wish, hope.  Love, for me, masquerades (and dances)  in "Poodle-form." Wherever I go, there they are!  I don’t hide behind my poodles, but we take care of each other —every step of the way. (This piece can hang in four different directions. Please hang it according to what you see in it—and enjoy!)

This is a blog piece I hesitated to post.  Could it upset, disappoint, or depress readers?  How might you perceive me as writer?  Regardless, it felt right to go ahead.  I thought and thought again…  Though the artwork and intentions of this site are positive, for the most part, being real and confronting the uncomfortable is an essential part of who I am.  Sometimes, it’s not possible to gloss over strong sentiments (even if they appear negative or disappointing). Everything we show can help us (and others) grow! Anthony Hopkins as C. S. Lewis, in the movie Shadowlands, states, "We read to know we are not alone." (1993).  I write to know this too!  Fifteen years later this simple movie-line still has powerful meaning.  Perhaps, that’s what compels me to share the following poem with you.

FAITH

Inspiration sought
What matters can’t be bought

I opted not to go to synagogue for Rosh Hashana. It didn’t feel right.  Instead, quiet contemplation stimulated this poem.

Though we’d like to think and believe the best, not all rabbis are "good."  Nor are all regular  "good people."  Hypocrisy and double standards are an unfortunate norm in every organized religion at every level—as well as among friends, acquaintances, colleagues, and family.  (And, let’s not forget in business and politics!)  Though many folk are afraid to see or state it, sometimes it’s hard not to wonder:  "What’s the point? Who can you really trust that’s not just out for themselves, regardless of their position and responsibilities?  Who are the ’show-men’ and ’show-women’ (the ‘insinceres’) in our lives?"

Rosh Hashanah (the head of the year) can be many things to many people.  Generally, it’s marked by ritual and family gatherings.  However, like Christmas, Valentine’s Day, weddings, birthdays, and other (intentended to be) ceremonious times, the "spiritual" isn’t always what’s obvious, or triggers (questioning and distressing) thoughts and responses.  There are always those who feel uncomfortable—left out, or struggling with memories and associations that aren’t happy.  They can sense no genuine point of connection or healthy attachment, despite repeated effort.  Being able to be mindful of this, as well as caring towards individuals in our circles who could be struggling (and left "faithless") is truly a mitzvah (good deed)—some might even say "miraculous."

p.s. The movie, Shadowlands, touched a lot of people in a variety of other ways. Further commentaries on this are shared elsewhere.

As Rosh Hashana (the Jewish New Year) approaches (starting tonight), all kinds of "mental clean-up" decisions get made.  There’s no better time, than now, to clear upsets and "make nice."

When others don’t know what they want, it’s better to give them space and not get caught up in their vicissitudes of the moment.  We all need to see the light sooner or later.  But, everyone’s light won’t go on at the same time.  Some lights flicker, others act as motion-detectors.  Many need new bulbs.

Often, we can only count on our own power source.  When others send mixed messages, we need to think about moving on, however hard that is to do, and as this poem hints:

Contradiction

Contradiction
An affliction

Fair exchange
Or so you’d think…

Always carry your own flashlight as back-up, and you won’t be caught in the dark.  Others’ power surges shouldn’t flatten your batteries…

Earlier this month, I paid renewals for my my driver’s license and vehicle plate.  Funny, the envelope that was mailed to me with the forms for these didn’t include anything about a new $60 Toronto resident’s tax.  Since I’d been out-of-town a lot over the summer, I thought I might have missed news coverage of it.  Apparently not.  Most agree this one got snuck in without hoopla. Astonishing?  Or, Perhaps we’re all paying too much attention to US politics?

At College Park’s (long-lined) Ontario Service Counter, there was no explanatory literature, or prominent signage.  The only thing necessary to know, it seemed, was that if you didn’t pay up there and then you couldn’t make the other renewals.  Employees working at the counter weren’t afraid to mention that they didn’t agree with the tax (they’d be paying it too).  When I got home, I pulled up a September 1 (08) Globe ad Mail article which offered more details. Then, when speaking to friends and acquaintances who drive in Toronto but live in the suburbs, their snigger wasn’t surprising.  This extra charge didn’t apply to them!

From Sarah Palin’s lipstick to John McCain serenely placing his rose on the September 11 memorial at Ground Zero, while Barack Obama appeared to toss his, most of us (myself included) have been more engaged with what’s been happening on the other side of the border than with local politics and consequences. (Please check out the drinks menu at the Gladstone’s Melody Bar, in the photo above.)

Let’s remember that Canada has its own (40th) Federal Election October 14, 08. Americans might not know about this, but many Canadians don’t either…  On its eve, it seems, the Conservatives have been chopping arts funding right, left, and center. This fact may influence artists’ votes!

p.s. Regular readers might remember my Potty Pots in Rosedale (three-entry) series, from last year. Elections in Canada, it appears, can coincide with interesting displays of how tax payers’ money is allocated, locally as well as nationally. (For more links, please check out the third entry in the series: Potty Post in Rosedale, Part Three—As Elections Near, September 15, 2007).

Artists and academics have opportunities to give back in creative ways, if they’re alert to them.  Sometimes, it simply requires a little extra energy and resourcefulness. There are too many possessions (the fruits of our labours, as well as research/study aids) that we store up, but don’t use.  So, why not donate them to others, and have them put to good use?  

I have been involved with Boston’s Art Connection since 2006, and am thrilled to have had  artwork chosen for display in a dozen of their member-charities.  Yesterday, I drove to Boston to transport 20 more paintings to them.  I also delivered my entire arts therapies journal collection.  The intention is for this to be divided between Lesley University and the School of the Museum of Fine Arts (SMFA), two of my alma maters.  (Right now, it will be housed at Lesley’s Porter Square campus, at the art therapy core program.)

The journal collection contains:

• Arts in Psychotherapy, 1992 - 2000,  Vol 19 #1 - Vol  27 #3 (42 journals)
• American Journal of Art Therapy, 1992 - 2000, Vol 30 #3 - Vol 38 #4  (32 journals)
• Art Therapy. Journal of the American Art Therapy Association, 1992 - 2008, Vol 9 #1 - Vol 25 #1 (55 journals)
• American Art Therapy Association Newsletters, 1992 - 2008, Vol 25 #3 - Vol 12#5 (62 newsletters)
• Canadian Journal of Art Therapy, 1992 - 2008, Vol 6 #1 - Vol 21 #1, and Newsletters (26 journals, 11 newsletters)
• Inscape. Journal of the British Association of Art Therapists,  1984 - 2000 (24 miscellaneous journals and one newsletter)
• Journal of Poetry Therapy, 1993 - 2000. Vol 7 #1 - Vol 13 #3 (25 journals)

Other entries on this blog that look at opportunities for artist-giving, include:

• Creating a Magic Pot: Artists and Community-Giving (May 8, 2008)
• Nuit Blanche/Live With Culture: Give a Litte Get a Lot, Give a Lot Get a Little. C’est la Vie! (September 30, 2007)
• Giving:  Give to Give (September 5, 2008)

These days, individuals can end up more isolated and self-involved than ever, with the shift from a "me-focus" to a "we-focus" proving difficult. Attention of any type, even if it’s harmful, tends to allure. This is when judgment gets clouded and mistakes are made. Age-old problems, like manipulation, take on fresh force.  No matter how technologically savvy we are—how many "friends" we have on Facebook—basic human-to-human "communication glitches" abound. These need to be dealt with in real-world time, and have real-world consequences. 

Manipulation comes from those whom we least suspect and expect  It creeps up and masquerades as kindness and generosity. Then, suddenly, there’s a wakeup call—a financial, emotional, or physical price to pay to the person who claims to be offering assistance/friendship "out of the goodness of their heart." Alas! The one who’d encouraged us to count on them really had their own agenda all along.  But, ultimately, even this manipulator loses too. The relationship needs to be severed and things can never be the same again. Trust and respect is gone, as well as a whole lot more. Time to move on, as this poetic reflection explains…

Dear Manipulator

You were so nice, so kind
I was so blind

Disengaging was hard to do
But it enabled me to grow

When self-esteem is down and we don’t have adequate support networks, we are all the more vulnerable and susceptible to those who survive/thrive on manipulative behavior.  Manipulatolrs usually seek attention to help assuage their own wounds, longings, and lackings.  Exagerated gestures and finding ways to become indispensable may be a ploy to help the manipulator appear valuable to others, as well as important in the wider world.  But, tension mounts when the manipulated feels trapped or deceived.  Self-protection (hopefully) kicks in.  Breaking free takes courages.  It also leads to loss. But loss leads to learning.  Know better for next time!

Earlier blog entries that discuss related topics include:

Reciprocity, Feb 8, 2008

Give to Give, (poem), Sept 5, 2007

Keep Your Word, July 25, 2007

A and B List Friends, July 8, 2007

Friends Help Friends, December 7, 2006

Tis the season when artists get solicited to apply to art shows.  And, when you’re juried in (supposedly chosen by noteworthy judges, due to your artwork being of a particular standard) it’s easy to feel chuffed.  In fact, the excitement might help you overlook how much you then have to pay to register (on average, between $1000 and $3000) exclusive of accommodation, transportation, importation tarifs, printing, and other costs.  

Having participated in three international shows, back to back (December 2007 - April 2008), Florence Biennale, Toronto Art Expo, The Artist Project (Chicago), I’ve had ample chance to discover the expectations and disappointments such experiences can generate.  While the organizers make money (mostly from the artists), artists can feel short-changed and become frustrated for a variety of reasons:

1.  Feedback isn’t seen to be responded to, or remedied, when things go wrong, or aren’t as suggested.
2.  Conditions (for setup and takedown) can be as exhausting as they might be chaotic.  There are a lot of logistics, but not every protocol is logical.
3.  Booth location might be unfair (yielding unequal opportunities)—attached to seniority of participants, favoritism, or the luck of the draw.
4.  Advertising and ticket sales (on the show’s part) might be insufficient.
5.  Inconsistencies (who gets away with showing/selling reproductions) or expands beyond their allotted physical space could be overlooked.
6.  Excess charges for sundries, like lighting, electricity, flooring and furniture, usually supplied by third parties (that aren’t as good quality as advertised) can mount up, unnecessarily.
7.  Out-of-towners travel expenses receive little, if no, subsidy.
8.  Shipping (from out-of-town) is problematic, organizers neither subsidizing charges nor helping resolve practical/procedural complications.

Of course, the above is just a partial list.  The photos included below (taken at The Artist Project, 08) reveal additional glitches. All photos were taken during show hours, and this is just a small selection:

1. Busy aisle (but booth 4123A was almost the only booth not in an aisle).  Caution:  Object to being isolated. Neighbors matter!

2. Display and cleaning closet alongside each other. Caution:  What’s next to you is important.

3. Empty café opposite the booth.  Caution:  A café might appear like an attraction, but only if people go to it…

4. Garbage bin infront of display frequently. Caution:  Nice to have amenities close by, but not that close…

5. Endless cleaning stuff passing in front.  Caution:  In an out-of-the-way booth, distractions like these don’t make things any better!

6. Open closet and show guests, side-by-side.  Caution:  Not every booth can be ideally placed, if organizers are maximizing on floor space (and revenue).

7.  Traffic flow to the aisle marked "exit" (misses the booth completely).  Caution:  Organizers might argue that this is not a "problem," but when they bypass the booth, themselves, distributing "feedback forms" it’s a little ironic.

8.  Raised wall joints that make hanging difficult.  Caution:  After-the-fact, you might be told that these could have been attended to.  But, by whom and how at a time when any "special request" makes it seem like you’re a "fuss-pot"?

Typically, show organizers, no matter the stature of their show, appear unconcerned about responding to individual artist feedback post show, or prepared to compensate for problems.  Instead, it seems, their focus is on group solicitations for follow-up shows (expanding revenue options). There are plenty of fresh artists eager to exhibit their work who’d be thrilled to have it accepted (regardless of organizational issues and expense)!

I am thrilled to announce that Nicholas G. Vahlkamp is now my art dealer in Chicago and the Midwest.  He is co-principal of the Kamp Galleries:  Chicago, at the Drake Hotel, 140 East Walton Place (off Michigan Ave/The Magnificent Mile);  Winnetka, at 563 Lincoln Ave.

Please check out the galleries’ current shows:
• At the Drake, Chicago:  "Rediscovering Modern" (May 1 - May 31, 2008)
• In Winnetka:  "Chicago Artists We Love"  (April 1, 2008 - June 30, 2008)

A quick Google search to find other artists’ impressions of Toronto Art Expo (08) led me to the Artists Toronto blog.  After agreeing with some of the commentaries posted there about the event, I thought I’d look into membership.  Sharon Barr welcomed my "application."  What happened next was curious.  10 days later, she sent me a friendly-solicitation for ideas to help grow their site.  Suggestions wanted included the donation of e-mail lists and industry connections as well as initiative to devise a group show.  26 days later, I received an anonymous  "jury" rejection from a personal e-mail address that had the name "Jones" in it. A quick Facebook search enabled me to deduce that It was Stan Jones who’d provided the "glad tidings." It simply stated:  "It is the consensus of our committee that the images you have submitted for approval do not meet the subjective objectives of our committee."  I wasn’t sure what that actually meant, or what they could really be looking for.  All I was aware of were inconsistencies.  Note the time line for communications.  Application, solicitation, rejection.  Also note that they don’t have a 2-week application response turn-around, as posted.  One would expect elitism/run-arounds in the wider art world, but not from a parochial group that touts itself, in correspondence, as a "viable grassroots undertaking." By the way, you’ll find the Artists Toronto blog piece about Toronto Art Expo under the header "The Big Spring Art Shows."  The date given for it, right now, is March 8, 2009.  Of course, we know it must be 2008—and will likely be corrected, eventually.

p.s. Since posting this blog entry, I have received clarification from Mr. Jones about the AT "committee."  Apparently, it has five members (including him).  He states, "’Subjective objectives’ reflect the consensus of our jury in what we feel is a degree of artistic merit that we’re collectively comfortable with.  But it is only our opinion."  Unfortunately, still no explanation of the application, solicitation, rejection procedure.  Only a remark about  familiarity with "entrepreneurial drive."  If they do really intend their site to be "the main connection between Toronto artists and the art loving community" (as announced on their home page), they’ve demonstrated an interesting modus operandi with a target audience.
Perhaps it’s personal artist-artist-friendly experiences in the US, Europe, and beyond that make me all the more sensitive to Toronto artists’ (unnecessary) obstacles.

…and mine is Lev. Please check out the silouhette in the bottom left hand corner of the image below.

I, also, have the responsiblity to watch over Lev, and Poodle pal, Sage.  This morning’s Today Show discussed the alarming rise in dognapping, giving lists of recommendations on how to protect our canine companions.  The information provided is worth checking out.  Its in the form of an article called, Pets as Prey:  Alarming rise in dognapping:  Smart advice on how you can protect your canine companions from theft. 

This Sunday morning (today) was crisp but spring-like. Woken by birds singing and seeing the snow melt, I couldn’t help but think back to last Sunday morning—having to dig myself out of the house.  Last Saturday night, I abandoned my car at the Metro Toronto Convention Centre parking lot because we were in the midst of a snow storm—weather conditions that didn’t bode well for Toronto Art Expo attendance.  Originally, Toronto Art Expo was supposed to be held this weekend (March 13 - 16) and these dates could have worked out better had they been kept.  

When Mr. Peter Maguire (President of Rime Canada/Organizer of Toronto Art Expo) confirmed the date switch (off-line, just before Christmas, and on-line, well into January) from March 13 - 16 to March 6 - 9, 08, I was uneasy.  Apparently, there were two main reasons for the date-change:  to catch March break big-spenders before they left on vacation, and to upstage Toronto’s Artist Project’s first-year, which Maguire didn’t want to have poach his audience a week in advance.  

Sometimes, calculations and manipulations just don’t work.  Mother Nature is more powerful than humankind.  What is meant to be will be, rash or reasonable decisions and changes having little influence over outcome.

Irony:  A week after the event, receipts still haven’t been issued by Toronto Art Expo for expenses already paid (despite pre-show requests).  However, on the Saturday of the actual event weekend, reapplication packages were hand-delivered to each participant’s booth for next year (2009). Then, on the Sunday two paper warnings appeared.  The first note stated that 5 pm would be the cut-off time for resign-up.  Those who didn’t do so by then would be subject to re-jurying and possible price increase.  They’d also lose seniority over booth allocation.  The second note extended the deadline till 6 pm because of "traffic on the floor."

As I sat quietly in my booth (few attendees in evidence) musing about how Toronto Art Expo 08 (at least from what I’d witnessed) seemed doomed from the start, any notion of feeling pressure/anxiety to sign up (and pay up) for a repeat performance seemed a little silly.

I am exhibitng my spring fine art collection "From Doodlemania to Organic Art" at Toronto Art Expo, March 6 -9, 2008 (Toronto’s Metro Convention Center). After the event, I will offer behind-the-scenes tidbits pertaining to this "happening" and its organization on this blog.  What artist participants experience and what the general public notices, will likely be interesting (and different)… Participating at the Florence Biennale had predictable bumps (some of which are already recorded on this blog).  Showing artwork in a foreign country with different ways and standards is always an adventure!  In Toronto, however, and due to the heavy costs of participating at an event that’s not in its infancy, my expectations have been higher…  Let’s see what happens!

My booth is 401 u/l.  It’s on the upper level, in the far back left-hand corner, at the bottom of aisle A and adjacent to the toilets.  Please stop by and say "Hello!"  Hang out for a while!  Look for sping colors and feelings. I hope to create a "cozy, welcoming corner":  a little sanctuary tucked away in an overwhelming, large, noisy hall.  

Painting through a  "long, cold, lonely winter," this "Litttle Darlin’" has been crying out for spring—imagining it in a myriad of shapes and colors. (Please click the link just given and listen to the You Tube song that you’ll find there!)

The paintings on display, I hope, will lift the spirits, and hearts, of Art Expo visitors.  Oh, and, by the way, most of them are for sale!  The Art Expo mandate is that only originally work can be displayed and sold there.  Reproductions are available to order, outside of the show…

If you own a Macintosh computer and live in Canada, beware!  You will not be able to get technical support, and it doesn’t look like this situation is going to change, now or in the future.  AOL Canada, it seems, prefers to lose long-standing/loyal members. I was told by an AOL Canada supervisor, today, that it has been an "AOL business decision" not to service their Mac users in this country (for the last few years, already). The supervisor I spoke to suggested that if I am paying for a service that’s not working for me (such as the one he is employed by—AOL Canada), I should cancel it completely. In fact, he offered to give me the next month for free till I can sign up with another e-mail provider, and arrange to have my e-mails forwarded.

Looks like AOL Canada has no intention to remedy what their supervisor described as "dwindling numbers of AOL/Mac Canadian users." In fact its own employees are openly discouraging  With the launch of the new MacBook Air, this is indeed a pity!   AOL Canada users should not expect to be able to access US technical support, either. If you take the initiative to contact them, you will be told that they don’t service Canadian accounts, once you reach a technician who’ll say that your account can’t be found. However, when you punch in your account details, the (automatic) voice response system that transfers callers to technicians (on receipt of that information) will announce that your account has been found (ie. assistance will be forthcoming)!

Also, MacUsers everywhere are, probably, well-aware of the incompatailities between Mac’s Leopard operating system and AOL.  Even though remedies are currently being tested, patience and waiting to see what happens might not be the best options. The inablity to access e-mail (and trying to sort out how to) wastes time, provokes inefficiency, and generates frustration! 

I do apologize for any interruptions in communications at the moment. Please understand that it’s due to the Mac/Canadian AOL connection (or lack of it), not moi! 

Please take a moment to be in touch with a friend who doesn’t have a Valentine, and let that person know how much they mean to you/you care about them.  A simple phone call or e-mail may be just enough!  If you’re happy—and fortunate to have attention from a "special other"—try to be extra sensitive to whose circumstances are different.  Though Valentine’s Day (February 14), gives many a cause to celebrate (and for commercialism), more folks than seems fair feel uncomfortable as it looms. This poem tells a little more:

VALENTINE’S DAY

Loved?
I’m not sure about that

Happy Valentine’s Day!

Add to Valentine’s Day, Ontario’s first annual Family Day, four days later, February 18, 2008.  Apart from proving an inconvenience for some in the business world, this second "relationship-rejoicing" day may add to singles feeling more out-of-place (a significant percentage of the local population).  According to February’s Village Post, its very name is "puritanical," and just begs for satire!

 

Reciprocity can be tricky sometimes. There are those who give in order to receive, those who give in order to mutually benefit, and those who like to take but not give back.  Those who give to give, no strings attached, are exceptional.

In real life, we see this with dinners, gifts, phone calls, and so much else.  Certain individuals always seem to offer a whole lot more for a whole lot less.

In cyberspace, gaining "reciprocal links"—like having "friends" on Facebook—has become a supposed indicator of success, popularity, and networking ability.  In recent weeks, I’ve noticed an increase in offers to exchange links, so as to raise Google rankings. But, what might "virtual-reciprocity" imply to the non tech-savvy? Because we exchange a link and list another web address on our site, does it mean that we endorse it too? If we decline a request to exchange a link, what is the message that we’re giving back?  That we don’t like or approve of it?  Will someone list us without us having to list them?

Because, for now, I don’t have distinct link lists, I try to include as many links as possible in blog entries and website text.  Requesters who’ve taken time to review my sites usually understand—and see a place where they might be inserted.

A Florence Biennale artist who has just requested a reciprocal link exchange is Ann Haessel. A fiber artist from Alberta, Canada, you might like to check out her site.  Unfortunately, I did not get a chance to see her work at the Biennale.

Other entries on this blog also offer perspectives on RECIPROCITY.  These include: 

Give to Give, (poem), Sept 5, 2007 

Keep Your Word, July 25, 2007

A and B List Friends, July 8, 2007

Friends Help Friends, December 7, 2006 

The "January blues" are legendary. Then comes February, and moods sink lower. Is there anything that can be done to help? Some are too familiar with the pain (not just in January or February, but year round) and don’t need to have it explained (like in the poem below). Others are able to escape it— supports, special advantages, or attitude making things easier.  Living in warmer friendlier climates (or taking a sun break) can also be helpful.  But this isn’t always possible.  In cities such as Toronto, known more for aloofness and coldness than ambiance and joie de vivre, extra efforts need to be made.  It’s important to be aware of those around us, and check-in on them—include, invite, encourage, or reciprocate.  At least, try and offer a smile or "hello," even to someone you don’t know.

FEBRUARY FUNK

Looking good on the outside
Doesn’t dull the pain within

Do you know that pain?

Under the nose
In the throat
Around the eyes

An upset that you feel
Even if others don’t see

Do you know that pain?

Maybe you don’t
Likely you won’t

Do you know the sadness of
Loneliness
Hopelessness
Helplessness
Despair?

Seeing that others, clearly, don’t care

A "Please"
"Thank you"
"Sorry"
"Well done"
Might pick up someone else’s day

Few brave enough to show the way

Don’t ask "Why?"
Ask, "Why not?"

CONFIDENCE

Confidence is driven by others
Not just ourselves

We know, ourselves, what we do, feel, think
What’s right, wrong, uncomfortable, or easy

Others affirm, deny, encourage, avoid
Enable and disable

Contribute to who we are and can be

It’s who surrounds us
And who doesn’t

It’s what they say
And what they don’t

How they respond
Or not

No matter our strengths and weaknesses
Failures and successes
Feedback and allegiance matter
 
Others indicate the worthwhile, and the not so
Include and exclude
 
What we’re left with is up to us.

Heath Ledger’s unfortunate death has generated much discussion about its nature—whether it was accidental or not. From the LA Times to Time (and beyond), it’s become a major news story!  Close family and friends of the deceased insisted right away on "accidental causes." Noone likes to think about, admit to, or acknowledge the "S"(uicide) possiblity, at anytime.

Media have provided a lot of extra/invasive hype, with many presumptive questions.  Naturally, suggestions of foul play abound, with analyses of the actor’s distresses.  Whatever the truth might actually be, we’ll never really know. Sadly, the one person who could have told us isn’t around anymore.  Apparently, he was found alone, face-down and naked on his bed, by service providers (his housekeeper and his masseuse).  Close family were thousands of miles away, and the face that Ledger gave to the world in his many outstanding film performances was, obviously, not the face he wore privately (of late).

Ledger was famous. That’s why we get to hear, see, and read about him, and his final days and hours.  But, there are many other individuals, just like this movie star, dying every day—and in our own midst. Their burnout, despair, frustration, and loneliness cannot be remedied effectively.  Accidents and non-accidents happen, closer to home and all the time…

No matter the nice things said and done after a "loved one" is gone, nothing can make up for what was not said and done when he or she was alive (manifesting that all wasn’t right). The "take-home message" is to be more mindful of those around us continually—and sensitive to our interactions with them.  We truly never know how we might affect someone else, and what the consequences might be.  What’s not a big deal for you, might be for someone else. Everything adds up.  And, sometimes, just one more disappointing encoounter may be that one more too many…

This following simple poem, "Depression Alert," is an important one to remember. I included it (below) in tribute to Ledger. His untimely death provides an opportunity to share sentiments that might not have gained exposure otherwise.  Think of those with whom your life intersects. Perhaps they need a little more attention, consideration, and follow-up than you’ve been able to give them till now.  We may all be "busy," but…

DEPRESSION ALERT!

The places you don’t go
Clothes you don’t wear
People you don’t see

Another funeral.

Interactions with other artists tended to involve those positioned at close proximity. But, quick wanderings around the exhibition gave an overall feel of atmosphere, energy, artwork, and personalities.  

12 artists I’d not met before, and spent time with during the Biennale are listed below (in alphabetical order). You might like to check out their work:

• Jeff Beier (sculpted painting)
• Joy Engelman (environmental painting)  
• Jim van Geet (figurative painting)  
• Pam Ingalls (Russian impressionist painting)   
• Olga Karpeisky (still life and portrait painting)
• Rian Kerrane (sculpture/installation)
• Janice Lawrence (joyful painting)  
• Charlotte Lugt (abstract painting)
• Mary Medrano (painting)  
• Miriam Pet-Jacobs (mixed media)  
• Danish Saroee (photography)  
• Mona Youseff (realist painting)  

12 artists I didn’t get to meet at the Biennale, but whose work I enjoyed viewing, are listed below (in alphabetical order):

• Ina Bartelds (floral painting)
• Karima Ben Otmen (painting with Arabian influences)
• Gina Blickenstaff (mother/child portraits)  
• Maria Catuogno (sculpture)  
• Cheri Christensen (Russian impressionist painting)
• Ann Dunbar (watercolour painting with embroidery) 
• Kimmo (Kimmo style painting)
• John van der Kolk (sculpture)
• Bria Kromm (painting with layers and symbols)  
• Nancy Lamb (figurative landscapes) 
• Maria Isabel Parra (multi-media artist)
• Sergei Zlenko (Russian figurative painting)

Some artists, attached to causes, were able to be more visible because of this:

• Pomm Hepner (watercolor painting) got extra wall exposure and mention due to her Artists for Human Rights membership. She is also a prominent Scientologist.
• Josie Taglienti (abstract pastels) promoted the Fine Art Registry, having been sponsored by them.

My Biennale display neighbors were two painters with very distinct styles and techniques:

• Denise Faegenburg  
• Amy Swartelé  

Having had a chance to review Biennale artists’ websites since the exhibition, I realize that while some had their best work on show there, others didn’t. The Biennale was, in many cases, an opportunity to sample a small piece from much larger pies and gain exposure.

Of course, there are many other artists I’d like to link in this blog entry, but that’s what the official catalogue is for, and where most participants were given equal space. Painter Nafisa Naomi, however, got a double-page spread—in advance of her winning first prize for her four canvas display, "Regeneration".  Unusual coincidence!  So did mixed media artist, Jackie Sleper—in advance of her winning first prize for her sculpture, "Modestia," given pride of place in the Biennale main foyer area (as shown here).

We don’t often know what will end up as an award winning work, or exactly why. A closer look at "Regeneration" (segment pasted below) may appear a tad disappointing—have viewers wondering how the canvases joined together (or whether they were supposed to).

Some nationalities weren’t as apparent at the Biennale as others. The Dutch had a huge contingent—97 (maybe).  840 artists from 76 countries were present, I believe.  There were also a lot of transplanted artists (those who found it hard to say which country they actually represented), like Plein Air Cottage artists, Helen Tilston and Violeta Shtumeyzen.  One evening, six of us went out for dinner, and found, by chance, that what we all had in common was being from one place but living in another.  Some had changed countries two or three times.  I could relate!  Is it the artistic spirit that encourages these moves, or modern day life?

Traditionally, if you search on-line, the Florence Biennale has had mixed reviews.  Having now participated, personally, I feel somewhat qualified to share pros and cons.  My You Tube video interview was filmed on Day 4, and focuses on the positive (though we are still waiting for the Biennale folks to post it).  This blog entry considers the whole picture (no pun intended).

Let’s stress the positive (in random order):

1.   Abundant networking opportunities between artists
2.   A live how-to guide for how to show your artwork (or not)
3.   A chance to discover what’s hot (possible) and what’s not, in art, and beyond
4.   An extended stay in Florence (and not as a tourist)
5.   Web presence enhancement (through participation)
6.   Time out from the studio—chance to taste "la dolce vita"
7.   General public’s feedback—international audience
8.   Connections made with viewers passing through
9.   Networking locally (in Florence)
10. Opportunities for commissions, sales, shows
11. International perspective and acknowledgment
12. Personal development opportunities

Familiar common complaints (in random order):

1.   Not enough visitors (likely not helped by time of year)
2.   Difficult layout and unfair allocation of display spaces
3.   Inadequate local publicity and attendance
4.   Most judges more aloof than approachable
5.   Select work given attention by judges, much of the rest ignored
6.   Certain presenters stood out, others had listeners walking out
7.   Environmental conditions challenging (heat, air, light…)
8.   Display equipment challenging (not flattering to artwork)
9.   Snack bar (food and service) not as expected for Italy
10. Many better works weren’t considered for prizes  
11. Too many artist-participant expenses and frustrating "administrivia"
12. Too much sitting around for artists who stayed on site

Those who go back again (participate in subsequent Biennales) demonstrate they’re not concerned with the glitches.  Those who don’t, have either been put off the first time, or simply can’t participate again for a myriad of other reasons.  In a world, and at a time, when fresh possibilities arise daily, pros, cons, and alternatives are reviewed carefully—as are first-hand accounts.  No matter what’s been considered disappointing about the Biennale, there’s still a lot of good to be said about it.  The opportunity to follow-through on the invitation to show at such an epic event comes to most of us only once.

In an ealier blog entry, I explained how preparing for the Biennale likely enabled me to complete the Kilimanjaro climb.  Now, having completed the Biennale, I realize that the Kilimanjaro climb might have helped me to make the most of participating at the Biennale.

Today is very special for those of us invited to show our artwork at the Florence Biennale (07 edition).  It’s taken over a year to prepare and it’s hard to believe this Olympics for artists is finally here.  But, if you look at the images below, you’ll see that it’s true.  This is the entrance to the Fortezza, with posters announcing the event.

And, here is my freshly uncrated exhibit, "Buon Appetito!" (with crates infront).

I arrived in Florence a few days ago, on a picture perfect morning, sunny but crisp, and had a magnificent view of the snow-filled Alps on the flight from Munich.  Not a big skier, but this snowscape made me want to be! 

And, it came after a spectacular sunrise.

Of course, photos taken at altitude throuh a plane window, don’t do justice to what’s seen live.  But, it’s always fun to share them.

While I’m a little preoccupied with this new chapter of the Biennale adventure, upcoming blog entries will reveal what has refreshed and empowered me since finishing painting "Buon Appetito!" in September—an extra special visit to Africa at the end of October.  The photo below provides a clue as to where.  (Please remember to click on the images to enlarge them.)

Art has value, and value isn’t always financial. Just as it is counterintuitive to put a price on human life, it can be the same with art.  Outsiders don’t really know what’s gone into a piece’s actualization—how much of the artist, him/herself, and how many hours of skill development and dedication.  Art’s value can be unquantifiable, but the market demands to know and set a price.  What does the market take into account?  Training, experience, reputations, originality, popularity, marketing buzz, or trends.  Much rests on possessing the right style at the right time for the right audience.  Talent and hard work might have little influence.  Those who get noticed and are in high demand might have the least to offer.  We’ve seen this in the entertainment and other (trend-setting) businesses.  Art that is precious to some might not be to others. Over time, art accrues sentimental and commercial value (that can be quite distinct from each other).  It becomes part of our homescape, and gets passed from generation to generation.  Many a time, art is able to be reproduced and gain mileage.  One piece volumized has more worth than could ever be imagined.  Sometimes, artists have the tools and ingenuity (or back-up team) to make this happen.  Most of the time, they don’t.  Alas, great art is usually recognized and acknowledged long after its creator is around to enjoy it.

For some, art can be infinite.  For others, it signals natural or man-made limitations.  Art takes money and time.  Some have a lot of both.  Most don’t, so vacillate and negotiate—try to obtain and balance the two.  Art takes money to create, it also takes money to buy.  Art takes time to create, and time costs money, as well as a whole lot more.  How much a painting costs might not be commensurate with the amount of work that’s gone into developing it.  The power to paint and the power to buy come from different sources, but are intertwined.  What’s fair and what’s not change according to who we are and what we need and can realize .  Awareness matters, as do tenacity and being able to go the distance.

Art is whatever you, as artist, or others, as viewers/critics, may want it to be—at the time of creation or afterwards.  All kinds of purposes can be served by what’s been made visible.  Whether metaphors and symbols are evident or not, various kinds of measures are made clear, from within and without—religious, political, idealistic, romantic, aesthetic, or?  Art has an unrivaled ability to give voice to secret yearnings, hidden agendas, and almost-forgotten dreams.  Art puts artist and viewer, alike, in places they might never travel in real life.  It wets the appetite and makes anything seem possible—at least in the moment.

Most artists create art because they yearn to do so.  It makes the unconscious conscious. It also has us realize that powers greater than us are at work when we least and most expect it.  The pieces we are gifted with (as creators or viewers/critics), result from creative processes that are part of a bigger picture (no pun intended) and plan.  They help put things in an out of perspective—enable us to dream, remember, wonder, forget, and more…

In order to be a professional artist these days, simply being able to make art isn’t enough.  You have to be a writer, marketer, networker, gallery aficianado—while having computer savvy too (24/7).  In addition, it’s beneficial if your resume lists formal training (from the right schools/with the right mentors).  This is aside from needing to be a handy(wo)man—knowing how to build and adjust the structures necessary for your artistic creations. Also, resources you might not be able to earn through just selling artwork can come in very handy too!

If it’s worth it, it’s going to take time—an indeterminate amount of time.  Nothing else has to matter except taking things to where they need to go, and have them feel right, or right enough.  And while it’s important to be prepared to put in as much time as needed, it’s also important to know when to stop—recognize when a piece might be finished, or have gone as far as it can go with the skills and experience that you have.  When a piece is rushed, it shows.  Every brush stroke that is deliberate reflects effort and care—respect for the work that is being accomplished.

A painting can be like a puzzle.  You don’t always know what’s going to be easy to solve and what’s not (speaking as artist, not viewer).  I try to learn from and remember every step along the way to know better for next time—have things flow more easily.  An area that seems daunting one day might not be the next.  Or, something that looked good one day, may not work out when other elements are added.  Constantly keeping the whole picture in mind may be a better way to proceed, but this can’t  always happen.  Sometimes, we get stuck on one part for no good reason.  The day goes by, and we feel no further ahead.  Then there’s the good days, when everything works, and you can’t explain why.  The brush is magic in your hands and the paint does exactly what you want it to do, or exceeds expectations.  You wonder, "Who’s painting this piece?" The same happens in writing and other expressive/creative arts.  These are moments to savor  because the times of struggle are usually a lot more familiar and frequent.  But, it’s only because of those struggles that we see the difference and appreciate what we never thought might be possible.  To understand happiness, we need to understand sadness, and so it goes with painting too.

So much of life is luck and timing—and the artist’s process can demonstrate this.  We’re fortunate if we’re able to choose what we paint, though our preferences and outcomes are usually influenced by what’s happening around us.  Painting for the Florence Biennale exhibit has given my work a purpose, focus, and appearance that it might not have had otherwise.  I was influenced by space requirements and deadlines.  I also had to be mindful of making imagery that could have universal appeal.  Then, I had to consider my repertoire—my skills, talents, history, and comfortable subject matter—what I may and may not be able to accomplish at this stage of my career.  Finally, there was the budget—an issue that I didn’t want to have prohibit the quality and dimension of my work.  But, it did.  Whether we like it or not, most artists need patronage of some sort.  Art is an expensive business and can’t be made properly without funds—especially where large public exhibits are concerned.

Being organized matters—even, and especially, as an artist.  Better painting happens for me when my desk is tidy:  correspondence caught up on and phone calls made.  Then, I can shut the door on the studio and just focus on the canvas—no distractions or rambling thoughts and preoccupations or interruptions.  Some days, I know from the start that I shouldn’t have attempted to paint at all.  There’s just too much else distracting.  Other days, I regret not carving out specific time to paint—unable to forget about everything else that has to be done and needs to take priority.  We all have different needs and obstacles and must find what works best for us individually.  For me, painting is a sacred act and privilege, something for which I need to enable quiet space and time in order to reap maximum rewards, experience-wise.  I want a piece to be as whole as possible, unpolluted by the vicissitudes of the hour.  Of course, this is an idealist attitude, but it’s nice to be able to dream and hope.  Painting is also interesting because it is influenced by surroundings and happenings, states of mind and energy levels.  Perhaps because I’ve spent some time practicing art therapy, I’m more concerned with art-making that’s product oriented than art-making connected to the exploration of emotions.  This, however, can prove more difficult when creating abstracts—or so I’ve found.

I wonder about prices a lot—what’ll be fair and what’s not, what works for me as the artist as well as for potential purchasers.  What’s value for money.  What’s value for time.  What’s value for originality and devotion—a piece of my spirit translated to and revealed on canvas.  I try not to think about the middle (wo)man—a gallery or dealer who could jump in and take 50% with an "easier sale."  It can be more prestigious to have that middle person—kind of like having an agent as a writer.  It means you’ve already been weeded out, approved, validated, or regulated and relegated—sometimes, even put your soul on the auction block.  But, just as there are iterary agents who will work with you and those that only have their own profit margins in mind, there are artists’ representatives who are like that too.  Everyone needs to make a living.  At the end of the day, consider who’s starving and who’s not.  These are thoughts constantly floating in my head, as I find it difficult to put energy into trying to get noticed, bought, and valued, while still trying to create.  This isn’t a hobby anymore!  Creating takes soooo much time and skill perfection.  Then, why do potential purchasers insist on bargaining down, like they were in a shuck haggling over a (mass-produced) souvenir memento? Do they realize the time, energy, and dedication put in to what’s been painted?  Could they ever have the skill, talent, or perseverance to make anything similar?  Do they know the real worth of the object created beyond what’s a good deal to them?   Do the bargainers respect the creations or take advantage of an artist’s need for cash to keep up the métier? Ironically, many potential buyers get paid 10 times the dollar rate for work that’s less demanding, and think nothing about submitting invoices to their clients to be paid in advance.  My rambling thoughts on this subject are not about bitterness or jealousy—they’re about others knowingly trying to take advantage.  Of course, there are some artists who let their comrades down by producing inferior work that secures higher prices, just because of hype.  This happens in fashion and other fields too.  Then there’s experience and earning your price point.  But, again, no set path is clear.  Look at Google and YouTube—how quickly they become major monetary successes.  The artist’s path is hard to juxtapose.  For some, networking is everything.  Others don’t have to network.  Regardless, most artists know when they’re doing a good job and the details don’t matter.  The work speaks for itself.  While it’s important for potential purchasers to be prepared to pay appropriate prices, it’s also important for artists to know and expect their true worth—not forget what went into the pieces they’ve made.  Those who slop things out and get big bucks for so-doing—no heart in their work—let down more serious folk.

Ironically, today, many who award grants might not really understand what the artist’s process is all about.  They’re just doing their job, and detached from the players involved.  Then there’s the peer review committees, made up of individuals who too often have their own interests and biases.  And, for those applying for grants, the competition is steep—anyone and everyone who wants to survive in an artistic field needs revenue.  If you can’t work a regular job while creating, what do you do?  Give up?  Many are forced to.  Others go into debt.  Those who keep on going, if they don’t have personal safety nets or private supporters, have to get creative with other fund raising strategies.  And, when you put your creativity into fund raising, you’re taking it out of artmaking.  There’s only so much creativity to be had.  Therefore, you have to hope for kind individuals who you can jump on board to help see you through—assisting with their business acumen to gather the necessary $$$.  Artmaking, when it’s not a hobby, but for public display and enjoyment, is a community service and gift.  An artist, in many ways, is just a transimtter—given opportunities and skills (from outside of him/herself) to put out what others might not be able to do.  Mix a little talent and energy with dedication, industry, and perseverance and a public servant is born, one who needs "patronage" (an old word seldom heard).  Yes, what happened to "patrons of the arts"—those who used to finance artists’ endeavors in front of and behind the scenes—a big reason why art history is so rich and extensive.  It’s only in the last few generations that these types of givers and doers seem to have diminished.  In an age when materialism and quick fixes appear more important than genuine hard work, creative struggle, and innovation, culture and the development and maintenance of "higher" (non-hightech) arts are in jeopardy.  The inability to find support—for the honing of skills that used to gain esteem as a matter of course—is a growing problem, not unique to artists’ predicaments.

JK Rowling discussed her sadness/loss as she completed the Harry Potter series.  Though my work isn’t of the same magnitude or duration as Rowling’s, her sentiments resonate with me.  My Biennale exhibit has been a year-long project—a huge part of my daily identity.  I’ve known such overwhelming expreriences before—for instance, after completing each one of my published (and unpublished) books and each one of my academic degrees (BA, MA, Ph.D., Fine Arts Diploma).  Even for the type of person who puts their all into what they do (professionally, academically, personally) build-up and pull-back can be immense.  They’re also a special gift to be treasured—sadly not in everyone’s reach.

Painting can be physically and mentally draining. It can also elate and energize.  When you put your whole self into your work, and concentrate hard for hours on end, don’t be surprised by how exhausted you might be by the end of a session.  Some days are easier than others, but we never know, in advance, which ones.  (Positive) attitude doesn’t always induce positive outcome.  Art-making is usually more random than formulaic (in my experience).  No matter the rituals that some painters try to set up and try to stick to, not everything can be predictable.  And, if you’re a perfectionist (like me), you’ll go on and on till things look exactly right.

My earlier paintings didn’t take me as long to complete as my later ones do.  A normal expectation would be to be speed up after gaining more experience.  Not at all.  For me, the reverse seems to be the case.  The more you know, the more nit-picking you get (at least in my case).  Standards elevate with a trained and practiced eye.  You see more and what to do even more.  You become critical and less tolerant of what might have slipped by previously.  Each and every detail matters.  Work cannot be "second-rate."  Even if no one else sees your model’s set-up, you have a responsibility for as accurate a rendering as possible (I believe).  You know what should and shouldn’t be there and want to stay true to that.  The pressure is huge, but you have to know when to back off, and learn what’s reasonable and what’s not.  Otherwise, the task becomes impossible.  Sometimes, the positioning isn’t perfect, but you consent and relent to adapt, discovering a slight divergence isn’t so bad after all.  Almost perfect is often better than completely, as you’d once hoped.  Knowing when to calm down and relax about the details is perhaps one of the hardest lessons (at least for me)—can make or break a painting.

My paintings aren’t slapdash.  That is they’re not the type of spontaneous "process pieces" that are dabbed down without thinking.  On the contrary. Surprisingly, thinking is a big part of what I do, as are feeling and intuiting.  Some painters, certain realists for example, might calculate and measure where each element goes and exactly how.  That’s not my way.  I do plan a lot—spend hours on set-up and composition, but still like to leave significant detailing to chance.  For instance, I won’t force a mood or color palette that’s not within my capabilities of the moment.  I also like to guesstimate—even embellish aspects that cry out to me for extra attention.  Consequently, my portraits have caricature-like tendencies and my still-lives are more whimsical than realist.  Then there’s my abstracts, a melange of freedom, control, and spontaneity—more representational than abstract and more abstract than representational.  We see and do what we need to at the time (usually without knowing it)—artist and viewer, alike.

Creative minds are frequently distracted.  An idea surfaces and it’s hard to rest until it can be recorded and/or realized.  My creative bursts come in words and images.  One day it’s words.  Another it’s images.  And, when I’m in the mindset for one the other fades. I can either write or paint, but find it hard to do both together. Over time, I’ve come to know when I’m "off’" or "on"—can be creative or not, and how.  And, I can’t always choose those times.  Some of them are very inconvenient, like today.  I really should be up in my studio painting, but have a word explosion I can’t contain. I need to finish writing this passage—express what’s on my mind while it’s still mulling.  It’s been active for a long time, every day while I’ve been painting.  The thoughts have been there, but the verbalization hadn’t reached a stage fit for sharing—until today. I need to get it out now!  Tomorrow, I’m hoping things will be different.  I have a deadline to meet with my paintings.  The day before yesterday was good with respect to staying focus on painting.  I painted, and painted, and painted, and didn’t get tired.  In fact, I couldn’t eat, drink, or speak on the phone, I was caught up in what I needed and wanted to do, energy growing with each technical difficulty overcome.  I love days like that!  Days with no time limits put you in another place. They’re rare and special, and one of the main secret gifts painting/artmaking/creativity can bestow on those prepared to go the distance—travel bumpy roads on routes you’re not sure can take you anywhere.

 

Painting takes time—more than you might have under normal circumstances. You need to be prepared to give up many other activities (and breaks) in order to paint seriously, proficiently, authentically, and optimally.  This means attempting to stay with the task by preventing (social) interruptions that may be detrimental to your process.  Vacations, weekends, evenings—times when others are relaxing—start to disappear.  Painting takes over and becomes all important—has to be all important.  It’s not a job like any other.  It’s a vocation, and something you can’t always do on command or within a set time frame.  You have to be prepared to go the distance, even when you’d prefer to be doing something else—not have to endure so much isolation.  That said, if you took time out, the ache of not being there to finish your painting may make other experiences less enjoyable.

How much stamina does it take in order to be a serious painter?  A lot!  Even if you sit down and don’t stand, there’s energy exerted—mental as well as physical.  You’re constantly engaged in your process, focusing and concentrating—stepping forward and back, planning and calculating, trying and retrying, doing and undoing.  Sometimes mental gymnastics exhaust. Other times, the sheer physical strain of keeping steady hands, stretching up and down, or twisting, turning and bending provide a work-out you weren’t anticipating.

 

Painters need to be resilient.  Not every piece will work out how you wish it to.  However, there’s no knowing others’ responses.  All you can be sure of, as artist, is that you have to keep on plugging away—no matter how you feel.  The more you practice, the better your work will become, even if you’re the only one who notices.  Putting your best effort into what you’re doing while you’re doing it is what counts.  Short cuts don’t get you to your destination any faster.  Slowly and surely provides more certain foundations and a better route guide.  Even without a teacher or lesson plan, progress is always possible.  We all learn from personal mistakes.  And, since we’re usually our own severest critics, it’s unlikely there won’t be any mistakes (or answers) found.

Artists/painters have qualities that are special to their vocation.  Others may identify with these, and have similar feelings about what they do and how they do it.  I’m curious to compare.  But, right now, I can only speak about my own day-to-day experience preparing the Florence Biennale exhibition collection (and everything associated with it, beyond its actual painting).  The reflections that follow are listed and recorded in the order they emerged:

1.  Endurance
2.  Stamina
3.  Sacrifice
4.  Creative Pressure/Release
5.  Strategic/Conscious Painting
6.  Noticing the Details
7.  Painter’s Fatigue
8.  "JK Rowling Syndrome"
9.  Support/Patronage/Grants
10. Prices
11. Organization
12. Serendipity
13. Puzzle
14. Time
15. Artist Plus
16. (Special)Gift(s)
17. Message(s)
18. Limitations
19. Sharing
20. Preciousness/Value

The next 20 blog postings will each display a different "Buon Appetito!" painting with a reflection following (in the order listed above).  The "Buon Appetito!" paintings will be displayed alphabetically.  Bananas, Beans (Mixed), Blueberries, Cherries (Red), Chocolate Truffles, Dried Fruit and Nuts, Grapes (Green), Grapes (Red), Jelly Beans, Kumquats, Licorice Allsorts, Olives, Onions, Pasta, Peppers, Raspberries and Blackberries, Rice Snacks, Strawberries Sweethearts, Tomatoes.  Each reflection will follow the order shown in the list above and doesn’t have a specific relationship with the image that it follows.

Last night, the newly launched Yonge/St. Clair Good Neighbours’ Fund held its first community celebration/fundraiser at Grano, which from all reports in was a great success.  The event was on behalf of my Florence Biennale exhibit.

Here are some quotes included in the Good Neighbours’ Fund brochure: 

"St. Clair to ArtWalk and the new Wychwood Barns project, to the recent success with Luminato, we have a great deal to be proud of here in Toronto. I am proud to be part of a small effort to make up for the misguided cancellation of the Public Diplomacy Program which used to help fund artists to show their works abroad.   We are truly blessed to have such a talented artist in Susan Makin living and working in our Riding of St. Paul’s.” 
CAROLYN BENNETT
Member of Parliament
St. Paul’s, Toronto

"I have always felt that all arts (and crafts) benefit by rubbing elbows with one another, so I am happy to see food and the visual arts doing just that at The Good Neighbours’ Fund Celebration.  Congratulations on your launch!  Having had significant support from my own community over my life, I am a firm believer in initiatives like this one.  There’s no better place to discover and
support talent than close to home. Very best of luck to you!"
LAURA CALDER
French Food at Home
Food Network, Canada

(Earlier related blog entries include:  Toronto Preview—Florence Biennale Exhibit, Yonge/St. Clair Innovation—The Good Neighbours’ Fund, and Why Canadian Talent Moves Away from Canada.)

Instead of giving a thank-you speech, I read the poem that follows—written especially for the event.  For those who weren’t able to make it to the event, and those who’d like to know more about it, I thought this was the best place to share what I said:

From Boston, to Toronto, to Florence—and Back?

Painting happily in Boston
An invitation arrived

Long live the Good Neighbors’ Fund
For whatever assistance it can provide
Nurture the dreams of other talented Canadians
that they stay in Canada
Not feel forced in other countries to reside.

Last week, I was surprised and thrilled to receive an e-mail from British publishing house, Jessica Kingsely, the publisher of my book, Therapeutic Art Directives and Resources:  Activities and Initiatives for Individuals and Groups.  This book came out in 2000, but appears to still be going strong.  Sigma Press, I was informed, are going to publish a Korean version shortly!

Curious about art therapy in Korea, I did a quick Google search.  In her May 07 bulletin, Paula Howie, President of the American Art Therapy Association, mentions having been keynote speaker for the Korean Academy of Clinical Art Therapy.  There are now thousands of art therapists in South Korea!  I also found a feature article in AsiaNews.it.

It’s easy for an opposition party to make promises.  Being able to carry them through, if they’re reelected, is what will really count.

A July 5, 07 media release was headed, "Liberals Would Restore Funding to Promote Canadian Culture Abroad."  This round-table, headed up by Stéphane Dion (Liberal opposition leader) was a great initiative, and suggests hope for the future. That said, it might have been nice to see a more representative sampling of creative types quoted—including some who weren’t invited to participate and aren’t already famous.

While Canadian Liberals, it appears, are anxious to boost funding for the arts, Canadian Conservatives are preoccupied with their endorsement of Nascar…

CBC television’s week-nightly show, Today on Politics’ last episode before the summer break included much joviality about the Nascar backing.  So, afterwards, I perused Prime Minister, Steven Harper’s, governmental website to see what his most striking personal interests seem to be.  Cat foster care and hockey, apparently.  His wife, Laureen, is described as enjoying riding her new motorcycle in her "spare time"…

Art-making (visual arts, music, dance, or writing) is a risky business.  Much is stolen before it ever gets out there.  Competitive, jealous, and sneaky others have no qualms putting their name to something that’s not theirs, and running to make money or gain from it in other ways. 

Sometimes, the true creator can take action.  Often, not.  Litigation costs money, time, and emotional energy.  Then, there’s the case that needs to be built, and loop holes that wrong-doers successfully identify and take advantage of…

The victory might be the thief’s in terms of securing the actual creation/idea stolen.  But, even if that person is very clever, he or she is unlikely to be able to replicate the true creator’s style, process, or thoughts.  There’s an essence/spirit that will never be anyone else’s, and this, ultimately, will be clear, somehow. 

Maybe thieves’ marketing/redevelopment skills will help procure cash/recognition rewards.  But, even then, they can’t give genuine meaning or authentic sparkle to what is and was never theirs. At the end of the day, they do know that, as do the real creators, and those familiar with them and their work…

p.s. Coincidentally, CARFAC Ontario’s Spring 07 newsletter (Vol 10, no. 1) has two articles that are well worth checking out, "Fair is Fair, (COPY) RIGHT?  Living Without Fear as an Appropriation Artist," and "VISUAL ART PHYSICAL PROPERTY, COPYRIGHT, AND MORAL RIGHTS, A Canadian Overview."

Entering competitions of any type has risk involved.  But, some demand more work than others.  Take, for example, the RBC Canadian Painting Competition, billed as "recognizing the talent of emerging professional visual artists in Canada. "

New artists can emerge at any age. But, most competitions, with such objectives, seem to focus attention on younger applicants.  They also seem to overlook that "courtesy e-rejections" of sorts could be sent to those who’ve put effort into applying (and making the competition stats look good).

After all, the written part of the RBC application does require considerable thought and writing time, if completed properly.  A number of images are required to be professionally painted, photographed, and transmitted, as well as explained—a process that can take about three months, when taken serously.

Not winning, in itself, doesn’t lead to "sour grapes." It’s just nice to feel like you’re worth more than a number!  On application, one is shot back at you, and that’s the last you hear from the organization.  Even if you send follow-up/inquiry e-malls, which are supposed to be permissible, they don’t respond. 

The acknowledgment with number allocation simply says, "Artists who are being seriously considered will be contacted between June 1-15, 2007 for additional inquiries; artists have 48 hours to respond back otherwise they will be removed from the consideration list. Once the 15 semi-finalists are announced on June 29, 2007, all other works are released."  

On July 9, the long silence ended, for anyone who had gone to the trouble of applying and was wondering what was happening (perhaps they were contacted and didn’t know about it…) The announcement didn’t come from RBC, but in an Akimbo special mailing—a coincidental finding for subscribers who might also have been applicants.  

Akimbo relayed that more than 1400 works had been entered by 690 artists. It also included this commentary:  "RBC applauds all of the semi-finalists named today for their artistic talent and achievements," said Gay Mitchell, executive vice-president, RBC. "We are pleased to encourage and support Canada’s emerging artists and hope the exposure they receive as a result of being short-listed as well as having a forum to display their work will provide them with exciting opportunities to advance their careers."

RBC, not having communicated, personally, in any way, with the 675 non-finalists, might have liked to take the announcement opportunity to add, "A big ‘thank you!’ to all other participants—we encourage them to keep on painting!"  But, they didn’t…

Start the work week by saying, doing, and thinking nice things and you’ll feel much better.  Sure, bad things (and people) happen, but if you fester over them unnecessarily you’ll stay stuck in a mode that’s counterproductive.  If you smile, others are more likely to smile back.  If you frown, you will get a different response—possibly making things worse…

re. Surroundings:  Keep them as upbeat as possible and your mood will be similar.

re. Health and Nutrition:  Stay informed and make wise choices—you’re important too!

re. Relationships:  Favor harmony over confrontation and reconciliation over isolation.

re. Activities:  Proceed like everything is going to work out, and your journeys will be easier, whatever their destinations/results.

Don’t put yourself, or others, down and welcome and encourage compliments!  By setting yourself, and others, up for feeling better/successful we’ll all be in more agreable mind-sets to cope with disappointments should they occur.  Bouncing back repeatedly is hard, but that’s what most of us have to do.  Some people just make things look easier…

Understanding Your Sleep Needs

The power of sleep can’t be underestimated.  But, keep in mind, some of us need more of it than others.  Also, some of us function better at different times of the day.  There are "morning people" and "night owls," as well as schedules that aren’t always comfortable .

There’s nothing like being able to live in rhythm with—and respect—your sleep clock if you can.  

Recognizing if You’re a Morning Person or Night Owl

I am most definitely a morning person, and can get more done between 5 and 10 am than any other time of the day.  After 5 pm, it’s a lot more difficult.  The things that I struggle to complete at night, I might as well have not attempted.  When I take a fresh look at them in the morning, I realize I can complete them much more quickly and easily.  Sometimes I’m more able to do physical tasks at night, but not anything that requires thinking power.

Others might have an opposite experience, and I appreciate that.

Getting a Good Night’s Sleep

We all have different ways for getting a good night’s sleep, and some of them can be seen as "finicky" by those who say they can "sleep on a clothes line."

I put these strategies high on my list:

1.  A room that’s as dark and silent as possible

2.  Bedding that’s comfortable and cozy, that covers you properly, and isn’t too light or heavy

3.  A clock that’s visible and shows the time, for any awake moments that have you wondering the hour (without having to get out of bed) then being able to fall right back to sleep

4.  Not having eaten just before going to bed

5.  Being organized for the next day before going to bed

6.  No late-night in-bed phone calls that might send you to sleep while chatting or be upsetting

7.  Turning the television or radio off (or other interruptions), and not falling asleep to them

8.   Sufficient good food, exercise, and emotional support

9.  A sense of hope or gratitude about something—anything

10. Congenial bed company—like poodle pals, Lev and Sage—who know when to snuggle up and/or give space

Others might have different strategies.  Whatever works!

Re. Sleep Aids

While sleeping pills, sedatives, and alchol help many people temporarily, sometimes they can make things harder in the long-run.  Dependencies/addictions can start quite innocently.  Just like with diet pills and food restrictions, it’s important to try to find other ways to overcome difficulties, even if they might seem harder at first.

Others might believe differently.  They have the right to do so, so long as they’re not endangering anyone else.

Any office is only as good as its front line receptionists and administrative assistants.  Because of them, some communications never make it to the person they’re supposed to reach.  In some offices instructions are given that those who are high up don’t want to be bothered by trivia.  But, consider those who decide which clients are worthy of a call-back.  Certain employees might not be gifted at assessing this. 

When you suspect your messages might not be making their way to the person you’re trying to reach, or nothing seems to be happening, solutions might include:

1.  Showing up at the office in person, to see face-to-face what’s happening—if anything.
2.  Finding other ways to make direct contact (like in an out-of-the-office setting, or through a home number).
3.  Informing and getting others involved (like peers, colleagues, friends, or media).

Of course, the solution choosen will depend on the size and nature of the office involved—and why the initial approach was made.  If the office is smaller and private, access will probably be easier.  If the office is larger and public, access will probably be more complicated.  Then there are the offices of public officials where specific protocols/accountability are supposed to matter.

Regardless of the type of office being dealt with, or the role of the individual who’s unreachable, keeping calm and trying to stay focused on the initial request (not newly associated frustrations) is important.  In the beginning, follow instructions in accord with an office’s requirements.  Then, if there’s no response, consider there could be something wrong internally.  Look at possible solutions (like those listed above).  Finally, if the office (and employees working in it) are committing misdemeanors, let this be known to the necessary authorities, legislators, or publicists—like (disciplinary) associations, the police, and the media.  Avoid any/further confrontation with staffers who have already shown themselves to be incapable or powerless.

Do keep in mind that everyone makes mistakes—has bad days and weeks, even months. However, during the waiting period, the one who is dissatisfied isn’t getting paid for the time and energy put into contacting and recontacting.  The one who is at fault in not passing on the message /following through appropriately is.  

No one wants anyone else to lose their job unnecessarily.  But, employers need to decide who enhances their organization’s reputation and who detracts from it.  Since quality staff are hard to find, decisions can’t be made flippantly.  So, are expectations for lower paid, more menial workers (that are often scape-goated) too high?  Some get lazy, even if they love or need their job’s benefits.  Then there’s the one who’s a little too smug, whom you’d least suspect of being the problem, until she’s dismissed—productivity and client satisfaction suddenly improving.

Lastly, let’s talk about bosses for a moment.  Office staff may only be as good as the one who’s in charge of them—and the one in charge of them might be the only one able to do "damage control" properly. Also, consider the example he might set when he’s there (with respect to efficiency, punctuality, organizational and people skills).  Does he practice what he preaches?  Can he be counted on? 

If a boss is frequently absent and/or extremely busy, he has to hope that he has a staff that have his organization’s better interests in mind—that they can make smart decisions when he’s absent.  This may be where some of the biggest (and needless) difficulties (and loss of business) arise.