The Portrait Society of Canada’s annual show includes the work of 42 member-artists.  One piece was chosen from each. I was at the host gallery (John B. Aird) on the weekend, for delivery, and got a preview.  What a wonderfully varied exhibition!  No two paintings are the same in any way:  size, media, scale, theme…  There truly is something for every taste and interest, and some of the pieces are for sale.  For those who love portrait painting, and are curious to meet the artists behind the paintings, this is a great opportunity. For those who are unfamiliar with portrait painting, this is also a great opportunity—to learn more about it, and get involved with fundraising efforts for a contemporary Canadian portrait gallery in Toronto.

Possible schedule conflicts:  Toronto Art Expo and the The Artist’s Project (Toronto) open the same night (March 5). Having participated in both of these shows last year (The Artist’s Project as part of Artropolis in Chicago), I am happy with my decision to not be involved with them this year.

Artists are repeatedly approached to submit applications and pay big bucks to display their work. Once their money is down, there can be multiple organizational disappointments (not of their creation). Unfortunately, usually, those who gain the most (financially, especially) are those who own and/or manage shows and/or run competitions, or offer to represent artists and/or sell their artwork, in person, on location, or on-line.

Artists, please beware!  General public, please be aware!  What really happens behind the scenes matters, and not just at the time, subsequently. Another blog post will be coming shortly, about scams and advantage-taking of artists, particularly those who are just emerging.  In the meantime, please look back to earlier art show blog posts.  These include:  

• Art Shows: Business Priorities Versus Exhibitor Satisfaction (July 23, 2008)
• Change of Date, Change of Fate: Toronto Art Expo 08 Snowed Under (March 16, 2008)

Numerous unreturned e-mails and phone messages later, the organizer of Toronto Art Expo still hasn’t provided me with receipts from last year.

To see examples of my portraiture (recent and past) please check out the Figurative Gallery on the DocSusan site.

 

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)

 

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)!

There are more international art fairs and artists than ever. While visitors may only witness final happenings, what goes on behind the scenes for artist participants can present a totally different picture (no pun intended). In Italy (at the Biennale), logistical idiosyncracies went with the territory.  In Toronto, for an established local event, like Art Expo, perhaps my expectations were too high.  When event dates were moved up, just before Christmas (with tardy website adjustments, and a clash with a competing art show), other surprises weren’t yet in the air. (Please see an earlier blog entry, "Change of Date, Change of Fate:  Toronto Art Expo 08 Snowed Under," March 16, 08)

Reminders were included in Art Expo e-communications assuring that "no other" show goes to Art Expo’s lengths to make things easy for those exhibiting.  However, return e-mails, phone calls, and receipts, were difficult to obtain. Also, pre-show move-in wasn’t happy. Arriving for a mandatory end-of-the-day slot, it was disappointing to discover that recommended (rented) booth equipment wasn’t in place, making eventual set-up uncertain and tense. (I am very grateful to those who took non-job related initiatives, well into the night, to help postion my display prior to the next morning.)

Art Expo artists incur heavy costs for the privilege of participation, no matter show actualities. Here’s my own tally:
Sums Paid to Rime Canada:  $1957
• Amount for the smallest booth (5 x 15 feet):  $1695
• Amount for participating in the Toronto Life Advertisement option:  $265
Sums Paid to "Recommended Decorators":  $859.34
Booth’s basic fixtures (not included in booth registration fee, and outsourced):
• Showtech:  rental of 2 high ceiling mounted floodlights (secured at a greater distance from the booth than anticipated):  $540.14
• Stronco Show Services:  rental of a 5 by 15 foot strip of (poorly cut) grey carpet, no underlay:  $166.95
• Canfence:  rental of a custom-made (yet rusty and broken) fencing enclosure on which to hang the artwork:  $152.25
Sums Paid to the Toronto Convention Center:  $55
• Parking Pass:  $55
(Internet connection not taken because it was $895 +5% gst for wired access, and $395 for wireless access)

Different art shows, I now realize, can be lighter on the wallet, and suggest less possibilities for set-up stress/additional costs. Take, for instance, the Artist Project (Toronto), which happened the same weekend as Art Expo.  Here are their booth rates: 5 X 10 $600 + $300 = $900; 5 X 15 $900 + $400 = $1250; 5 X 20 $1200 + $400 = $1600; 10 X 10 $800 + $400 = $1200; 10 X 15 $1200 + $600 = $1800; 10 X 20 $1600 + $800 = $2400. A note from the Artist Project’s user-friendly Website clarifies inclusions: "We have negotiated a great price for the gallery style hard-wall system. The cost for this rental is included in the price of your booth. This system will facilitate a smooth and easy move-in; all you need to do is hang your artwork  and provide your electrical and lighting. As well, these walls will ensure a high-end, professional looking show…"

Right now, I’m looking forward to exhibiting at The Artist Project, Chicago, April 24 - 29, 08.  So far, the greatest administrivia difficulties and financial expenses connected with this show pertain to cross-border protocols and logistics.  Shipping to an out-of-the-country event, and determining far-from-home transportation, accomodation, and on-site necessities presents fresh challenges and adventures…

If this blog becomes a little less active over the next few weeks, please understand.  Now, back up to the painting studio!

Just as in Florence, at the Biennale, in Toronto, at Art Expo, children and caninekind seemed to gravitate to my artwork. (Please see this blog’s earlier entry:  Florence Biennale: Observations and Feedback, February 4, 2008)

Children, as well as adults, get excited about my candy paintings in particular!

How did this dog sneak into the Convention Centre for a show, and not get asked to leave? Perhaps when attendance wasn’t high, rules were overlooked…

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…