My Social Media Accounts

I’m feeling lazy today, so I thought I’d include some links to a few of my social media accounts. I’m not as active as I used to be, but I do post semi-regularly.

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Instagram

Probably where I’m most active. All pics are my own unless otherwise noted.

Facebook

I enjoy going through my feed, but rarely post about myself. I share things of interest, and my weekly blog post.

Twitter

Same as above.

Google Plus

Same as above.

Pinterest

I rarely create a new board. I mostly share images from my Instagram account and my weekly blog post.

Linkedin

I used to get involved in group discussions. Now, I just share my weekly blog post.

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Things I’ve Learned

By no means do I have all the answers, or even my fair share of them. That said, here are a few things I’ve figured out since I began taking the production and marketing of my art seriously.

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ON MONEY

You may have to pay to show your work.

You may have to pay someone to sell it.

Even though most artists don’t make much money, there are people who make money off of artists.

ON VALIDATION

Rejection letters come with the territory. Try not to take it personally, because it really isn’t.

It’s okay to never win an award or grant.

It’s okay to sell very little, or nothing at all.

Don’t be jealous of others success. Be happy for them, and focus on your own work.

ON CRITICISM

Be open to it.

People will offer it whether you ask for it or not.

Don’t take offense. Think about it, then decide if you’d like to implement it or not.

You don’t have to do anything you don’t want to do.

ON BEING GENUINE

Your art should be a reflection of you and your personality, not a current trend.

People who know you should be able to see ‘you’ in your work.

Make the work you want to make even if it means you’ll never be represented by a gallery, or able to make a living off of it.

You can’t control how your work will be received, so stay true to yourself, and let the chips fall where they may.

Theft at the Museum

In less than two weeks, I’ll be heading to Boston, and once there, I’ll be sure to stop by the Isabella Stewart Gardner Museum, site of one of the world’s biggest art thefts.

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ABOVE: Johannes Vermeer, The Concert, circa 1664, oil on canvas, 28.5 x 25.5 inches

BELOW: Rembrandt van Rijn, The Storm on the Sea of Galilee, 1633, oil on canvas, 63 x 50.4 inces

Established in 1903, the Isabella Stewart Gardner Museum is a must see for anyone visiting Boston. In addition to works by Michelangelo, Rembrandt and Titian, the museum is perhaps best known for a theft that occurred on March 18, 1990. On that day, thieves made off with an estimated $500 million worth of art.

In total, thirteen pieces were stolen, among them Vermeer’s The Concert, and Rembrandt’s The Storm on the Sea of Galilee (both can be seen in the photos above). It is believed that the stolen artworks were specifically targeted as some of the museums more expensive pieces were left untouched. Who stole the work, and their motive for doing so, remains unknown.

Despite a reward of $10 million, no one has been apprehended, nor any of the artwork returned. In place of the stolen masterpieces, hang thirteen empty frames. Hopefully, some day, they will be filled.

Algonquin Park

Next week, I’ll be heading to the former stomping ground of Tom Thomson and the Group of Seven, Algonquin Provincial Park. This is my second visit. I can’t wait.

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Last year, I visited Algonquin Provincial Park for the first time and was blown away by its beauty. For those unfamiliar with the park, here is a little info on it:

Established in 1893, Algonquin Provincial Park is the oldest provincial park in Canada, and, at almost 3,000 sq miles, it is roughly one and a half times the size of Canada’s smallest province. It has over 2,400 lakes, countless streams, and about 1,000 species of plants. Unfortunately, it also has about 7,000 species of insects, some of which are a huge pain in the ass.

Owing to its beauty, the park has long attracted artists, among them national treasures such as Tom Thomson (who drowned in the park) and Lawren Harris (one of my personal favorites). Creatives have, and always will be drawn to the place. It even has its own art gallery.

For adventurous types, there’s almost no limit to how deep you can travel into the wilderness. For the rest of us, there’s highway 60. It runs through the southern part of the park, and all along it, are a series of trails. They are very well marked, and provide amazing views and photographic opportunities.

I can’t wait to visit again.

Not Your Grandma’s Artist

Last week, I wrote about Grandma Moses. This week, I’m going to write about an artist your grandma probably won’t like. Well, maybe she will. I don’t know your grandma.

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ABOVE: Joel-Peter Witkin, Still Life, Marseile, 1992, black and white photograph

I dig the macabre, watch creepy movies, and enjoy creepy art. Of all the creepy art I’ve seen – and I’ve seen my fair share – none is creepier than that of photographer Joel-Peter Witkin. Seriously. The picture shown here is about the safest I could find. If you want to see more, google him, but be forewarned, he is definitely not safe for work.

As with most disturbing art, Witkin’s work openly confronts death, but it does so while questioning other things such as morality and body image. Academically, within each piece are odes to the histories of photography and art itself. Technically, everything appears aged, and each photo reads like a Baroque painting.

Beyond imagery, I think what draws me to the work of Joel Peter-Witkin is the artistry itself, because, if you can look past its general gruesomeness, the composition and overall mood of his photography is spot on. Other images found on the internet may be more disturbing, but they’re not necessarily art. Joel-Peter Witkin is an artist, and a talented one at that.

Your Grandma’s Artist

You’re never too old to set a new goal or dream. An example of this can be found in the life and work of Grandma Moses. She started her art career at the age of 78.

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ABOVE: Granda Moses, 1969 postage stamp based on her painting ‘The Fourth of July’

Born in Greenwich, New York on September 7, 1860; Grandma Moses (then known as Anna Mary Robertson), was raised alongside nine brothers and sisters, and left home at the age of 12 to work for a wealthy neighboring family. At 27, she met and married, and shortly thereafter, began having children of her own.

Over the years, she and her husband continued to work for the wealthy, until they were finally able to purchase a farm of their own. After losing him to a heart attack in 1927, she continued working until 1936, then retired and moved in with one of her daughters.

While she had been creative all her life, and she often made embroidered pictures for friends and family, it wasn’t until she was 78 that she began painting. Her folksy, rural themed artworks, quickly gained attention, and in 1940, she had her first solo exhibition titled “What a Farm Wife Painted.” It was around this time that the press dubbed her Grandma Moses.

In her time as a professional artist, Grandma Moses was awarded two honorary degrees, and was presented with an award for outstanding accomplishment in art by President Harry S. Truman. In 1951, the National Press Club named her one of the year’s five most newsworthy women.

Grandma Moses passed way in 1961 at the age of 101. Her works can be found in numerous collections around the world, among them, the Metropolitan Museum of Art in New York City, and the Hirshhorn Museum and Sculpture Garden in Washington DC. Her painting ‘Fourth of July’ is part of the White House art collection.