Tag Archives: Moose

The Beauty of Studio Galleries

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My good friend, Jordan Miller, just aired her woes regarding running a studio gallery. I want to reply with my two cents.

First off, for the holidays, I doubt if many people buy art, especially in a city like Winnipeg in this economy. People do love looking at art… they love looking, but not just Winnipeg in particular, but the whole world in general. For someone to actually buy art, they often have to be invested in the piece or the artist already. That or they just have money to throw around at that moment. So yeah, either you have a fan or you’re lucky enough to come across someone truly compelled to buy your work.

And really this holiday, galleries and all other shops are competing against Amazon and Walmart when it comes to shopping for presents. When it comes to compelling imagery, they’re competing against the whole Internet and the world’s ADHD culture. It’s an uphill battle, and it’s a small miracle and badge on the artist every time someone buys art.

This is where I think a studio gallery has to utilize the artists it has. I think many new artists are under the assumption that once they’re in a gallery, it’s the gallery owner or curator’s responsibility to shepherd new audiences to them. To some extent, this is true. Being in a gallery brings about art enthusiasts as well as other gallery owners. But in a generally static market like Winnipeg, artists cannot expect their audience to grow if they keep on showing their stuff at the same studio gallery. To grow an audience, each artist in a collective should be introducing their friends to other artists in the collective, and thus, growing their community and their audiences. So let’s say there’s an open house, each artist in a studio gallery should at least try to invite friends to come over and see their works as well as the other artists’. “Studio artists tell me they want new people in, not just the people they know.” True. So each artist should bring the people they know and maybe they’ll buy their neighbor’s work and vice versa.

Another way to solve the “new people in, not just the people they know” dilemma is for gallery owners and artists to be sharing information regarding calls for submissions. I was once a part of an art collective in South Korea, and one thing I liked about the community is that people were sharing information and leads regarding opportunities. The organizer would encourage members to take part in shows. This encourages artists to be more productive and be part of the community. It also gives them more experience and hopefully leads them to a much better portfolio. Artists don’t have to be limited to their local community. It’s what the Internet is for. And with several eyeballs scouring the Internet for opportunities and sharing them, that should make the world of artists in a studio gallery a little bit bigger.

My friend mentioned that some artists make deals with buyers and sell work to them privately instead of going through the gallery and losing a commission. Now, there really is no way to work around this unless galleries start forcing artists to sign exclusivity contracts. But really, I think this comes down to the artists themselves. Personally, I feel grateful if a gallery hung my work and happened to find a buyer for me. That’s one person who may have never run into my work and I owe it to the gallery for making the connection. I believe artists should do the right thing and make sales through galleries rather than wait for their work to come down. Buyers wouldn’t normally care if the artist loses on commission or not. And artists, despite finances and all, should really be willing to support galleries who gave them a chance in the first place.

Now, with the two things considered: artists wondering why my gallery owner friend is not shepherding in new audiences for them and artists making private sales, I would assume this comes to either selfishness (and laziness) in the artists’ part or a fundamental opportunity missed by everyone. Perhaps the economy is bad that artists cannot afford to be generous to galleries in return, or perhaps the artists don’t realize how a small studio gallery in a city like Winnipeg could work for them.

So there you have it. If you’re an artist in a studio gallery, take advantage of your community and share resources and opportunities. Be more proactive, if not in your local arts community, then at least over the Internet. Maybe I’m biased because Jordan, the gallery owner, is my best friend, but don’t leave everything to the gallery owner or curator. There’s only so much they can do to help you.

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On Fear and Admitting It

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I know where President Obama was coming from when he made the speech to commemorate the Sept. 11 attack. It was a good tribute to the victims of the attack as well as their loved ones. He used the moment to try to unite people into a common purpose, much like after the attack, when Americans were united, so much so that George Bush had a great approval rating.

What got me however when he said, “…as Americans we do not give in to fear. We will preserve our freedoms and our way of life that make us a beacon to the world.” This is simply not true.

While there was courage displayed after the attack, especially with the first responders, there have been so many actions which can only be described as being inspired by cowardice. Iraq was invaded due to fears of phantom weapons. Americans have surrendered their rights to privacy due to fear of terrorism. Airports have been a security nightmare. People have been tortured and locked up indefinitely because of fear. The Middle East has been destabilized exactly because of fear. It caused a ripple of nationalism and xenophobia which crossed over to Europe. And right now, a megalomaniac is close to becoming the president of the United States, running on fear against Muslims and immigrants.

You cannot say Americans do not give in to fear. Americans buy guns in exceedingly high numbers exactly because of fear. They fear terrorists. They fear gay people. They fear minorities. They fear their neighbors. They fear their government. Police officers shoot black people immediately because of fear. Fear is big. And as tragic as it is that 3,000 beautiful lives were lost on 9/11, because Americans were afraid, thousands more died in the Middle East afterwards.

What happened in 9/11 was a great tragedy. Out of that tragedy are stories of courage and strength of spirit. Unfortunately, there are far too many other stories of cowardice and cynicism. This cowardice and cynicism has a persisting and pernicious effect that adapts and evolves. It touches the lives of a greater number of people than the glimmer of bravery that shone in the face of 9/11. There were several great virtues shown after the attack, there were moments of true bravery, but you cannot honestly say that Americans do not give in the fear.

Americans gave in to fear, and the whole world felt it.

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