Today we are going to Muse about the business of art. If this is your first visit, welcome to Musings. If you have been here before, welcome back. Over time we are going to talk about many things: the past, the present, perhaps the future, travel, art, society and more. Wherever my musing takes me. I hope you will come along with me.
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In the Studio
Next week, Thursday the 29th, I will have an opening at Jennifer Garrigues, Inc at 308 Peruvian Avenue in Palm Beach. The exhibit will run through Valentines Day.
Shown will be a mix of monotypes, paintings and sculptures. For the last couple of weeks I have hustled around getting ready. I thought I would take you into the studio today and give you an idea of the process . . . in case you decide to become an artist. Hah!
First thing of course was the creation of the works. That is the fun part. Afterwards, however, comes the production and record keeping tasks.
Monotypes are works-on-paper and, as such, are framed under glass and with a mat. Much more involved that framing an oil painting.
Several weeks ago I measured the pieces and placed an order for the frames. They arrived last week all in good condition. It turned out I measured two incorrectly and they could not be used for these works. Bummer! But I can use them later on something else.
The biggest chore was cutting the mats. I use a double mat because I like the look. Here is an example:
But it means twice the work. You may wonder why we need a mat at all. Well, for one, it looks better, but functionally the mat prevents the image from touching the glass. Over time it is possible for moisture to condense on the inside of the glass and the work would be damaged if it was touching. The mat should be acid free otherwise over time it will cause the artwork to deteriorate.
Once the Mat is cut the framing needs to be assembled. Think of it as a series of layers. First is the frame; next is the glass; then the mat; and the artwork; followed by an acid free backing; and a dust cover; and finally wire for hanging. It is a process. After assembly I put protective sleeves on the corners to prevent damage when being moved.
Here you see the work stacked up and ready to go.
Remembering what work I have on hand and where other works are physically is a problem. I have done hundreds of paintings and prints over the years. Some are here in the studio as you can see.
Others are in storage, or at galleries.
I keep an inventory of my unsold work on the computer. However, with the number of works I have created I do not always remember what each title looks like. This is especially true of works done years ago. So I have developed the following process: an image of each work is recorded on a card, cards like you see here.
On the back of the card I list the title of the work, the medium, when it was created, if it has appeared in publications or been reproduced. If it is out on consignment I record the date consigned and with whom.
The cards are kept in my file box alphabetically. There is a section for sold works, another for works on hand and a section for each gallery that has work on consignment. That is how I know where things are.
So that gives you a sense of the functional side of being an ARTEEST. Now I need to schlep the pieces over to Palm Beach to be hung for the show. If you are in the area, I welcome you to stop by: Jennifer Garrigues, Inc, 308 Peruvian Avenue, Palm Beach, Florida, Thursday 29 January 2015 6PM – 8PM for the reception or business hours through February 14.
more to come
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