Jean Haines

Lifted
Original oil painting  28x22"

by Susan Roux

I'm sure you remember the post I did a short while ago on modern-day pirates where Hugo Diaz Mapi was selling images copied from other artists. This post was carried by several other artists (thank you) in hopes of getting the word out. Copied art is a real problem and unfortunately it strikes many artists. Usually the pirating has been going on long before the artist becomes aware of it.

Artists are kind people as a whole. We move from our soul and we pour ourselves out for all to see. It's a complete exposure and when you come to actually know the artist, you can clearly see them in their work. We're often so involved in our own creative process that imagining other artists aren't moved the same way, seems unfathomable. Why would a creative person be satisfied copying another's work when so many of our own ideas want to explode out of us? Because of this we're probably far more trusting than we ought to be.

 I recently came upon a post by Jean Haines where she's being affected by a copying issue. Her post is very well written and I recommend you take a few minutes to go read it. It's about an encounter with a personal collector. Imagine her surprise meeting him at an opening and the conversation turned to copying! He was very concerned about original art he had purchased from her at a lofty price, that was now being mimicked by another. How original was his painting now?

I'm certain it was an interesting conversation, though not one you're expecting at your art opening.

As the UK artist points out, the problem with copying hurts more than just the artist being copied. Though there may exist an ounce of flattery involved, the effects carry on to representing galleries and buyers. Does this raise the value of your art or is it cheapening it? A good question that I'm not equipped to answer.

What do we do about it?

I've stopped posting high resolution photos of my art. It's too bad to have to resort to these changes, when there are so many artists out there interested in seeing work up close. Sometimes I add detailed clips to offset this, but I know for myself that when I find art I really like, I enjoy scrutinizing every inch of it. For that I apologize. Haines is taking it a few steps further. Her art has been evolving in a new direction and she'll be eliminating images of it altogether. It's really a shame to have to resort to such severe measures.

We spend so much of our art life getting as much exposure as possible. Art inspires people. It can have a very powerful effect on viewers, even to the point of changing someone's life. It's impossible to know how yours has affected others. So how terrible is it that an artist is moved to stop exposing any current work? It really saddens me. I hope I never get to the point where I want to hide my art from the masses. I'm not blaming Jean. As her career escalates, she feels it necessary to protect herself and her buyers.

I don't know what the solution is. Perhaps there really isn't one. Copying an artist's work to understand art with intensions of improvement is one thing. Copying art with intensions of sales is a whole different ball game...

How are you dealing with this problem? How are you protecting yourself from the few unethical ones?

Catching the rain

Hello Little bird

Original oil painting 20x16"

by Susan Roux

sold

Did you receive an email from Eric Rhoads about catching the rain? He's the publisher of Fine Art Connoisseur and a few other artists publications. In it he talks about having alternative strategies in our difficult economy. Thinking outside the box, even looking outside the box, when seeking ways to market our art. We are all creative. I know a lot of you are marketing yourselves effectively over the internet. It does offer a wide range of avenues. I personally don't take advantage of them. I could learn a lot from many of you in this realm.

Frolicking

sold

I have been represented by galleries for the past decade. I sometimes have trouble with other marketing venues due to the prices my art requires, to stay abreast with my galleries. As you may already know, undercutting your gallery price is detrimental to your gallery relationship, your representation. I've struggled with this. It seems to limit my possibilities because I no longer have the freedom to fluctuate my prices to accommodate varying venues.

Hat Dance

sold

But I have to agree with Eric. As you may know, I hung my art at Nosh, a restaurant, for the month of March. I received less than a 24 hour notice before the show had to be hung. It would have been very easy to decline. But something made me hustle and get a nice selection of art on their walls. My prices remain high and sales were far from my hopes. At best I'd wished for a local gallery to stop in for lunch, see my latest girls and want to represent me.

Quite the contrary happened.

In one month's time, I sold seven paintings! I can't believe it. At a restaurant! I'm sharing this information with you so you won't close the door on opportunities you might think are pointless. We are all at different stages in our art journeys and what works for one person may not be the answer for the next. But keep your eyes and options open. Like Eric points out in his article, you need to reach out in different areas to find customers. Just imagine if I hadn't rushed to put an exhibit together in record time? I'd have missed all these sales...

Thank you my new collectors. You made my month!

sold

Spring

Saint Patrick's Mountain, Ireland

Original oil painting 16x20"

by Susan Roux

What are you up to lately?

I feel the effects of spring. New things are emerging all around. Have you noticed? The art world is winding up for the approaching season. Announcements for artist's opportunities flood in. Calls for artists, exhibition announcements, openings, workshops, art talks and art walks to name but a few. Here in the North Country the art world is coming out of hibernation.

It may be the only thing sprouting these days as we are still under knee-deep snow... (Hum, that sounded like a frog croaking, but they can't be heard yet either.)

To the artist, spring isn't measured by the snow on the front lawn. A real shift in activity happens this time of year. Following the holidays, life in Maine is a real treasure for the artist. Ahh, the heart of winter. It's a time to delve deep into your own creativity. The winter cold keeps us shut in. The wood stoves crank and the smell and warmth of the burning logs only help relax us to tap into our creative juices. It's a welcomed time. Time to immerse ourselves into experimentation. Time to slosh paint around. Time to play and create. Winter is long and it seems that time passes slowly and that this playground of creativity will last forever.

But it doesn't.

The spring announcements can't be ignored. Artist's hibernation is over and it's time to hop, hop, hop to. Galleries will want art soon. Paintings need to be framed. First frames need to be ordered. Wondering. Worrying sets in. Did I paint enough this winter to supply everyone? Do I have enough worthy pieces? How did it get to be the middle of March without my taking closer inventory of my winter's work?

This never used to happen. I was so tuned into painting for my galleries, that I knew exactly what I had prepared for them. But as the years passed, I found my art was better when I wasn't consciously painting for my galleries. I needed to be painting for me. And so it has been lately. No regard to my galleries as I create. I figured if I paint constantly, there will be ample inventory for everyone. But is there? Is there? Is there?

It's my fear.

Well before it's time for spring clean-up in the flower beds, it will be time for spring clean-up in the studio. I've taken on a new gallery this year and perhaps it's the reason for my anxiety. One more little baby to feed... How I hate to pull myself away from the easel to go count and sort canvases, take inventory on frames and what needs to be ordered. It feels like a transition from the carefree feeling of childhood to the responsibility of adulthood. Like Holden Caulfield I'm not ready to take the leap. I just want to keep playing.

Painting for myself has been far more relaxing than painting for my galleries. I just want to ignore the signs of spring, beckoning me to switch gears and hustle, and crawl back into my hole (behind my easel) and remain in hibernation bliss...

Happy Saint Paddy's Day everyone!

Posted: Saint Patrick's Mountain, Ireland was painted a year ago following an amazing 2-week trip to Ireland. It was actually autumn, but seemed fitting for the day...