Abstract Art

Do Art Auctions Help Artists As Well As The Charities Who Hold Them?

Recently I donated one of my abstract paintings to a local NPR station's art auction.  Several of my artist friends did as well, and we had a discussion about the benefits, or lack thereof, to artists in donating their work to charity auctions. 

The only possible benefit to an artist would be publicity for their art.  That means, if charities want to encourage artists to donate, they should offer the maximum possible promotion of the art and the artists who donate. 

I am amazed at how many requests I get to donate art, from charities throughout the country.  But why pick on artists, as if we have work lying around our studios that we are thrilled to dispose of in this way?  Unless the promotional benefits have a real value, what is the incentive?  We can write a check to our favorite charities like anyone else does.

If real promotional opportunities were provided to artists who donate, we might send our best pieces instead of the work that is lying around unsold for years. 

Artists would also like to know that their work wasn't given away cheap.  They would like to know what it sold for and to whom.  Is this too much to ask?

Art & Ego: A Conflict?

In making my abstract paintings, I want to be as present, as in the moment, without ego/mind control, as possible.  I have been reading Eckhart Tolle's The Power of Now: A Guide to Spiritual Enlightenment.  To quote him:  "When you act out of present-moment awareness, whatever you do becomes imbued with a sense of quality, care, and love--even the most simple action."

In order to survive as an artist, however, I need to sell my art.  In order to do that, I find myself always on the look-out for promotional ideas.  I have a website with a shopping cart, I show in galleries, I write this blog, and recently I started a fan page on FACEBOOK. 

Promoting my art feels like ego-activity, in direct conflict with surrender to the present moment.  I am not sure what to do about this, or if it is possible to promote my art with the same "mindfulness" or "presence" I strive to bring to the creation of it.  Perhaps it is. 

New Direction in Abstract Art Series, Part 9

The final canvas I'm working on in this new abstract art series started out very loose, but is getting a bit tighter as it proceeds:

  Canvas #63, 30" x 30"

Here it is in its previous incarnation:

  Canvas 63, 30" x 30"

It is always painful to destroy a nice, loose image that I am fond of, but not quite satisfied with.  I travel the yin-yang of being fast and loose, then controlling and careful. 

 

New Direction in Abstract Art Series, Part 8

I'm working on the last two canvases in this "abstract expressionism" series of six paintings.  In the second session of Canvas #62, I used a lot of unbleached titanium, white, and cadmium orange.  Then I accented sections with burnt umber lines, and blended them for an understated effect:

  Canvas #62, second session

New Direction in Abstract Art Series, Part 7

I went back to work on Canvas #61 in this abstract art series, drawing lines with a Prussian Blue:

  Canvas #61, painting session 3

I'm calling this series "abstract expressionism"  because I am trying to paint in as spontaneous a manner as possible. 

New Direction in Abstract Art Series, Part 6

Winter is back!  It is 21 degrees here in Ithaca, with an expected high of 31.  But I am optimistic, because spring can't be far off now.  And the sun is shining!

I let Canvas #61 sit for awhile, and began the backgrounds of two new canvases in this abstract art series:

  Canvas #62, session 1

  Canvas #63, session 1 

New Direction in Abstract Art Series, Part 5

This abstract art series I'm working on now seems to be brighter and lighter than anything I've painted in a while.  I'm not exactly sure why that is.  Even though the calendar says "spring," it is 33 degrees in Ithaca, New York, with precipitation that is a cross between rain and snow. 

I've been fortunate to be able to go for walks almost every day, even with a lot of the trails closed here because of winter conditions.  My daughter Blixy and her two children went with me yesterday for a hike at upper Buttermilk Falls State Park.  The trails were muddy, but otherwise fine, though icicles still clung to the sides of the gorge. 

Here's my latest canvas:

  Canvas #61, session two

New Direction in Abstract Art Series, Part 4

One thing I notice about this new series of abstract paintings is that I am using a lot of white and parchment, which keeps the image fresh, bright, and airy.  Here is my second session with Canvas #60, which contains a lot of earth tones as well as the white and parchment:

  Canvas #60, 30" x 30"

New Direction in Abstract Art Series, Part 3

I continue to paint ready-made 30" x 30" canvases in as free a manner as I am able to.  I have reverted, however, to making "backgrounds" by using up almost empty paint tubes.  Here are two new background canvases in my new abstract art series:

 

  Canvas #60, 30" x 30"

  Canvas #61, 30" x 30"

Abstract Art Portfolio Video

Yesterday I spent the whole afternoon struggling with Apple's iMovie to make a video portfolio of my abstract art.  As a pc user most of my life, I just don't take to the "intuitive" functions of Apple software.  But by watching the instructional video over and over, I finally was able to group a number of images into the video, make a title and ending credits, and even put in a music soundtrack.

The music is "Up Close," part of the "Up Close and Personal" double cd by Vicki Genfan.  She is a fabulous guitarist, and I often listen to her music when I paint.

You can watch the video on YouTube.