tag:blogger.com,1999:blog-30832682.post2554260662352616453..comments2024-03-03T15:01:00.402-05:00Comments on Joanne Mattera Art Blog: Marketing Mondays: Here Today, But What About Tomorrow? Who's Thinking Archivally?Unknownnoreply@blogger.comBlogger26125tag:blogger.com,1999:blog-30832682.post-4307707347642021572009-09-05T01:56:48.024-04:002009-09-05T01:56:48.024-04:00You article is too much intersting and very much u...You article is too much intersting and very much usefull for your students. I like your information which you provide me or your students. For the more information visit www(dot)freedomdisplaycases(dot)com.Flag Caseshttp://www.freedomdisplaycases.com/flagcases.htmlnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-86792601660190975722009-08-28T17:13:34.066-04:002009-08-28T17:13:34.066-04:00Jane,
I hope your students will comment on the blo...Jane,<br />I hope your students will comment on the blog. Better still, I hope they will make a blog of their own. I notice that Blogger has added some new features, and it's possible for a group to create and maintain a blog together.Joanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-17041818481483044982009-08-28T13:37:55.412-04:002009-08-28T13:37:55.412-04:00Joanne
If you've noticed your numbers increasi...Joanne<br />If you've noticed your numbers increasing on the blog , I have assigned two of my classes to follow along this semester. This topic on archival materials was a perfect start. I have two 3D foundations classes and the first project is using "temporal" materials. SO, with your topic and thread, we had a good discussion. Especially after I had shown the Eva Hesse "Anonymoushttps://www.blogger.com/profile/06108770813588197855noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-17148619324134801752009-08-26T17:44:32.038-04:002009-08-26T17:44:32.038-04:00Regarding Eva Hesse's attitude towards her use...Regarding Eva Hesse's attitude towards her use of fragile materials, I've always taken it as a statement of her own near mortality at the time she made them. In itself that may be a sign of how youth deals with their impending departure, but its always added a poignance to her work for me. Its vulnerability makes it more precious. <br /><br />Maybe not a strategy I'd recommend, butj. d. hastingshttp://www.darteboard.comnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-16258555191734700112009-08-26T00:02:37.600-04:002009-08-26T00:02:37.600-04:00I'm with S.A. and Larry on this as there is co...I'm with S.A. and Larry on this as there is common ground. Student work which is identified as such commands a minimal price and expectations are lower about permanence. Professional work should be identified at every step of its capitalist changing of hands. Truth in advertising is critical. A buyer should really ask a gallerist how permanent the work is and get a serious, informed Hylla Evanshttp://www.evansencaustics.comnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-67342792285939248122009-08-25T12:40:01.518-04:002009-08-25T12:40:01.518-04:00S.A.: as students, it is much more important that ...S.A.: <i>as students, it is much more important that they get the idea out there, than that they worry about how long the piece will last. I would much rather a student make twenty paintings that might disintegrate next year than spend half the term preparing surfaces and only execute a few ideas.</i><br /><br />That may be fine for student work. But once one becomes a professional, the stakes Larrynoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-88508185285589554362009-08-25T12:07:30.892-04:002009-08-25T12:07:30.892-04:00Great post Joanne -- and very interesting discussi...Great post Joanne -- and very interesting discussion. I want to come to Claire's defense a bit -- as a painter and an educator -- this issue is not so cut & dried as the comments here would suggest. Yes, of course artists have to be masters of their materials, and have to have a sense of longevity as they construct pieces. But each material has its own specificity, its own meaning. If we S.A.https://www.blogger.com/profile/10133408897629306555noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-24517837864255882322009-08-25T10:18:23.799-04:002009-08-25T10:18:23.799-04:00Claire says: "The markets are flooded with vi...Claire says: "The markets are flooded with visual culture, so, naturally the price of a painting/piece of art decreases in monetary value."<br /><br />You are selling yourself and your work short. You are selling your colleagues short. Not to be overly harsh, but I hope you'll see things differently after you've gotten an education.Joanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-35073511716036010092009-08-25T09:41:46.329-04:002009-08-25T09:41:46.329-04:00I cannot agree with most of Claire's remarks, ...I cannot agree with most of Claire's remarks, and would be surprised if her instructors at OCAD would support what strikes me as a cavalier attitude towards her materials and potential purchasers. As a collector, I purchase a work that is in a certain condition. I note in my records any deviation from what was presumably mint condition (such as cracking of paint, slight creases in a piece of Larrynoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-51480146091453658692009-08-25T08:50:17.529-04:002009-08-25T08:50:17.529-04:00Wow! Like Jen said, thank you for bringing up a gr...Wow! Like Jen said, thank you for bringing up a great topic, Joanne. I'm going to be starting university at the Ontario College of Art and Design on the 8th and this post really made me consider the importance of materials, conservation...it made me think about a lot of things. <br /><br />What I have to ask though is what is the buyer paying for when they purchase a piece of work? Sure, I Claire Scherzingerhttps://www.blogger.com/profile/17307403439580094303noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-10307910306705087442009-08-25T01:54:33.698-04:002009-08-25T01:54:33.698-04:00Great post and comments!
I paint and I teach. I a...Great post and comments!<br /><br />I paint and I teach. I am very strict with my students about using archival materials and practices in making paintings. I tell them horror stories about a friend in grad school whose recently sold painting developed a giant "bubble" or my own undergrad oil works on cardboard that became an oil-stained blob. Or how turpentine will eat through a thick mel presthttps://www.blogger.com/profile/01635893174282368533noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-25850954202042029372009-08-25T00:11:59.608-04:002009-08-25T00:11:59.608-04:00Are you working archivally?
Great question - I su...Are you working archivally?<br /><br />Great question - I sure hope so. Whenever this topic comes up the first person I think of is Emily Carr and remember reading a book about her work years ago that noted a period of time when due to financial circumstances, perhaps during the depression, that she painted with house paint and gasoline. She painted because she had to because that's what Anonymoushttps://www.blogger.com/profile/18245632169600022966noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-76371510139133494502009-08-24T20:41:25.273-04:002009-08-24T20:41:25.273-04:00Hylla, you raise some interesting issues. Personal...Hylla, you raise some interesting issues. Personally, the last thing I'd want is to have to subject my work to quality control. Not that it isn't archivally sound, but because I don't want someone telling me how to make a painting.<br /><br />You are right that collectors shouldn't fall victim to bad work. But, as my own anecdote above suggests, collectors must also be responsibleJoanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-42348572714893618162009-08-24T19:57:22.509-04:002009-08-24T19:57:22.509-04:00We all seem to be on the same page, which means th...We all seem to be on the same page, which means the people who comment are not representative of the majority out there. <br />What is the dealer's responsibility when bringing work into a gallery (not just at selling)? Is there a dealer who won't carry an artist's work if it isn't created with sound practices? Collectors should not be made victims by whatever happens prior to Hylla Evanshttp://www.evansencaustics.comnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-62561786204081902322009-08-24T14:54:48.157-04:002009-08-24T14:54:48.157-04:00thank you for bringing up a great topic! i'm a...thank you for bringing up a great topic! i'm a younger, emerging artist who references my mayer handbook (4th edition!) at least a few times each week. i didn't attend art school, but did apprentice with a museum-collected artist who taught me how to create archivally-sound works (stretching my own canvas, applying gesso correctly, fat over lean, etc etc.). i feel very lucky that i got jen dhttp://www.jidowney.comnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-59664881593635339672009-08-24T14:42:36.911-04:002009-08-24T14:42:36.911-04:00Excellent comments- I especially appreciate Joanne...Excellent comments- I especially appreciate Joanne's note that Johns' work is fortunate he became famous when he was young so the wealthy owners will have them restored. So many other artists, including perhaps the most worthy of our time may not be so lucky.<br /><br />I have made great efforts over the years to make my paintings permanent. Even so accidents happen, and we may all be in Philip Kochhttps://www.blogger.com/profile/05191070779177407750noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-78556168463057620072009-08-24T12:51:04.864-04:002009-08-24T12:51:04.864-04:00I was thinking as I read the comments just what Ev...I was thinking as I read the comments just what Eva has said. The old I get the more careful I am about how the work is made. In the early days I wanted to get the idea down by any means necessary. The finished work and how it appeared at the moment was my only concern, not because I didn't want to be concerned about its longevity but it just didn't occur to me. In art classes in KRCampbellArthttps://www.blogger.com/profile/15185783768927918993noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-15550489276400491382009-08-24T11:55:08.580-04:002009-08-24T11:55:08.580-04:00The older you get, the more careful you learn to b...The older you get, the more careful you learn to be about your work. But I did learn all about the technical aspects at the Art Students League, how to build a painting and they have held up well. I varnish too (Gamvar by Gamblin, my favorite by far) and so if there is a scratch, it's on the varnish, not the painting. The works on paper (photomontage, collage), especially from the 70s and 80sEvahttps://www.blogger.com/profile/04526963554623770078noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-5179964441255657522009-08-24T11:46:42.659-04:002009-08-24T11:46:42.659-04:00Larry says: "I think the collector who has pu...Larry says: "I think the collector who has purchased a work has in fact the greatest obligation, because once bought, the work is likely to spend most of its life in the purchaser's care."<br /><br />Such an enlightened attitude 0:-)<br />(That's a halo over the eyes, by the way . . .)<br /><br />And Hylla, Rico and Jami: So responsible. I love that! I wonder if age has anythingJoanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-29188924978818577902009-08-24T10:50:45.964-04:002009-08-24T10:50:45.964-04:00Joanne: When I saw the Herb and Dorothy film (http...Joanne: <i>When I saw the Herb and Dorothy film (http://joannemattera.blogspot.com/2009/06/collecting-life.html) I cringed when I saw where they had placed work--in the kitchen, for instance, and how they had stored it: packed tight. The Vogels' collection is now in the Smithsonian where it being stored archivally and cared for by a team of conservators as necessary.</i><br /><br />Joanne, I Larrynoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-9794957166756903852009-08-24T10:28:29.305-04:002009-08-24T10:28:29.305-04:00Great Post!
While on a plane to NY last may I pick...Great Post!<br />While on a plane to NY last may I picked up a copy of “The New Yorker” (may 11, 2009), and read an eye opening article by Rebecca Mead titled “The Art Doctor”. This fascinating profile of Christian Scheidermann and his team of art “doctors” made me realize just how important it is to think about the integrity and conservation of my art making materials.<br /><br /> In the past jamihttps://www.blogger.com/profile/15254724990210379852noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-48768375393065988772009-08-24T10:06:09.553-04:002009-08-24T10:06:09.553-04:00Anonymous,
Sorry, leaving the collector out of my...Anonymous,<br /><br />Sorry, leaving the collector out of my question was an oversight. I've rectified that in the post. As Heidi might say, "You're in."<br /><br />It sounds as if you are caring for the work in your collection. That's what a conscientious artist hopes for: a caring collector.<br /><br />When I saw the Herb and Dorothy film (http://joannemattera.blogspot.comJoanne Matterahttps://www.blogger.com/profile/02564594823192456546noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-18574463937497573042009-08-24T08:15:05.488-04:002009-08-24T08:15:05.488-04:00I've spent more time reading the Mayer handboo...I've spent more time reading the Mayer handbook than is probably healthy. I employ classic sizing and grounding techniques to all my paintings and a single canvas can take a month to prepare. I make everything to last 200 years, and if it indeed lasts that long then there will be people paid to preserve it. <br /><br />Often, people are surprised by this because my work is so loose and Ricohttps://www.blogger.com/profile/01841982361467041087noreply@blogger.comtag:blogger.com,1999:blog-30832682.post-27752929098389073822009-08-24T08:06:32.558-04:002009-08-24T08:06:32.558-04:00Joanne: "Who is responsible when a work of yo...Joanne: <i>"Who is responsible when a work of yours that is sold has fallen apart? Is it you? Or is it, as Beall asks, the responsibility of the gallery or the product manufacturer?"</i><br /><br />Interesting that Joanne does not mention the collector. But as I mentioned when this topic came up on EW's blog, the average home may not have optimal storage conditions. I try to keep myAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-30832682.post-30517596853731447932009-08-24T02:13:12.379-04:002009-08-24T02:13:12.379-04:00We do our best professionally on all levels as a m...We do our best professionally on all levels as a matter of integrity. That's what I was taught and try to impart to students and customers. <br />Anything less is performance art: consciously prepared to be that (and gallerists/customers notified) or accidentally, which leaves others assuming that we were shoddy in work habits. As a collector, I don't knowingly buy art work that is Hylla Evanshttp://www.evansencaustics.comnoreply@blogger.com