Category: marketing
Adapting through Curiosity and Connection with Debra Disman
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“It isn’t just being able to create. It is being able to cope with that world to engage with that world to embrace that world.”
“I thought it was a reinvention, but I’m finding now that it was simply opening up into a new phase and bringing everything with me into that because it’s a very high-powered environment.”
“All people want the same thing. All people are concerned about being treated well, being treated with respect, being seen, and not being taken advantage of in any way.”
“Everyone could just get so busy these days. They forget to compliment people. They forget to say nice things to people. And that goes a long way.”
“You cannot underestimate the power of showing up for something on a daily basis in the studio, reaching out and, and just doing it step by step … break it down into manageable chunks.”
“You need to have that enthusiasm for yourself, whether it’s quiet and meditative and in the flow of things in the studio or whether it’s interacting with other people. You have to have that joy because otherwise, why, why are we doing this?”
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ART TREKS: GEORGIA O’KEEFFE: “MY NEW YORKS”
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The details:
Where: The Art Institute of Chicago
What: Georgia O’Keeffe: “My New Yorks”
When: Jun 2-Sep 22
Heading to Chicago? You’re sure to find something revelatory every time you visit the Art Institute—and this time is no different. Even if you think you’re familiar with Georgia O’Keeffe’s work, her “My New Yorks” exhibit offers a new understanding of her range.
A little context:
In 1924, O’Keeffe was living in the Shelton Hotel, then the world’s tallest residential skyscraper. She embarked on a mission to memorialize this time in her life with a series of cityscapes, ranging from street-level compositions of New York’s skyscrapers to the views she captured looking down from her 30th-floor apartment.
The exhibit:
Think of your favorite O’Keeffe work and it’s probably here—right next to something of hers you’ve never seen before. This one-of-a-kind exhibit marks the first time these works have been curated together, highlighting Georgia’s clear-cut artistic vision and the special way she reflected the world around her, no matter what environment she was in.
One of the most compelling things about Georgia’s work is the approachability of it. The simplicity of her vision transcends generations and genres, and it has never been displayed better than in this show.
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Featured Artist Denise Blanchard | Artsy Shark
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Artist Denise Blanchard explores the boundaries of creative expression while using found and forgotten materials. See more by visiting her website.
“Flower Tea Cup” rice paper and pressed flower, 23 x 23 x 15 cm
In the allure of abandoned objects, I discover a profound fascination. I’m captivated by the unique shapes, intricate textures, and compelling designs that whisper tales of their past lives.
“Sacred Mantle” Empty used tea bags and nylon net, 6 x 2.40 cm
Through a transformative alchemy, I breathe new life into these overlooked fragments, fashioning them into unconventional works that carry both the weight of history and the promise of reinvention.
“Round Tea” empty used tea bags, 1.20 x 1.20 cm
I’m a collector of materials with stories to tell. I embark on a narrative journey with each creation, intertwining my personal experiences with the rich histories embedded in the materials themselves. These forgotten relics become the raw palette from which I weave a tapestry of my own story. I invite viewers to decipher the intricate threads that connect past, present, and imagination.
“Embroidery Tea Cup” used tea bags and thread, 23 x 23 x 15 cm
While my formal education led me down the path of teaching, my heart has long belonged to the world of art. For decades, I have immersed myself in a relentless pursuit of research and experimentation, sculpting my days with the clay of creativity. Art is not a possession; it is a symbiotic relationship that permeates every facet of my existence. It isn’t something you merely adopt. It intertwines with your essence, becoming an inseparable part of your being.
“New Horizon” book pages, thread, 80 x 90 cm
My transition from painting to textile art was a deliberate quest for innovation. It was a search for new materials that led me back to the fundamental textile techniques instilled in me during childhood, primarily by my mother and maternal grandmother. Each stitch, each fiber, carries the echoes of those early lessons. They form a bridge between tradition and contemporary expression.
“Stitched Origami” used tea bags, thread, 1.55 by 2.60 meters
In my creations, textile art emerges as a medium of boundless possibilities. It provides a canvas where discarded remnants metamorphose into stories waiting to be told. Through this practice, I aspire to create not just art, but an immersive experience. I want my work to transcend the boundaries of time and invite the observer to embark on a visual journey with me.
“Fireball” muslin fabric, paint, threads, 80 x 100 cm
Art, for me, is not a passive companion. It is a dynamic force that shapes and molds my existence. As I continue to explore and evolve, I am reminded that art is not a destination. It is the ever-unfolding path that we walk, leaving imprints of our stories with every step.
Denise Blanchard invites you to follow on Instagram and Facebook.
Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!
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Art Movers: Ensuring Your Expensive Artwork Travels Safely and Scam-Free
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When transporting your expensive artwork, whether relocating or lending pieces to a museum or gallery, ensuring their safe and secure transit is paramount. Art movers specialize in the delicate and complex process of moving valuable art pieces, offering peace of mind that your cherished items will arrive unscathed. However, not all movers are created equal. Thoroughly vetting art movers is essential to avoid scams and ensure the safe handling of your valuable collections.
Understanding the Importance of Specialized Art Movers
Moving art isn’t like moving ordinary household items. It requires specialized knowledge, skills, and equipment to handle artwork’s unique needs. Professional art movers understand the intricacies, from proper packing techniques to climate-controlled transportation. They are well-versed in handling fragile and high-value items, ensuring they remain pristine throughout the move. Trusting your artwork to general movers or inexperienced companies can lead to disastrous results, including damage or loss.
Researching Potential Art Movers
The first step in vetting art movers is conducting thorough research. Start by seeking recommendations from trusted sources, such as museums, galleries, and fellow collectors. Online reviews and ratings can also provide valuable insights into a company’s reputation. Look for art movers with a long-standing presence in the industry, as longevity often indicates reliability and expertise. Additionally, check if the company is a member of professional organizations like the American Alliance of Museums (AAM) or the International Convention of Exhibition and Fine Art Transporters (ICEFAT), which adhere to high standards of practice.
Ensuring Your Expensive Artwork Travels Safely: Evaluating Experience and Expertise
Experience is a critical factor when choosing an art mover. Inquire about the company’s history and the types of artwork they have handled. A reputable art mover should be able to provide references and examples of past projects, showcasing their ability to manage various art forms, from paintings and sculptures to delicate antiques. Assessing their expertise in handling specific types of artwork similar to yours can give you confidence in their capability to protect your pieces during transit.
Image by Mikhail Nilov for Pexels
Checking for Proper Licensing and Insurance
Legitimate art movers should have the necessary licenses and insurance coverage to operate legally and protect your artwork. Verify that the company holds a valid operating license and is insured against potential damages. Ask for proof of insurance and review the policy details to ensure it covers the full value of your artwork. Comprehensive insurance should protect against various risks, including theft, damage, and loss during transit. Avoid any mover who hesitates to provide this information, as it could be a red flag indicating insufficient coverage.
Inspecting Packing and Handling Techniques
Proper packing is crucial to safeguarding your artwork during transport. Ask the art movers about their packing techniques and materials. They should use high-quality, archival-grade packing supplies to protect artworks from environmental factors and physical damage. Inquire about their process for handling different art types, including custom crates, padded blankets, and climate-controlled containers. Experienced art movers should be able to explain their methods in detail, demonstrating their commitment to ensuring the safety of your pieces.
Understanding Transportation Options
The mode of transportation plays a significant role in the safety of your artwork. Discuss the available transportation options with the art mover, such as dedicated art transport vehicles, climate-controlled trucks, and air freight services. Climate control is essential for long-distance moves or international shipping to prevent damage from temperature fluctuations and humidity. Ensure that the art mover provides a secure and controlled environment for your pieces throughout the journey, minimizing the risk of adverse conditions affecting your artwork.
Image by elevate for Pexels
Verifying Storage Facilities
If your artwork requires temporary storage during the move, inspecting the storage facilities provided by the art mover is vital. The storage environment should be climate-controlled, secure, and equipped with advanced monitoring systems. Proper storage conditions are important for preserving the integrity of your artwork and preventing damage from humidity, pests, or temperature changes. Ask the art mover for a tour of their storage facilities to assess the level of care and security provided.
Assessing Communication and Customer Service
Effective communication is key to successfully moving your expensive artwork. Pay attention to the responsiveness and professionalism of the art mover’s customer service team. They should be readily available to answer your questions, provide updates, and address concerns throughout the moving process. Clear and transparent communication helps build trust and ensures you are well informed at every stage. A reputable art mover will prioritize customer satisfaction and strive to make the moving experience as smooth and stress-free as possible.
Image by Nappy for Pexels
Reviewing Contracts and Agreements
Before finalizing your decision, carefully review the contract and any agreements provided by the art mover. The contract should outline the scope of services, pricing, insurance coverage, and liability terms. Ensure all details are clearly stated and ask for clarification on any ambiguous terms. Be wary of art movers who pressure you into signing without giving you ample time to review the documents. A transparent and straightforward contract signifies a trustworthy and professional art mover.
Conducting a Pre-Move Meeting
A pre-move meeting is an excellent opportunity to discuss the specifics of your art move in detail. Schedule a meeting with the art mover to review the logistics, timelines, and any special requirements for your artwork. During this meeting, you can assess their level of preparedness and attention to detail. A professional art mover will take the time to understand your needs, answer your questions, and provide a customized plan tailored to your artwork’s unique needs.
Trusting Your Instincts
Finally, trust your instincts when choosing an art mover. If something feels off or you have any reservations about a company, exploring other options is better. Your artwork is valuable and often irreplaceable, so selecting an art mover who inspires confidence and demonstrates a genuine commitment to safely handling your pieces is crucial. Trustworthy art movers will prioritize the care and protection of your artwork, giving you peace of mind throughout the moving process.
Final Thoughts: Proper Movers for Your Expensive Artwork
In conclusion, vetting art movers requires diligent research, careful evaluation, and thorough communication. By understanding the importance of specialized art movers, assessing their experience and expertise, verifying licensing and insurance, inspecting packing and handling techniques, reviewing transportation options, and evaluating storage facilities, you can ensure your expensive artwork is safe and has scam-free transportation. Trustworthy art movers will provide the highest level of care, allowing your cherished pieces to reach their destination in perfect condition.
__________________________
Angie Stinson is a seasoned writer for MovingScam, a trusted resource dedicated to helping consumers avoid moving fraud and scams. With extensive experience in art logistics, she educates collectors on best practices for safely moving and storing valuable artwork. Angie’s insights ensure readers can navigate the complexities of art transportation with confidence and security.
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Art Movers: Ensuring Your Expensive Artwork Travels Safely and Scam-Free
[ad_1]
When transporting your expensive artwork, whether relocating or lending pieces to a museum or gallery, ensuring their safe and secure transit is paramount. Art movers specialize in the delicate and complex process of moving valuable art pieces, offering peace of mind that your cherished items will arrive unscathed. However, not all movers are created equal. Thoroughly vetting art movers is essential to avoid scams and ensure the safe handling of your valuable collections.
Understanding the Importance of Specialized Art Movers
Moving art isn’t like moving ordinary household items. It requires specialized knowledge, skills, and equipment to handle artwork’s unique needs. Professional art movers understand the intricacies, from proper packing techniques to climate-controlled transportation. They are well-versed in handling fragile and high-value items, ensuring they remain pristine throughout the move. Trusting your artwork to general movers or inexperienced companies can lead to disastrous results, including damage or loss.
Researching Potential Art Movers
The first step in vetting art movers is conducting thorough research. Start by seeking recommendations from trusted sources, such as museums, galleries, and fellow collectors. Online reviews and ratings can also provide valuable insights into a company’s reputation. Look for art movers with a long-standing presence in the industry, as longevity often indicates reliability and expertise. Additionally, check if the company is a member of professional organizations like the American Alliance of Museums (AAM) or the International Convention of Exhibition and Fine Art Transporters (ICEFAT), which adhere to high standards of practice.
Ensuring Your Expensive Artwork Travels Safely: Evaluating Experience and Expertise
Experience is a critical factor when choosing an art mover. Inquire about the company’s history and the types of artwork they have handled. A reputable art mover should be able to provide references and examples of past projects, showcasing their ability to manage various art forms, from paintings and sculptures to delicate antiques. Assessing their expertise in handling specific types of artwork similar to yours can give you confidence in their capability to protect your pieces during transit.
Image by Mikhail Nilov for Pexels
Checking for Proper Licensing and Insurance
Legitimate art movers should have the necessary licenses and insurance coverage to operate legally and protect your artwork. Verify that the company holds a valid operating license and is insured against potential damages. Ask for proof of insurance and review the policy details to ensure it covers the full value of your artwork. Comprehensive insurance should protect against various risks, including theft, damage, and loss during transit. Avoid any mover who hesitates to provide this information, as it could be a red flag indicating insufficient coverage.
Inspecting Packing and Handling Techniques
Proper packing is crucial to safeguarding your artwork during transport. Ask the art movers about their packing techniques and materials. They should use high-quality, archival-grade packing supplies to protect artworks from environmental factors and physical damage. Inquire about their process for handling different art types, including custom crates, padded blankets, and climate-controlled containers. Experienced art movers should be able to explain their methods in detail, demonstrating their commitment to ensuring the safety of your pieces.
Understanding Transportation Options
The mode of transportation plays a significant role in the safety of your artwork. Discuss the available transportation options with the art mover, such as dedicated art transport vehicles, climate-controlled trucks, and air freight services. Climate control is essential for long-distance moves or international shipping to prevent damage from temperature fluctuations and humidity. Ensure that the art mover provides a secure and controlled environment for your pieces throughout the journey, minimizing the risk of adverse conditions affecting your artwork.
Image by elevate for Pexels
Verifying Storage Facilities
If your artwork requires temporary storage during the move, inspecting the storage facilities provided by the art mover is vital. The storage environment should be climate-controlled, secure, and equipped with advanced monitoring systems. Proper storage conditions are important for preserving the integrity of your artwork and preventing damage from humidity, pests, or temperature changes. Ask the art mover for a tour of their storage facilities to assess the level of care and security provided.
Assessing Communication and Customer Service
Effective communication is key to successfully moving your expensive artwork. Pay attention to the responsiveness and professionalism of the art mover’s customer service team. They should be readily available to answer your questions, provide updates, and address concerns throughout the moving process. Clear and transparent communication helps build trust and ensures you are well informed at every stage. A reputable art mover will prioritize customer satisfaction and strive to make the moving experience as smooth and stress-free as possible.
Image by Nappy for Pexels
Reviewing Contracts and Agreements
Before finalizing your decision, carefully review the contract and any agreements provided by the art mover. The contract should outline the scope of services, pricing, insurance coverage, and liability terms. Ensure all details are clearly stated and ask for clarification on any ambiguous terms. Be wary of art movers who pressure you into signing without giving you ample time to review the documents. A transparent and straightforward contract signifies a trustworthy and professional art mover.
Conducting a Pre-Move Meeting
A pre-move meeting is an excellent opportunity to discuss the specifics of your art move in detail. Schedule a meeting with the art mover to review the logistics, timelines, and any special requirements for your artwork. During this meeting, you can assess their level of preparedness and attention to detail. A professional art mover will take the time to understand your needs, answer your questions, and provide a customized plan tailored to your artwork’s unique needs.
Trusting Your Instincts
Finally, trust your instincts when choosing an art mover. If something feels off or you have any reservations about a company, exploring other options is better. Your artwork is valuable and often irreplaceable, so selecting an art mover who inspires confidence and demonstrates a genuine commitment to safely handling your pieces is crucial. Trustworthy art movers will prioritize the care and protection of your artwork, giving you peace of mind throughout the moving process.
Final Thoughts: Proper Movers for Your Expensive Artwork
In conclusion, vetting art movers requires diligent research, careful evaluation, and thorough communication. By understanding the importance of specialized art movers, assessing their experience and expertise, verifying licensing and insurance, inspecting packing and handling techniques, reviewing transportation options, and evaluating storage facilities, you can ensure your expensive artwork is safe and has scam-free transportation. Trustworthy art movers will provide the highest level of care, allowing your cherished pieces to reach their destination in perfect condition.
__________________________
Author’s bio:
Angie Stinson is a seasoned writer for MovingScam, a trusted resource dedicated to helping consumers avoid moving fraud and scams. With extensive experience in art logistics, she educates collectors on best practices for safely moving and storing valuable artwork. Angie’s insights ensure readers can navigate the complexities of art transportation with confidence and security.
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Featured Artist Mark Witzling | Artsy Shark
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Artist Mark Witzling presents a refined portfolio of abstract paintings, rich with detail and meaning. Visit his website to see more of his work.
“Home Always Awaits” oil and cold wax on panel, 16″ x12″
I create powerful visual representations that reflect ideas and concepts which impact my surroundings and my life. Visual art is a form of deep human expression. Like music and dance, it is a form of communicating beyond the written and spoken word. Painting abstractly in oils is my method for this expression. While the process is often solitary and meditative, I also find interaction among artists to be energizing and inspiring.
“Promises Kept” oil and cold wax on panel, 20″ x 20″
Perhaps because of my background in strategy, marketing and branding, complex ideas intrigue me. The nuanced layers tease out the intricacies of a concept. I apply this to my painting approach by building up layers and excavating back into these visual stacks. I repeat this push-pull process to evoke a sense of depth and understanding in the work.
“Mad Men-Mid Century Modern” oil and cold wax on Arches oil paper, 30″ x 22.5″
I enjoy the creative freedom of nonrepresentational art, although physical surroundings of landscape and geography frequently influence my approach to a painting. I’m glad to allow this to occur spontaneously.
“Future Tomorrow” oil, graphite and cold wax on panel, 36″ x 42″
My role as Executive Director of Craft Alliance (2018-2023) exposed me to a wide variety of forms of creative expression. Now as a committed full-time artist, I continue to allow these forms to stimulate and influence my own creative expression.
“Future Today” oil, graphite and cold wax on panel, 36″ x 42″
My specific process uses cold wax medium blended with my oil paints to create the layered effects I seek to express. I often start with an underlying layer of graphite mark-making to bring interesting forms to the artwork and to suggest the compositional approach.
“Hineni” oil and cold wax on panel, 36″ x 24″
My painting process rarely uses traditional brushes. Instead, I work responsively with a variety of tools such as pastry scrapers, brayers, brooms, sticks, and even old credit cards to activate the surface.
“Honesty Is The Best Policy” oil and cold wax on panel, 30″ x 30″
I have studied, painted, and taught workshops in studios across the country, from Santa Fe and Albuquerque to Montana, Wisconsin, and North Carolina. My art is included in private and corporate collections across the United States as well Europe and India.
“Future Hope” oil, graphite and cold wax on panel, 36″ x 42″
I was honored to receive a Diderot Grant and a Regional Arts Commission Grant to participate in an artist residency at Chateau Orquevaux, France. I am thrilled to have my art appear in the book Cold Wax Medium – Techniques, Concepts, Conversation (Crowell & McLaughlin) and to be included in Artfolio 2021, A Curated Collection of the World’s Most Exciting Artists.
Mark Witzling invites you to follow on Instagram and Facebook.
Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!
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Finding Your Artist Voice through Mentorship with Julie deBoer
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“I just felt like I was hitting my head against the wall for a couple years, not enjoying the process. So that’s when I decided just to cut that out and just let it happen.”
“We can stare at our own work day after day after day … and struggle and not know what the issue is that we’re struggling against. And all it takes is someone to take a quick look and say, Oh yeah, it’s right there.”
“Being in relationship with other artists really opened my mind to, Oh my goodness, there’s many, many different ways to do this journey. There’s many different definitions of success.”
“You don’t know how badly you need community and connection until you have it, and then you realize, Oh, I’ll never go without again.”
“We really aren’t in competition with each other…. We’re running the race side by side and we just go farther, faster, and it’s much more enjoyable and life giving.”
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Should You Sell Art on Third-Party Platforms?
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by Carolyn Edlund
Considering a third-party sales website to market and sell your art? Here are the pros and cons to help you with that decision.
Third-party websites for making art sales are widely available on the internet. They range from art and craft marketplaces like Etsy and Amazon Handmade to art sales sites like Fine Art America, Saatchi Gallery, Singulart and others. These websites most often sell original artwork, but may also sell reproductions of your work. You can find many of these options in our directory of 250+ Places to Sell Art Online.
Why do artists use third party platforms to make sales?
There are various reasons for this decision. If you are just starting out, you may have a relatively small portfolio of artwork. If it’s not sufficient to fill a website, you may select a third-party site where you can simply build a page for yourself as the artist, show a collection of any size, and offer it for sale.
Many artists would love to have their own website, but don’t feel tech savvy enough to build one (and may even find template sites to be a challenge.) If this is the case for you, and you either cannot afford or don’t want to hire a web designer, you can easily go to a third party site and get set up quickly.
Other times, artists have an existing website but don’t have shopping cart functionality. They use the third-party website as their “store” for the purpose of making sales. This is usually a short-term solution while you are considering updating your proprietary website—because you are paying commission on every sale.
Pros and cons of third-party art sales websites:
Most of these sites are free to join, and only take a commission percentage when sales are made. Commissions average about 35% of the retail price of originals sold. If that split works for you, it could be a good option. If you want to keep the entire purchase price, you need your own art website.
Third-party sites already have traffic and they are trusted. You don’t need to worry about being found on the internet, because these sites already have good rankings and they advertise. However, although they draw traffic, that doesn’t mean visitors will go to your page. You still need to promote and publicize your own link on the site to pull in potential customers.
Setup is quick and easy with a third-party sales site, because they use templates. You can just drag and drop information and upload art images. There will be an onboarding process with instructions on how to build a shop step by step. And you should be able to get answers to any questions you have about the process through FAQ links or customer support.
They may offer Print-on-Demand services. If you want to sell reproductions or prints of your two-dimensional artwork, the site you work with may be able to print and fulfill these orders, and give you a portion of the sales price. Make sure you have impeccable photographs of your work to produce excellent reproductions that don’t have glare, blurriness, distortion, or other photography problems.
Third-party sales sites often have marketing tools you can learn to use, plus best practices on how to present and share your work on their platform. You might also be able to attend seminars or read blog articles that will give you tips on marketing and selling your work.
Although you can enjoy the benefits of selling on a third-party website, keep in mind that it is someone else’s platform. They can boot you off for any reason, without explanation, and permanently if they wish. You are not in control.
The site you are selling on makes the rules. They decide on the commission they will take, and if they want to change that percentage. There may be fees introduced or increased, which you will have to pay, or drop out. As an artist you don’t have full agency when you use space on another company’s website.
Importantly, you as the artist lack engagement with site visitors when you work with a third-party website. You never know the visitors who come to your page, because you cannot see this information. Nor can you use a “chat” function to talk with them. Quite often, you do not know the names of the purchasers of your art, if you don’t personally ship out the work. That deprives you of the ability to follow up and encourage future sales from these collectors.
When using third-party sites, you cannot gather names for an email subscriber list (which is one of the most effective ways to market art.) The mailing list is held by the platform itself, and they will never share it with you. Thus, even if you pull in prospective customers to your page on the site through your own marketing efforts, you cannot contact them.
Another disadvantage that artists have on third-party websites is being only one of a large number of artists selling there. Typically, any visitor can easily click away to look at other art and leave your page behind. You may see “teasers” for other artists right on your own page, which is very frustrating. In contrast, a proprietary website keeps visitors captive, viewing your work only, until they choose to leave your site.
Artists who don’t have their own website can suffer from a perception that they aren’t as committed or professional. This perception isn’t always true, although many beginners and people with lower quality work do flock to third-party sites. That fact could associate your own artwork with the perceived value and professionalism of the main site itself.
Do you use a third-party website to sell your art? What do you believe are the pros and cons?
Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!
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From Palette to Place: Discovering the Roots of Impressionism with Erin Hanson
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This year marks the 150th anniversary of what is widely recognized as the birth of Impressionism. In April 1874, a group of art revolutionaries known as the Anonymous Society of Painters presented their groundbreaking works at Studio Nadar in Paris. This historic exhibition featured iconic artists such as Monet, Cézanne, Pissarro, Renoir, Morisot, Degas, Sisley, Boudin, and Manet. Initially intended as an insult, the term Impressionist soon became synonymous with a revolutionary approach to art.
Fast-forward to the early 1990s, when a young artist named Erin Hanson first encountered van Gogh’s Irises and Monet’s Haystacks on a school field trip. This moment sparked a lifelong passion for Impressionism, influencing her evolution into one of today’s leading impressionistic painters. Hanson’s profound admiration for Monet and van Gogh’s use of color, motion, and light has shaped her artistic journey.
This year, Hanson embarked on a pilgrimage to immerse herself in the landscapes that inspired the Impressionist masters. Her journey included exploring Monet’s meticulously curated gardens, witnessing the Seine’s shimmering beauty, and standing in the very spots where van Gogh created masterpieces such as Starry Night.
“My sister-in-law and I debarked from the riverboat to explore Giverny and Monet’s home. Along the way, we stopped in Vetheuil, a small town that Monet liked to paint. It sits along the Seine, and it is incredibly picturesque. Signs are posted along the riverside path showing the paintings Monet created of the actual landscape I was looking at. It was incredible standing in the very footsteps where Monet had stood and painted.”
“Walking directly in Monet’s steps gave me the shivers. After absorbing the beauty of the place and letting inspiration wash over me, we headed to Giverny to walk in Monet’s footsteps further. From there, we went to Monet’s home and garden, our tickets allowing us to immediately head to the lily pond, which I was excited to see.
“We descended into a tunnel beneath the street and emerged into a bamboo garden. We walked. And walked. And walked. Where was the lily pond? We saw a tiny little pond with one sad lily pad, and I wondered, ‘Could this be it, his fabulous pond reduced to a scrap?’ It couldn’t be.
“So, we continued walking, and after one final turn in the path, the bamboo parted, and we saw Monet’s pond and Japanese Bridge in all its glory. Pure joy flooded my pores! It was just like walking into one of Monet’s masterpieces.”
“Flowers and trees surrounded the pond, reflecting off the water and adding color to the already vibrant waterscape. I realized that those squiggly lines I always saw in Monet’s depictions of his pond were reflections of weeping willow leaves, which hung low over the pond. I spent two days exploring Monet’s pond and gardens, capturing it during different times of day and different lighting effects, as the clouds drifted by above.”
“During another stop along my journey, I stayed in Etretat. After arriving on the northern coast of Normandy, we made our way to the white cliffs of Etretat, and I found the exact spot where Monet painted. I took photo after photo as the sun set, the golden light spilling over the sea and painting the white cliffs with glorious color.
“The golden hour seemed to stretch on forever as I soaked in the beauty of the place, listening to the susurrations of the sea and enjoying the sounds of people on an evening jaunt along the shore. The sun didn’t set until around 9:30 PM, and I was able to explore many aspects of Normandy’s signature white cliffs. Summer wildflowers bloomed around me. A breeze covered me in briny ocean scents as I soaked it all in. This is where Monet stood. This is where he once gathered inspiration and captured impressions with paint and brush. And here I was, standing in his footsteps, over a century later.”
“Vincent van Gogh was one of the first painters to inspire me as a child. The way he captured irises showed me that art can be even more beautiful than nature. I paint nature because it’s the most exquisite thing I know, yet art can somehow elevate this incredible masterpiece. Van Gogh taught me this.
“So, here I was, years later, in Arles. I stood in front of an olive grove, preparing to visit Saint-Remy-de-Provence. This incredible force of nature, twisting through the ground and reaching for the sky, its bark beautiful in its unevenness, called out to me. It reminded me of van Gogh’s enchanting olive groves. I knew I had to paint it.”
“I progressed through Provence and stood in the very room where van Gogh painted Almond Blossom, Irises, and The Starry Night. From there, I saw Provence’s famous lavender fields, vineyards, and, of course, sunflowers. As I explored, I found hidden treasures, snapshot impressions of sun-drenched blossoms, reflections off still ponds, ancient colonnades, and much more. I felt as if I were a squirrel, gathering all my nuts and kernels of inspiration for when I returned home to my paint, brushes, and studio.
“Now that I am back, I am using the impressions I captured to create a collection called Reflections of the Seine: Inspirations from France. This collection, which will be exhibited on Saturday, September 14th, 2024, at my McMinnville gallery, will feature the most significant impressions I captured. Those jolts of vibrant color, joy, and beauty came together to spark my paintbrush. And I cannot wait to share them.”
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Featured Artist Victoria Kudryavtseva | Artsy Shark
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Artist Victoria Kudryavtseva presents a fascinating collection of batik paintings filled with color and movement. Find more of her work here.
“Guardian Angel” natural cotton, handpainted using cold batik technique. 50″ x 50″
I paint on natural silk and cotton using a batik technique. My creative work is a very exciting process! It’s like magic when the white material begins to live and glow in my work and emotions. I paint all types of batik: cold, hot and batik in watercolor technique. My art serves as a means of self-expression and a method of communication with the world and people around me.
“Above the City” organic cotton, gold batik 25″ x 25″
I graduated from an art university, but for 25 years art was a hobby for me. I devoted a lot of time to other tasks and responsibilities. At the same time I always painted and created interior items and works of art on silk.
“Guardian Mother” natural cotton, handpainted using cold batik technique, 50″ x 50″
In 2023, I rethought my attitude towards art and devoted all my time to creativity and self-presentation. I became a full-time artist, every day, seven days a week.
“Goddess of Fertility” natural silk. cold batik in watercolor technique, part of a triptych
When I dye silk, I pay attention to small details. How the tube of reserve goes over uneven areas of the silk, how the dye flows across the fabric. I love watching white silk become multicolored. I love to immerse myself in extremely complex work so that everything around me ceases to exist. It’s just me and my art.
“Road to the Sun” natural silk. cold batik using watercolor technique, 30″ x 50″
Ideas come from everywhere. It happens that I see a picture and it inspires me. Or I draw a scarf and like the intermediate stage. I memorize a step and reproduce it as the main drawing. One day I took a photo of the seashore, and realized it was a ready-made design that would look great on fabric. And it worked! You can draw anything on silk. There are no restrictions.
“Yin and Yang” natural silk, cold batik. 25″ x 25″
I like to change up the standard batik painting. Thanks to my extensive artistic experience and many years of practice, I have developed an individual artistic technique for painting on silk. I like to create paintings on complex spiritual and moral themes, combining decorative art and thematic paintings that change the direction of standards in fabric painting techniques.
“Poppies” natural silk, batik technique, 24” x 36”
I am very interested in thematic competitions on given topics. It offers an opportunity to work on a rather complex and large task. The artist can change the standard idea of drawing on silk, and makes it possible to introduce the viewer to this type of art.
“Goddess of Love” (triptych) batik, each panel 30″ x 50″
At the moment I am a participant and winner of more than 20 exhibitions, auctions and competitions in Europe and the USA. Most of my works are kept in private collections. This gives me a great incentive to continue and create new projects.
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The Artist’s Responsibilities for Any Exhibition
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Again, great article. I thought I would add my own exhibition checklist in case anyone wants to customize it for themselves.
EXHIBITION CHECKLIST
Once you have secured a venue for your exhibition, make sure you understand the following: (print out a copy and then check off the appropriate boxes, or fill out the Exhibition layout in the GYST software) Actually, these are good things to ask before signing or agreeing to a show.
(Choose the questions that are applicable to your project and the venue)
Name of Exhibition:
Venue:
Dates for the exhibition:
Date and time of the opening reception:
Who is the main contact person for the venue:
When can you sign the contract, or loan form:
If work is sold, what is the commission for the venue:
What is the honorarium or artist’s fee:
Who pays for shipping, insurance, reception costs:
What are the responsibilities of the venue or gallery:
What are your responsibilities as the artist:
Who pays for shipping, insurance, reception costs and invitations:
Is there a floor plan for the space? If so, where is it located?:
When are the installation dates:
What are the installation procedures:
Who installs the work:
What tools are available for installation:
Who designs and mails the announcement:
If the gallery designs and mails announcement,
What is the deadline for information from the artist:
Who pays for the announcements and the mailing:
What is the deadline for information needed for the press release and other publicity:
Does the venue have an e-mailing list for announcements:
How many invitations will you receive as the artist:
What equipment and technical support is available:
Are there issues with electrical outlets and extension cord routes:
EXHIBITION TIMELINE
3 months before the show opens
Sign agreement with exhibition venue detailing dates, commissions, and any relevant information listed above.
Write up a budget for your project.
Plan any new work that needs to be made.
Make sure your mailing list is updated and ready to go.
Do a layout of the installation of your show, using a map if helpful.
Make sure you have a contract if possible.
Photograph any works that are finished.
Send publicity to magazines.
Check the press release for accurate information or write it yourself.
Organize publicity packets and Include a copy of the announcement if available. Images can be included, or make sure to state that images are available.
6 weeks before the show opens
Design your announcements or work with a graphic designer.
Check all spelling and use the announcement checklist to make sure you have included all the necessary information. Be sure that the reader will understand the difference between when the show opens, and when the opening reception is.
Get bids from printers.
Print announcement.
Announcement Contents Checklist
Title of show.
Dates of show.
Hours the show will be open to the public.
Date and time of opening reception.
Venue and address, phone number, E-mail and Web site information.
Directions if needed.
Parking info if needed.
Acknowledgments.
If the space is wheelchair accessible, note this on the invite.
List of artists in the show, or your name.
Be sure there is room for the label or address, and the stamp or nonprofit indicia.
4 weeks before the show opens
Recruit people to help with the reception: bartenders, parking attendants, ticket takers, and gallery sitters, etc. if needed.
Distribute publicity (announcements, flyers etc.).
Mail announcements if using bulk mail.
Mail press releases to newspapers, weekly publications, reviewers and radio stations.
Make a checklist of those things you need to do to finish the work. (framing, installation hardware, painting walls in gallery, etc.).
Send a save-the-date invite to your e-mailing list.
3 weeks before the show opens
Make sure your artwork is ready to install.
Go over any special requirements with the venue to make sure you are in agreement with the site management.
Arrange for photographer or videographer to document the work or performance at the exhibition site.
Design and order any exhibition signage you will need.
Mail announcements if using first class mail.
Send press releases to broadcast media.
Assemble and mail press packets to special writers and publications. (see press section)
2 weeks before the show opens
Make calls to calendar listings managers to make sure your event will be listed.
Make phone calls to arts writers and invite them to the show or event.
Create Facebook / Myspace Event invitation and invite your friends.
Schedule installation and/or performance rehearsals.
Design and print any handouts, exhibition checklist, price lists, artist’s statements, programs etc.
E-mail announcement to your e-mailing list. Be sure to put your e-mail addresses in the BCC area of your E-mail so your reader does not have to scroll through all those E-mail addresses to read your information and private E-mails are not made public
If you send an image as an attachment or inclusion, make sure it is the smallest size (both in size and resolution), which you think you can get away with.
Including the information in the e-mail, instead of requiring the reader to click a link, will ensure that they read it more often than having to go to a link.
1 week before the show opens
Make sure all supplementary materials are printed or in a binder. Resume, artist’s statement, price lists, reviews, guest sign in sheets, etc.
Make sure the venue is ready for you to install the work, and do so if needed.
Print, mount and install any labels needed.
Install exhibition signage.
2 days before the show opens
Set or adjust lighting.
Patch and paint any walls or surfaces.
Set up guest book and supplementary information.
Get your reception supplies that don’t require refrigeration.
Test all equipment and do any rehearsals necessary.
Send a very brief reminder email to your email list about the opening.
Take any clothes you plan to wear to the opening to the dry cleaners if necessary.
Opening day of the show
Buy any reception supplies requiring refrigeration. Don’t forget the ice.
Check to make sure everything is installed and working.
Show up on time to the reception.
Call any special friends or writers to remind them about the show.
During the run of the show
Document the show with slides, video, or digital images early, in case you need to re-shoot the images.
Make any appointments with curators or writers at the venue.
Week before closing
If you plan a closing reception send reminder emails.
Send reminder emails about the last chance to see the show.
After the show
Send any thank-you notes to those who volunteered.
Send letters to those who donated money or in-kind services to your show, including a 501(c)(3) letter if needed for a tax deduction.
De-install the show, making sure that the space is returned to its original condition if required.
Make sure your show is taken down in time for the next person to install.
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