Spring is one of the best times of the year. The days are getting longer, and the winds are warmer. The long winter, if such a thing existed in Florida, is coming to a close and the art season on the Suncoast is in full swing.
Meanwhile, the new butterfly collection remains on view at the Gateway Gallery in New Port Richey until April. There is no rest for the artist, and we are spending our precious spring days preparing Art on the Bayou in April, a two person show in the New Port Richey City Hall during May, and a continuing series of revolving shows at the Tarpon Springs Performing Arts Center.
In the meantime, enjoy our latest additions to the Butterfly Collection. These works of art are incredible to look at when printed on our archival aluminum print. The aluminum gives the image a glossy image and produces an effect that appears to light up each work.
Every year there is a huge art show in Basel, Switzerland known as Art Basel, this huge show brings in the collectors with very deep pockets to wander through a maze of art galleries. These aren’t your ordinary galleries either. They apply for and survive a tenuous juried selection process to be allowed in.
Individual artists are not allowed; only galleries. However that does not stop certain performance
artists like naked artist Milo Moiré. That’s right, Moiré decided to strut her stuff, like some attention seeking peacock looking for a response, into the convention center naked.
According to Artnet , when the convention authorities turned her away, and told to put some clothes on, she decided to take her performance to a local town square. The daily patrons and tourists evidently got a real kick out of taking pictures with the nude artist. Well, at least the men did. Evidently, no women jumped at the chance to take selfies with her. Go figure.
This left me wondering. How is she able to get away with walking around town naked? If you tried this in the states you would probably end up in a jail cell or at the least with a coarse wool blanket and a ticket for indecent exposure.
“In the canton of Basel-City, mere nudity in public is not prohibited,” Andreas Knuchel, city police spokesman, told 20 Minuten newspaper.
The “non-sexually motivated” baring of flesh in a public place is neither punishable by the criminal code or by cantonal law, Knuchel said.
If anyone is disturbed by the public display of nudity they can launch a complaint, which the public prosecutor would then have to examine, he said.”
Responses to this performance range from a few whistles to claiming it’s all just a really sad joke. I’d love to show some pictures of the event but, after all art and nudity are always found together. But, the truth is I have a hard time accepting this under the category of art. It may have started out that way. But in the end it is nothing more than, for lack of a better word, exhibitionist exposure. (pun intended.)
Imagine a collector of art going to a new art show featuring the latest photographic art. This collector loves to buy art, but his absolute favorite kind of art is old-fashioned sepia filtered photography like in our work Old Farm House. Envision what would happen if he could see an entire show of sepia photography done by several artists. You don’t need to know a lot about marketing to realize the chances of his purchasing a work just increased exponentially.
The result is a happy collector, a happy artist, and a happy gallery owner. The perfect combination for a successful art show.
However, one of the more difficult aspects of art gallery work is the curating of the works that you present. The art of curating is fraught with peril. So much of your chance for success as an artist and a gallery owner depends upon this task.
Curation of your artwork means looking critically at your work or the work of others and come to satisfactory decision as to what art pieces you will display to the public. But it’s not only what you show, it’s also where in the gallery you show a particular piece and of course how you will do it. Further, for success it necessary to have a rudimentary understanding as to why those particular answers will work.
Yet, I’m not just referring to finding one’s own satisfaction. It’s more about the audience, or hopefully the collectors that are perusing your works. This is when the difficulty truly creeps in.
Unless you were born as a psychic empathy, your ability to determine whether a person likes a particular piece or what piece a particular individual may like is completely driven by data. This data is, at the moment, captured using surveys, sales reports, and endless tomes of marketing research.
But what if it wasn’t so. What if through the advances of technology we could do away with that collection of endless data and almost, statistically speaking, guarantee you will love the next art show you walk into. It sounds incredulous doesn’t it?
In our next post I will give a glimpse into the possible future of the art show and the huge difference computer technology will bring to our collective experiences.