Here's a quick video of how I work. The two large (30"x30") panels are part of a new series on panels of various sizes.
One of my goals is to reduce expenses, so I can end each year in the black with respect to art income. If your work requires framing, this becomes a large chunk of change that you have to overcome in a given year. I can easily drop $2000 in framing costs on a show.
So...I'm experimenting with Ampersand Claybord pre-fab panels. The surface is advertised as archival, and it's silk smooth, so perfect for the Micron ink pens I use. And they don't require framing!
Here are some work in progress photos from a 2 panel piece I'm working on. One thing I'm not entirely happy with is the fact that the frames bow inward slightly due to shrinkage, so I can't butt these up together without a 1/16" gap in the middle of the seam. I'll have to present with 1/4" separating or something. I've also considered rotating the panels or hanging much further apart...
Andi and I dropped by James Rosenthal's studio last Sunday. James is an extremely prolific painter, sculptor, writer and musician based in Northwest Philadelphia whose work and output are outsized compared to his relative local exposure (another way of saying this guy ought to have more shows). It's great stuff.
More about James:
Anybody who's been in this game longer than a few years knows keeping track of what's been made, who has it, what sold, when it's due back etc. etc. is
a. An incredible pain in the butt.
b. Absolutely critical.
It's also one of those business-y things that (at least when I was in school) was never taught because it was about business and business was bad. On one level it makes sense not to focus on business execution in art school - there's so much to assimilate and internalize and do to obtain any kind of mastery in an artmaking, that without that kind of focus purely on art, students may come out unprepared to actually have a studio practice that's meaningful.
I don't want to imply that my college instructors didn't have advice - they were great. Ron Leax (who just retired), my sculpture instructor at Washington University, taught me core critical thinking and craft. And Heather McGill, my instructor at Cranbrook (who ALSO just retired!) on top of critical thinking taught all of us to work hard, and told us to move to New York. It was probably much easier advice to follow in the 90s than it is now! But for better or worse, folks in my cohort came out of school with little sense of how to proceed in the art world, or how to organize our output in a way that would be maintainable over a lifetime.
The bottom line is that any kind of creative practice needs to have discipline in order to continue. There's the grit one must have to go to the studio regularly, the stomach for continued and ongoing rejection, and the determination to move through self-doubt to confidence in value of one's work over a period of years. That part can be learned by example - looking to models who you want to emulate and seeing how they did it.
And then there are just nuts-and-bolts basic business things that keep your studio practice organized. And artwork inventory management is one of them.
I use a solution I built in FileMaker for this over a period of many years - since the late 90s - but I'm sort of an oddball case because my day jobs have all revolved around FileMaker (as a software developer or project manager), so I've had access to the tools and knew how to leverage them. Also, I'm a nerd and track my studio time to the minute when I work on a drawing, and what art inventory management tool is going to tell me Cloud City took 66.93 hours?
None of them, sadly.
So...what do you do if you don't have access to a $329 software package and a day job doing database design - and have normal artist needs unlike me?
There are plenty of other ways to skin the cat, some free, some paid.
Paid inventory management solutions
The landscape of art-specific inventory management systems is pretty uneven, with some expensive options that have a ton of features, and some more reasonable offerings. There's a more comprehensive round up from 2015 on Christine Wong's blog here: Artist's Inventory Software Reviewed that has some products I don't really know much about. Her comments about a lack of exhibition history tracking in Artworkarchive.com have been addressed since that posting, but she makes good points in general about the tradeoff between light and robust feature sets. With that in mind I thought I'd call out a beast in terms of functionality (and price) and compare. More below.
ArtworkArchive.com is a SaaS (Software-as-a-Service) offering that's been around for several years, and has a robust set of inventory management features, as well as some light contact management, good sales tracking that understands editioning, and interesting dashboarding/reporting tools. At the professional tier you can also use it for document management (say, attaching condition reports or consignment forms that you received via email or scan to an artwork record).
They also have an artists' profile directory service that's part of the core package, which is searchable by medium and region.
In my opinion it's the best option for those starting out, the pricing tiers offer room to grow, and it's very reasonably priced - the mid-tier "Professional" level is $108/year.
Artworkarchive.com pricing tiers:
Artsystems has been around since 1989. Their product line focuses on several channels and is customized for each: galleries, private collections, institutional collections and artists.
Their artist specific offering, StudioPro, can be compared to artworkarchive this way: it's much more expensive, but provides MUCH more robust business management tools. Here's the pricing model. Note that the monthly charge is $99, vs $9 for artworkarchive.com.
There's a reason for that price difference: StudioPro is designed for studio practices that require a much more business-based approach. I'll give an example by comparing the way the two products handle sales.
Here's how artworkarchive.com does it.
It's got the basics you want: who did it sell to, for how much, who sold it, and what your net was. It's simple and easy to use, with a modern, clean UX, which makes it a pleasure to interact with.
One look and it's easy to recognize how much more goes into a sale than a few key fields. Currency, tax jurisdiction, multiple items on a single sales invoice, shipment tracking, discounting and so on. Good business tools help you adhere to straightforward business practices. QuickBooks for example is the industry standard in accounting because it models accounting so perfectly.
Still, why so much more for a product like this? The bottom line in software development is the more features you support, the more expensive your product is to maintain - it just costs more to make artsystems products. Artworkarchive.com can offer a lower pricing tier because their product does fewer things - the surface area of things to debug, refactor and regression test when you add something new is just much smaller (and therefore cheaper) to support. There's no wrong answer in pricing, and essentially these are two different products for different ends of the market.
I think the key takeaway here is that if your studio practice is generating a significant amount of sales or management overhead, you may want to look at a robust business management package like StudioPro. If you just need a simple way to organize your studio and manage sales (or like a streamlined experience) ArtworkArchive.com is probably the way to go.
Other Paid Solutions
There are lots of other options out there that, frankly, I haven't done research on. The following two cloud based solutions are priced in the mid-range and probably offer more features than artworkarchive.com - and less than artsystems.
Masterpiece Manager - cloud based, $19/month - I see this one recommended quite a bit.
Artcloud - cloud based, $19/month
I'll make the obvious point here that Google Sheets can be used for all of this if you don't mind keeping track of things in a very manual, list oriented way.
But if you're looking for a target application in the free software space, there appear to be options. I haven't dug into them yet so will save that for a followup post. Here's what I'll be looking at (so far). Let me know if I should look at anything else!
First Friday: Paper Work at Snyderman Works Gallery and Tear it Up, Tear it Down at Grizzly Grizzly /
Tear it Up, Tear it Down is a 3 person video show at Grizzly Grizzly that's frenetic and engaging, and includes stop-motion, collage and digital animation: Kelly Sears, Kelly Gallagher, and Martha Colburn. My photos sucked, but here are two opening shots. Wish I could credit who is who here, I'd have to go back and see it again (it's worth a visit!).
So here's an oddly comforting/motivating/bleak thought:
I'm edging toward my fifth decade of life, and have been thinking about how to use what's left to me. We only get so much time on this earth, and when the clock runs out, how do we jibe what happened, what we did in that time, with what we wanted?
For me, especially lately, it means refocusing how I use that time toward the things I want now, so I can't say later that that time was wasted doing what others wanted instead.
I have kept track of my studio time since 1998 or so, with a few gaps in record-keeping in the mid 2000s.
I've always thought of this in the way you might think of a FitBit - you can't improve what you don't measure, and clocking time gives me something to game, to better. Can I put more time in the studio this year than last year?
But increasingly time has come to mean something different to me. It's not how much I've banked, it's how much I have left to spend, and how not to squander it.
2017 is about this.
Andi, Sam and I went up to NY two years back (October 2015 I think) to see some old friends. While there we dropped by Bullet Space; our friend Amanda knew somebody in the show. I started to write a draft post about it here and then...um, got distracted. I suck at blogging.
I made a 2017 New Year's commitment to blog regularly here, so this morning started going through unfinished posts. There's one about Citywide Philly that is worth finishing, so I'll come back to that sometime this spring. Others I just dumped. But I really liked this MiniMax show and felt it would be a shame to just delete it altogether.
So here's the draft from 2015. It was a great show. I literally (and unfortunately) have no words.
If you were in this show let me know and I'll caption the images!
I'm doing a new thing here (for me) - I'm going to start posting blog entries about the studio research and resources I've been digging into over the past few years - things that have helped frame the problem of balancing an artistic practice and and all the other things that we have in our lives.
In that spirit, I'll point out that about a year or two back I read Rich on Paper, Poor on Life, by Philip McKernan, right at the beginning of my rethinking how that balance should be, and found it really helpful. In the book he talks about fear, authenticity, wearing masks, and how choices we make are what we become.
McKernan is an Irish consultant and public speaker who works with clients to help lead more authentic lives - lives more closely aligned with their passions.
You can hear him talk on various podcasts and he's definitely worth a listen - here's one I'm listening to now:
I'm always looking for art and business inspiration through books and podcasts - ways to focus in on my art practice - and thought I'd share one I came across this past week:
Cathy is a musician who's carved out a lucrative career writing music for TV shows. The first episode is more or less an annotated tour through her own personal history as a creative, learning how to build a career around her own passions. It's worth listening to as much for Cathy's contagious enthusiasm for the topic as for the practical advice she offers. I highly recommend.
Colin visits Michelle' Oosterbaan's studio in mid January 2017. Photos and some thoughts on transitional work.Read More
Andi, Sam and I made it down to Miami art fairs for the first time. We dropped by the Robert Henry Contemporary booth at Pulse, where my work was hanging with Mike Childs and Derek Lerner.
My favorite piece at Pulse was by Wilson Scott Stevenson in the Jayne Baum gallery booth:
But I also liked this Tim Hawkinson piece (can't remember what booth):
At Satellite there was this lovely installation by (I think) Laurencia Strauss:
Cruise ships as islands.
Well, the work is shipped off and framed for this one! One 38" x 50" plus 4 30" x 44" drawings, in good company with Derek Lerner and Mike Childs.
Pulse Miami Beach
December 1-4, 2016
robert henry contemporary
Indian Beach Park
4601 Collins Avenue (at 46th Street)
Miami Beach, FL 33140
Thursday, December 1
VIP Preview Brunch 10am-1pm
Public Hours 1pm-7pm
Young Collectors Cocktails 5pm-7pm
Friday, December 210am–7pm
Saturday, December 310am–7pm
Miami Morning 10am-12pm
Sunday, December 410am–5pm
Miami Morning 10am-12pm
The reception for Schema at Elder Gallery in Lincoln NE was Friday. Here are some installation shots.
I also got to spend the day doing one-on-one critiques with about a dozen Nebraska Wesleyan students.
After the reception my hosts took me around to Lincoln art spaces, including Workspace and Tugboat Gallery. Below are photos from Eliot Dudik's show at Workspace - "dead" Civil War re-enactors. Workspace is run by an artist couple, Larry Gawel and Dana Fritz, and they've been in operation for 9 years. Great show!
I'll be heading out to Lincoln, Nebraska this week to meet with Nebraska Wesleyan University students and attend the reception for Schema: Works on Paper, an exhibition I organized with David Gracie, the director of Elder Gallery.
It looks to be a great show! I'll post photos when I take them.
Roberta Fallon from theartblog.org came by a few weeks ago to see the current show at MAC (Anne Canfield and Gary Petersen). She's a pretty awesome person.
Anyway, she wrote a lovely review of the show and also a few words about the space and about our studios.
I had a slow February in the studio, which I think was partly a wind down from getting the show at Robert Henry Contemporary together.
I'm working on this piece again after noodling on some smaller stuff - I changed to a horizontal format and I think it's really close. Maybe another week.
Meanwhile Andi and I have been doing studio visits for the next show at MAC, which will be Anne Canfield and Gary Petersen. Great painters both. I also got in a studio visit with Jennifer Williams who will be showing with us in June. I'm into these shots of artists in their studios and am going to start doing them pretty consistently.
There are two weeks left for this show!
I'm happy to say that my show at Robert Henry Contemporary is now up. The opening went really well.
The editioned 3D printed sculpture is now available for sale here:
I've gotten back my prints from shapeways.com, and the quality's pretty good. Can't speak to archival quality of the plastic, but at a $100 price tag I think this is something we'll just have to put out there as part of the price point. I could print them in steel/bronze but they'd obviously be more expensive.
STILL NEED A TITLE.