News

Tomorrow morning I am travelling from Berlin to Hamburg to attend the opening of the H.R. Giger Retrospective exhibition. I will be there to photograph and video the event for Fantastic Visions. I am rather hoping I can get some good footage of Giger, and perhaps, if I am lucky get him to say a few words on camera.

Hamburg artist, Dennis Konstantin will be joining me at the opening. Many thanks must go to Cornelia Mensdorff-Pouilly for getting us into this exclusive event.

More information about the exhibition and its opening times can be found on Fantastic Visions.

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I was recently asked by an online friend and fellow artist about shipping artwork overseas to an exhibition. In the course of our correspondence, I came to the conclusion that the exhibition was not a good deal for the artist. All costs, shipping and insurance, risks, damage, loss and theft lay solely with the artist. Then on top of that, there was an entry fee, supposedly to pay for the exhibition promotion, albeit a small one, and the final show stopper was, no selling opportunities.

Now, I’ve done my fair share of sending artwork away to likewise exhibitions. There was a point at which the stress of sending the artwork, getting the artwork back and all of the attendant costs, and no sales, just didn’t add up and made no financial sense. Oh, but you could say that it furthers my career. But how does this further my artistic career when I have to do other work to sustain its costs?

The reality is, working as an artist, you are working as a small business. As such, you should be making a profit. What happens to businesses that don’t make a profit? They go out of business. Its incredible the number of exhibition organisers that don’t even think of this perspective, but they are certainly thinking of their own profit or furthering their careers.

Both artists and the organisers often seem to lose sight of the fact that they are actually entering into what is usually a short term business partnership. The artist provides a product (yes, don’t choke, artwork is a product), and the organiser provides the means by which to sell. To ensure that we don’t have any nasty disagreements when something goes wrong, we put everything down in writing, commonly called a contract. That way everybody knows what the other expects of the other. Contracts are there to make sure things DON’T go wrong, not for after things have gone wrong, then it’s too late. Contracts aren’t scary things either. All contracts are open to negotiation, UNTIL you sign on the dotted line. If you don’t like particular points of the contract and the other party won’t negotiate, then, don’t sign. Simple, no dramas, no bad feelings.

Think of contracts as a written agreement detailing a list of questions and answers.  If not all of your questions are answered, then you need to ask for the answers to be added in writing to the contract.  Be thorough. If the organiser starts to squirm, or protest with phrases such as, “don’t you trust me?” and the like, then you know not to trust them and to walk away, because they are not taking your concerns seriously. And it doesn’t take much imagination to conclude how co-operative they will be when something does go wrong.

What questions and answers should you be considering? Following are my suggestions.

Exhibition Offer Checklist

1. So you’ve been invited to exhibit. Do you know the gallery or curator? How did they find you? Did they just google you?
2. If you don’t know the gallery or curator, have they made any comment or appraisal of your artwork? More importantly have they seen your originals? There can be a great difference between an Jpeg image and original. If they are willing to take your work sight unseen, then they aren’t going to be too fussy about the standards of others that they show you with.
3. Have you researched them? The easiest way is to do some online searches. If you are half way considering accepting their invitation, then at least put some effort into finding out more about them.
4. Is there an entry fee? For myself, I pay NO ONE to exhibit my artwork any more, especially if I have to cover all of the shipping costs. Even if it is only $30. If the organisers have failed on the first two points and want a fee from you, then you can be certain they’ve contacted you to pay their rent!
5. What is it going to cost to ship the artwork to AND from the exhibition if the location is not easily accessible to you?
6. Who pays for the shipping? This is up to you to decide what is fair. It is quite common for the cost to be split, with the artist paying for sending, and the organiser or the return. If the organiser pays for everything, dance for joy!
7. If shipping to another country, have you researched the import and export taxes if any? Who pays for these?
8. Insurance? Even if it is simple postage insurance, a higher postage rate which provides you with a tracking number and covers for loss or damage in transit, it is worth it for your piece of mind. Then there is also insurance for the artwork while on exhibit, again, who pays?
9. Who takes responsibility for, damage, loss or theft? Who pays? Point four usually covers this. Now, it is extremely unlikely that a small exhibition organiser can afford to insure your artwork, because while you may have issues achieving payment for the prices that you would like on your artwork, the insurance companies don’t see that, and usually will charge an arm and a leg, unless you undervalue your artwork. This leads to another discussion altogether.
10. What promotion do they do?
    1. Oh, they have a mailing list, uh-ha. Well so do I. What percentage of their mailing list attend their exhibitions? What percentage of their mailing list purchase artwork. Don’t judge a mailing list by its size, but by it’s value. Who pays for the mail out? That is if anybody uses physical mail any more.
    2. Have they given you a list of publications that they advertise or send media releases to. Can you find any publications yourself that mention them. Having trouble finding anything yourself? Ask them to send you copies of some of their media coverage. Any good exhibition organiser will be proud to do so.
    3. Flyers and invitations, oh you have to pay for those, see point 4. If they are not willing to invest even a small amount of money in you, even then just for flyers, then, well they’re not going to invest any time into promoting you are they?
    4. Who pays for the opening night drinks and nibbles? See the previous point.
11. What other artists have exhibited with them? Have they provided you with a list? Is it on their website? If you see no names regularly appearing, but just a long list, then they’re always on the search for fresh blood to pay the rent.
12. What is the opinion and experience of other artists that have exhibited with them?
13. Are there any sales opportunities? If not why would you pay to participate? If the exhibitors however cover your costs, dance for joy again.
14. What are the terms of sales?
    1. What commission do they take?
    2. Is their commission added on top of your selling price, or is it taken from your selling price?
    3. How and when do they pay for sales?
    4. What taxes are applicable to the sale?
15. What happens with unsold artwork? See point five and six.
    1. Oh, they offer to store your artwork, how and where? How accessible will it be to you? How long will it take to get it back to you if there is another exhibition you want to sell the work in? If it is a gallery you are dealing with, then they should not be charging you storage fees. If it is a one off event, with no permanent location, then storage fees are fair and normal.
    2. If your work is stored for future exhibitions, how often will it be put on display again?
    3. Do they have buyers who visit the gallery to see what is in the storeroom?
16. What is the exhibition space like? Is it located in a district popular for art?

Other Points for Consideration

An exhibition is far more worthwhile if you are in attendance with your artwork, for sales and networking. You can then also see first hand how your artwork has been hung and signed.

If there are no sales opportunities from the exhibition, making it purely a vanity exhibition, what are you really getting out of this exhibition other than stress and costs? Something to write on you C.V. and website? You can do that without sending or spending. Remember, your art has to be sustainable, you need to earn from it, otherwise it remains an expensive hobby.

Do not be pressured to send either. Even if you’ve been “chosen” to participate, re-read all of the above points and make a calm boring practical decision. Who does the exhibition really benefit, you or the organisers?

Whatever packaging you use for shipping must be durable and reusable for return if your artwork does not sell. The packaging dimensions and weight will also contribute to your shipping costs. There are also often limits to the size and weight. Make sure you check for these restrictions with your chosen postal service or shipping company.

Final Thoughts

By all means do as you see fit. Some of the above points I had to learn myself the hard way. Now with experience and hindsight, I’m more selective about the exhibitions I choose to exhibit in.

Exhibitions are a dime a dozen. Exhibitions that are of real worth are rare (depending on where you are in your career) and only these deserve your energy and attention.

Remember, YOU are the artists, YOU are the star of any of these shows, and you should be treated accordingly in a professional manner that furthers your career.

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The exhibiting artists

Seeing a brilliant opportunity, at very short notice, Amanda Sage organised an exhibition of Fantastic Visionary artists at Galerie 10. She and Laurence Caruana, along with Andrew Gonzalez had been giving a painting seminar in the Summer. A number of artists had travelled to attend their course in Italy. Thus she came to the idea of organising a show while everybody was in Europe.

After a late night skype session between Amanda, Dennis Konstantin and myself, Dennis made himself busy with the flyer and Amanda busy organising the other artists, which is often compared to herding cats.

Dennis drove down from Hamburg in his spacious blue VW van. A vehicle well kitted out for adventures, so it fitted our needs very well. After stopping over for the night in Berlin, we loaded my artwork into the van and began our long road trip to Vienna.

René and Lisa graciously housed us in their living room for our stay in Vienna. So I must thank them again for their hospitality.

On Tuesday we made trip out to one of Dennis’ collectors, who endless numbers of Fuchs prints and sculptures and now had a growing collection of Dennis’ artwork.

After too many coffees and a light lunch, we trooped over to Amanda’s studio to catch up David Heskin and Aloria Weaver who were staying with Amanda. It is a pleasure to meet the real face behind an internet presence, and more so with David and Aloria. Both had been on Amanda and Laurence Caruana’s painting seminar idyllically located in a medieval village in the Italian hills. They were now making the most of Amanda’s studio in Vienna to finish of some works for our group exhibition “The Irresistible Flow of Time” at Galerie 10.

Wednesday brought Emma Watkinson to Vienna and us to Galerie 10 to hang our artwork. Not all of the exhibiting artists were present and there was much to do. Although we started early in the afternoon, we worked into the night to complete the hanging of 69 artworks in total, making at a very large show. And by the time the hanging was completed, it looked amazing. It was such a wonderful collection of high quality artwork.

Our work was done, so we adjourned to Amanda’s studio again, taking Galerie 10 owner, Michael Scheer along with us. It was again a long night as artists are wont to do, however, we could sleep in for our big day, the opening of the exhibition.

When I arrived, the gallery was wall to wall with people. The opening also brought all of the local Fantastic Painters, and then others from far away elsewhere who just happened to be in town.  Many of these faces I met for the first time outside of the internet. Its reassuring to get to know the real people of these ever present internet avatars.

Two of the other exhibiting artists managed to make time from their busy schedules back home and fly into Vienna for the exhibition, Daniel Mirante and Basia Wiacek.

De Es Schwertberger did all of us younger artists the honour of exhibiting with us and bridging the worlds of the established Fantastic Realists to that of the emerging, oft referred to as, Visionary artists. However, the term Visionary is still up for debate.

We the exhibiting artists were of course very busy the whole evening talking to various people about our art, and of course catching up with and meeting the other artists. Not surprisingly, it ended up being a very late night.

And similarly unsurprising, was a few of the taught faces present the very next morning for breakfast at De Es‘ studio. In De Es‘ expansive inner city studio, we took advantage of the far more relaxed atmosphere and conversed at leisurely pace. Sadly however, this gathering of new and old friends had to eventually part ways, as flights were waiting to whisk people off to new adventures.

As for Dennis and myself, our next adventure was to commence the following day when we returned North to Germany and headed to the Bavarian Forest to visit the opening of  the 1st Biennial of Fantastic Art in the Town of Viechtach. But this is the next news entry.

Following are all of the wonderful artists that I exhibited with.

De Es Schwertberger (A), Amanda Sage (USA), Dennis Konstantin (D), Leo Plaw (D), David Heskin (USA), Aloria Weaver (USA), Adam Scott Miller (USA), Gregory Pettit (USA), Autumn Sky Morrison (USA), Daniel Mirante (GB), Basia Wiacek (GB), Emma Watkinson (GB)

The Irresistible Flow of Time

The exhibition flyer designed by Dennis Konstantin utilising artwork from Amanda Sage.

Back of the flyer

My artwork, Adam Scott Miller, Dennis Konstantin

Dennis and the Blue Mean Machine

Nine hours later we were in Vienna.

Which is your favourite?

Visiting one of Dennis' Austrian collectors.

Trophies

The Dennis Konstantin Collection

The Ernst Fuchs Collection

Only a small part of it.

David Heskin and Aloria Weaver's co-production

Aloria and David made themselves busy in Amanda's Vienna studio.

Up close

Dennis inspects David Heskin and Aloria Weaver's co-production.

David Heskin

Moi?

A meeting of minds

The great debate

Who you looking at?

And this goes with that.

I was Napoleon in a past life

Michael Scheer

Galerie 10 owner

Busy people

The overview

Arranging the exhibition

Amanda and Michael work together on the exhibition hanging.

Working it out

Amanda Sage

Smile for the camera!

Artwork of Dennis Konstantin

Artwork of Dennis Konstantin

Spirals and Waves

Aloria, David, De Es and myself

Artwork of Aloria Weaver & David Heskin

Amanda Sage, Dennis Konstantin, Gregory Pettit

This means whoa!

Dennis Konstantin

Amanda Sage & Dennis Konstantin

Emma Watkinson, De Es Schwertberger and myself

My artwork alongside De Es'

Artwork of Amanda Sage

Adam Scott Miller & Dennis Konstatin

Artwork of Daniel Mirante & Basia Wiacek

What's your thoughts?

Michael Scheer

Time out in Amanda's studio the night before the opening.

Otto Rapp

All the way over from Canada and back in his native Austria.

Otto Rapp and Peter Gric

Lenka Gric and Wessi

Old Friends

Michael Fuchs and Phil Rubinov-Jacobson

Michael Fuchs and Phil Rubinov-Jacobson

In good company

Phil Rubinov-Jacobson, myself and Michael Fuchs

Luigi La Speranza and Sigrid Nepelius

Also in good company

Benedetto Felin and Sigrid Nepelius

The Artists!

All present exhibiting artists line up for a marathon photo shoot. The poor photographers were busy with all of our cameras.

Amanda Sage

De Es and Daniel Mirante

Explanation

Benedetto discovers Dennis' Artwork

Illumination

Phil Jacobson discusses Dennis' Artwork

Aloria, Michael and Amanda

The Travellers

A gathering in the De Es' studio the morning after the exhibition.

Two and a half Sumos

Fishy tales

...and the fish was this big!

Daniel Mirante

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Myself, Héctor Pineda and Micha Colory.Krebs

Stay still long enough and the world will come to you, or network like crazy on the internet. And so it was when Mexican digital artist Héctor Pineda came to Berlin. We first came into contact through some groups on Deviant Art. Héctor organised and edit the book, “Imagine The Imagination – New Visions of Surrealism“, selecting artists from the Deviant Art groups. I was fortunate to be one of the artists included. The “Imagine the Imagination” book project was organised with the Polish publishing house, nEgoist.

nEgoist supports Abnormals Gallery which is based in Berlin and now with a much larger gallery space in Poznan, Poland. Abnormals Gallery recently caused an outcry in Poland over a large banner bearing a swastika and naked Mickey Mouse model, adorning their new premises. If any thing, the gallery is now known before it even opens for it’s first show.

Héctor was in Berlin to meet with the directors of Abnormals Gallery to discuss a possible future exhibition that would would exhibit the artists featured in “Image the Imagination”. But while he was here in Berlin he also made time to meet up with other artists. So it came to pass when I met him on Friday night with his wife and another artist, I convinced him to come with me to pay a visit to Micha Colory Kreb’s colourful and fascinating studio. His apartment is literally a work of art in itself.

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Womb of Creation - Temple of Visions

I am very pleased to announce that I have been invited to exhibit in Los Angeles, at the Temple of Visions exhibition “Womb of Creation”. I am sending two paintings for the show and will be exhibiting alongside, Martina Hoffmann, Robert Venosa, Mars-1, Oliver Vernon, HR Giger, Mark Henson, Amanda Sage, Adam Scott Miller, Carey Thompson, Satoshi Sakamoto, David Heskin, Aloria Weaver, Raul Casillas, Autumn Skye Morrison & many more.

The Temple of Visions is headed up by Jimmy Bleyer who lives in the counter culture warehouse project, the Hive. Over the last couple of years steady progress has been made with establishing the Hive and Temple of Visions with the L.A. art world. It’s mission is to raise awareness of Visionary art.

The Gallery seeks to create a spectacular environment that will bring people together in admiration of art, and in transformation of self and community. In addition to quarterly epics, the Temple will feature a monthly music & visionary culture party, a ’boutique concert series’, and several consciousness raising classes, workshops, and lectures.

www.templeofvisions.com
“The Temple is inside”

GRAND OPENING:
January 9, 2010 from 8:00pm-1:00am
719 South Spring Street
Los Angeles, CA 90014
U.S.A.
$15.00 includes entry to The Hive Gallery

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