Of Stone and Cyber-Sculpture - May/June 1998

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Created: Thursday, 02 April 1998 06:49

From May 20-23, over 2,000 people from around the world attended "Sculpture 17: The 17^th International Sculpture Conference, Chicago 98." The event was put on by the International Sculpture Center (I.S.C.) which has over 10,000 members worldwide and pub­lishes Sculpture magazine. Several other NWSSA members and I were lucky enough to be in attendance. Our own Bill Cooper was a partici­pant in Chicago's concurrent and impressive pier Walk 98 at Chicago's newly renovated Navy Pier. Pier Walk 98 included nearly 200 indoor and outdoor sculptures that were a feast for sore sculptors' eyes. Bill's sculp­ture, titled "Material Witness," made of solid forged steel, was sited in a nearly perfect location near Pier's End. Con­gratulations on a great sculpture, Bill.

Participants in the conference in­cluded artists, curators, collec­tors, technicians, educators and writers. Trade show exhibitors demonstrated a variety of materi­als and tools. The conference presentations included technical demonstrations, slide and film shows, panel discussions, net­working and mentoring sessions, gallery walks, indoor and out­door sculpture tours and social events.

Prior to the conference there were three days of "TECHshops" wherein special­ized professionals taught a wide variety of hands-on skills and offered invalu­able information. Fellow NWSSA member, Suzanne Gentiluomo, and I arrived in Chicago early for our TECHshop titled "Rigging, Installation and Mainte­nance for Large Scale Sculpture." The rigging compo­nent dealt with the methods and materials for protect­ing, lifting and moving of heavy and often fragile objects. A variety of protective materials were dis­cussed including stretch-wrap, Tyvek, packing blan­kets, ethafoam, pellets, and a variety of crating prod­ucts. Lifting devices included the lowly and often overlooked, but extremely impressive, WEDGE, the exciting Johnson bar (the Cadillac of pry bars), pallet jacks, gantries with their associated trollies and chain falls, slings for all occasions and my favorites, the "belly" and "humping" straps. From there, lifting devices went from boom trucks, through 120 ton cranes to "the sky's the limit" heli­copters.

I was particularly impressed with instructor Dean Langworthy's two-part "Ole!" theory for han­dling heavy objects. Part One states: "always have a clear escape route in case an object should fall." Part Two states: "should an object begin to fall, resist the knee-jerk reaction to catch it, move aside in a smooth matador style and proudly shout "Ole!" while watch­ing the bulky beast (that you spent two years working on) crash to smithereens. "

The installation aspect of the class made me realize that one needs to begin installation planning from the inception when creating large ­scale works of art. The instructor, Roger Machin, reminded us to all scale back each single element of our works of art to not exceed I3 '6" in height from the ground (including the height Of the trans­porting vehicle), 102" in width or 48' in length when transporting our sculptures on interstate high­ways. It's so easy to forget and build pieces larger than that, I find, don't you think? It is amazing how many considerations there are to juggle when installing large sculptures.

Dean and Roger lectured us on the strict "Organization of the Rigging Crew." Each member of the crew: the Crew Chief, the Rigger, the Helper and the Operator, all have carefully designated duties and roles. The idea is to discuss the course of action first, allowing for input from all, prior to selecting the final Rigging Plan. When the rigging project begins, each move is carefully choreographed by the singular authority of the designated Crew Chief, using verbal and hand signals much like an orchestra conductor. I was impressed with the wisdom of the instructors' years of e:l.1Jerience and organizational ability. However, when the demonstration began, all the methods previously jammed down our throats were tossed to the wind and the typical, "who's in charge here, free-for-all" reigned-none breaking the rules more often than the instructors themselves. I mentally noted an F grade on the instructors' report cards.

Judy Jacobs, an architectural conservator from New York, speaking about maintenance, spent a day and a half pounding into our heads, over and over, one simple sentence: "Use the best materials you can find, design for longevity and do not put anything on stone."

"But, but, but... what about wax, 5 II -Impregnator, etc.?" Ai; participants droned on, I appreciated espe­cially her emphasis on designing for durability and low maintenance. Judy sent us away ,with a "short" bibliography that could sink a battleship on "why to put nothing on stone."

On the first day of the conference, I gave a presenta­tion at the Sculptors' Organizations meeting. I pre­sented our new Camp Brotherhood Symposium pro­motional video tape on a large screen with the aid of a video projector unit. Sadly, the audio portion did not translate using their equipment and I had to ad-lib the "sound over." Luckily I had prepared myself for the worst and pulled it off passably. I made many contacts regarding our symposiums, as there seemed to be a lot of interest. The brochures were gone in a flash.

Throughout the conference there were concurrent of­ferings on a wide variety of topics. One entire day was devoted to the Computer and Sculpture Forum. Along with others, John Hyatt argued "that [this] shift [to cyberscuIptureJ is illusory, based upon our exclusively noun-based idea of what sculpture is ... and regardless of its manifestation as material or immaterial data, thing or "no-thing," sculpture is a living, influential activity." Since I did not attend this forum, I'm sorry to say that I cannot enlighten my readers about micro­processors, robosculpture, telesculpture or Boolean algebraic values. Thankfully there were parallel ses­sions for those of us with rocks in our pockets.

A fair number of sessions discussed such basic prob­lems as what kind of paint to use on outdoor metal sculpture. Artists from all over the world presented slides of their region. I was blown away by the sculp­ture of Sabastian from Mexico, for example. Multicul­tural issues were a hot topic of discussion. Often it was frustrating to have to decide between such great topics as Stone: An Essential Medium or Nature/Nurture: Working with Natural Materials or Three Decades of Large-Scale Sculpture in the Chicago Region, all being presented at the same time. In this instance, I chose Stone: An Essential Medium and was extremely impressed with the words and work of Jesus Bautista Moroles, one of the presenters.

Walks through town were loaded with stimulation. Without seeking them out, I came across sculptures by Picasso, Calder, Miro, and many other artists' works previously unknown to me. Great "Chicago Blues" nightclubs took my top award for evening entertain­ment and Goose Head Ale received my "favorite brew" award. Subway and bus travel was efficient and, aside from one Outer Limits journey through a time warp, my travels were safe and sane.

All in all, I thoroughly enjoyed myself at the confer­ence in Chicago. For me the highlight was meeting and spending time with sculptors from around the world. Hopefully some of these newly found friend­ships will last a lifetime. I would not hesitate to recommend attendance at any future International Sculpture Conference.

I hope that I am able to pass on some of the knowledge I have learned by presenting unscheduled mini-­workshops at Camp Brotherhood this July. Ai; far as rigging goes, I probably know just enough to be quite dangerous, but entertaining. Ai; far as conservation goes, I feel confident that I can teach the "do not put anything on stone" theory (but don't expect me to follow it).

Please come to the next Member's Meeting on June 16, from 7 to 10 p.m. in the Exercise Room of the Shoreline Senior Center, 185^th and I" NE, Shoreline, W A. (Entrance on south side of the Shoreline Center. Call 425-778-6162.) I will speak further and in more detail about the conference, present an annotated slide show of the Pier Walk '98 sculptures that I liked (if the slides turn out), and display a variety of handout information. Hope to see you there. MJ

Art Business Basics 101: You're an Artist, but Are you a Business? - May.Jun 1998

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Created: Saturday, 02 May 1998 06:30

 New Mexico is called "The Land o[ Enchantment." I [eel our studios can claim the same title. (enchant In-­'chant\: Bewitch: to attract and move deeply). However, there’s also a practical side to our work if we want to make it successful. My research [or this column is coming to you in two parts: PROMOTING IT, and ACCOUNTING FOR IT. This is Part 1.

PROMOTING II
We have a yen to work with stone. We go to school, symposiums, talk (a lot!) about it, and spend days in dust and sweat. We even work at day jobs to support our passion. Then the time comes to face how one goes about being seen and sold without losing one's soul and shirt at the same time. Make it the best business you can. Take the final steps of presenting your work carefully and well to as wide an audience as you deserve.

YOUR SIGNATURE
Put your art in your communication. Resumes, brochures, letterhead, envelopes, and business cards are a beginning. The brochure is for selling your art-and the resume is a tool for selling yourself. And the more original you can make all of these ... the more enticing. Your art is you ultimate communication ... why not splash it across your pro­motion? It can become a soulful communication and other cau get excited about your work.

PRESENTATION
Your portfolio is an indication of your work style. Take time to make slides of your work. Constantly update them. It's worth it. You never know when you may need it on a moment's notice.

And allow yourself time to do it well. I found out last month just how it feels to be dogged by Murphy's Law. Even though I started more than two weeks before the deadline for two competitions I was enter­ing, one thing after another happened. The first roll of slides showed incorrect color; I purchased the correct blue filter. The next two rolls of slides came back totally underexposed; the speed selector on my camera was damaged. Four days and SI20 later, as I set up the floods and shot two more rolls, I noticed the "new" film counter that had also been installed wasn't working ... and I didn't know if the film was advancing properly or not.

With only a day away from deadline, I delivered the slides to be developed ... I returned the camera (on warranty), and prayers were said ... and answered! The last day, with the proper labeling and all the enclosures double-checked, I took both entries to the post office with two hours to spare for postmark. Hooray!

INVENTORY CONTROL
Always know where your work is. The longer your career, the more inventory you'll create. An inven­tory control system or an inveutory journal will help you track each piece. Once you have created the first 200 sculptures, they'll become a blur in your mind! Seriously, this is potential income and you do not want to lose track of it. Whether you use your computer. or a card system, it is simple to trace your work.

- Use a numerical system, i.e. #100-96-Alab. Which could mean #100, created in 1996, in alabaster

-  Assigned to this card or data base is relevant information about the piece: materials cost; title;
size; value; date out/location; date sold! check number (that's the fun one!) and the purchaser's name and address. Some artists also attach a photo for reference.

- When a work returns from a show and is re­-consigned to another to another location, replace the
old information with the current location, or keep a log of its activities.

ALL of this is invaluable [or tax purposes and it just may keep you from losing track of a piece. A lost stone is lost income.

PROMOTION OF YOUR WORK 
A thought ... from Insight, by Bruce Holly: ':Art is a process worth doing until it is truly done, and your work deserves the effort. whether you carry it to market yourself, or hire others to do it [or you. " You can learn to bring your art to the world yourself ... or you can partner with an agent, art consultant, gallery, co-op or the internet. Here are some differ­ences within this group:

 Agents can help keep the flow going! They represent your work according to the contract you have made with them and receive a fee when sales or commissions are made. Often "agent" and "consultant" are considered the same when the agent's area of expertise contains some of the responsibilities of the art consultant.

Consultants basically give advice and function as small service companies. They review your portfolios, help you develop action steps, notify you of openings they discover and often charge on an hourly basis. Corporate decisions to buy anything are often supported by these "experts." They collect a commission on sale of art they have placed.

Gallery: "Look for someone who connects with what you do." This advice is given by a consul­tant, Dan Concholar, who targets galleries and other exhibition spaces for clients on the east coast. Use other artists as a sounding board when you choose. By the way, according to Washington law, "if an art dealer accepts a work of fine art on a fee, commission, or other compensation basis, on consignment from the artist: the art dealer is, with respect to that work offine art, the agent of the artist." Usually this precludes an agent representing your work to galleries unless they have agreed upon a multi­level commission fee.

Galleries usually fall into four categories:

1. Lower level with little connections to the money crowd. These galleries usually don't even draw critics.

2. Mid-level with set groups of artists. They mayor may not sell much but they provide a sense of loyalty and commitment. Often the owner of the gallery is financially stable and can support the overhead if necessary.

3. The majority of sales are from the "cutting edge, trend-conscious" ones. They pick up more new artists than any other group.

4, And then there are the blue chip/establish­ment galleries. These have the power.

Whichever you choose, there are good people who can and will help you.

Co-op: Some artists see co-ops as the light at the end of the tunnel. You do not have to pay the large gallery commission and you can control your own artwork. It is a group environment­ commitment and passion are necessary. There are some great ones and some really terrible ones. Often co-ops are developed within neigh­borhoods where they may not be competing with larger galleries, but located close to antique stores or boutiques. Some artists need the time to develop, to get their work out there, to have it showcased ... and just possibly a dealer will see it at a co-op gallery.

Note: Be sure you understand your agreement with agents, consultants, galleries and co-ops. Reod the fine print, document your discussions-do your homework-this is your responsibility and your busi­ness.

Internet Web Site: Brilliant technological ad­vance ... or is it? After much research concerning art sites, I have found very little evidence of sales or phone calls produced by web viewing. However, some artists believe the internet will soon replace the need to send out slide packages. Your clients can view the portfolio of your web page for a sample of your work.

There are a couple of ways you can place your art on-line. You can go it alone-lots of books show you how to create a web page and how to link up to the big search engines (which will help viewers find you)--or you can contract with an art site company. For fees ranging from $10 to $1,000, they can place your resume, statements and images on-line. For example, Art Xpo (http://www.artexpo.com) adver­tises 2 images (3 sizes), your photo, bio and a statement for $39/year. Another one is Art Quest (http://www.artqueSl.com) .

Remember, Buyer Beware! The web is the newest medium for the con artist ... watch carefully any "free services" claim. Again, do your homework ... there are over 30,000 artists shown by Art Resources (http://www.artresources.coml. Go on-line yourself and contact four or five clients of a site. Look for art sites that are linked with the web pages of publish­ers, art collectors, art dealers, etc. And when you are set, promote it. Your web site can become a market­ing tool ... but only if you spread the word.

There are many other ways you can become visible: create your own video of your work; give a piece to a credible auction; publish or be interviewed for publi­cations.

SUCCESSFUL ARTISTS SHARE COMMON CHARACTERISTICS
Barbara Dougherty, publisher of the Art Calendar, spent three years researching exactly what was in common among artist who had in their lifetimes made a living with their art work. Instead of finding careful business plans, here is what she discovered.

Lots of work. Whether painters or sculptors, the artists created a tremendous body of work. There was no absence of inventory, they literally pro­duced rooms full of work. And they also had in common that they had included some "startling large works among their other pieces."

Artists Statements made by the artists themselves. Do not allow a manager or curator (or critic) to decide what your work is all about. Your own statements should be quoted in catalogues and placed on the walls of the exhibit. The viewer of your art has a special presentation of what the work is all about-written by you. The successful artists took their clients on an inside private jour­ney.

Separated themselves from demands. The normal business activities that take place in an office can rob you of the creative spirit needed to produce work which "intrigues a crowd." As the business increases, often the artist will add an assistant to meet these demands. Until this happens, the suc­cessful artist may have family or friends who have more patience for these details'.

*These are the details we will discuss in the next is­sue.

Part II. Accounting for it. Being a self-employed artist; i. e. when responsible for sales tax, what supplies aren't tax-exempt; how to avoid the sales tax on tax-exempt supplies, estate planning, di­vorce (be prepared for community property!). Stay tuned!

© 1998 Patricia Sekor

Resource list: Doughnuts and Destiny, Psychology a/Cre­ativity, Bruce Holly; Art Calendar, April 1998; Washington RCW 18.119.020.