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happiegrrrl
Trad climber
New York, NY
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Jul 31, 2006 - 11:18am PT
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1. What is on your walls?An eclectic mixture, including:
 Pinhole photo, new, made/sold by local artist, of bridge in Central Park(since you're a photog)($25)
An Arts&Crafts print(don't know the name of technique), from 1925, with a handwritten inscription on the back; shows it was a holiday gift to an acquaintance($15)
Antique Chinese carved wooden panel, bought while in Hong Kong, at a mixed antiques store($150)
Antique tin lantern, bought in Hong Kong as well,. Hand made, probably about 150 years old. Cool thing was that none of the people I knew in HK (not very many!) could translate it with certainty. They said the characters were "old language," but it says something about the light on one side, and something about guidance on the other. Supposedly, the antiques dealer I purchased from, says this type of lantern was used in the opium den.($150)
Stickley stained glass lamp(not antique)($750)
Stickley Spindle armchair(reproduction of original design)($1,200)
Antique tapestry(made in Belgium, likely for tourist trade) of several asian women lounging in a garden($45)
Antique carved wooden bowl, like the cocoo clocks, signed, dated and inscribed
Native American(Plains) woven rug
Early 20th century print of sepia-toned painting, Arts & Crafts feel, lady and children at leisure near a lake's edge($20)
A selection of "Cozy Kitten" ceramic kitchenware, from Holt Howard(1950's kitsch)(varied prices - $15 to $45)
Hawaiian mask, new, tourist trade, bought in Hawaii in 2001($50)
Assemblage piece, of salvaged materials including tin, wood, glass, paint, leather and charcoal, gift from an artist whom I sheltered in the "big city" when he came up here to do an exhibition that was a total sham(gift)
1800's art tile, Minton($200)
Painting done by my brother-in-law, and kept because it is good(he had talent). Modern, mixture of acrylics, housepaint, nail polish, on masonite set upon wood frame, of a spac-aged socialite with blue skin, holding a little white dog. My first piece of purchased art($400)
Paper cut silhoutte - new, from craft artist, purchased at craft fair($45)
Paper cut silhoutte - antique, from antique market, signed, dated 1945($15)
Antique french iron-framed, easel style vanity mirror, bought at an antiques gallery($150)
2. Do you collect art?Yes, but not actively, and I am poor, so my art is not gallery art. Still - it is important to me that what I choose to be representative in my living space reflects a distinctive sophistication that is an extension of my own philosophy on what is beauty.
3. What medium do you like best/own most of? Why?I like decorative arts mostly. Purely "just for pretty" isn't really enough to merit space.
4. Do you own original art, or are posters/reproductions good enough? I would own repro's IF there was some how a "connection" to the person who created it. Signed series or something.
5. Have you ever spent more on a piece of art than the cost of your television? When I had a tv, it cost $99, so the answer is yes. And curently, I would have no issue at all paying(if I could afford it) many times more than the cost of a $2,000 television, for a piece of art)
6. Do you own any original climbing art, including fine photography/paintings/sculpture, etc.? No.
7. Do you support artists you know by buying their artwork? I have.
8. Have you ever bought art from a gallery? No, except antiques stores
9. How many times a year do you go into a gallery? I live in Cheslea.....I peek in the windows nearly daily. I do go in on occassion, but not nearly as much as I should, considering the incredible amount of work within my neighborhood
10. Do you prefer to buy directly from the artist? I have, but this is mainly because I am not of the affluent type who buys art from established artists. I think it is not necessary to buy directly, and not feasible. I would never expect an artist to be spending their time acting as a sales agent, because I know that it is very difficult for me to do so, in a capacity that would support me financially. Still, it's nice if the artist isn't cloistered and completely separated form the selling venue. There should be some sort of energy connection - the representative must be able to transmit that energy, and not simply making money.
11. What is the most you would ever consider spending on any piece of art? This is dependant on the amount of money I have at the time in my life. Right now, I can't afford more than a few hundred dollars. But the truth is - there is no relevant connection(for me) to a "cut off" in what is acceptable/appropriate. If I could afford to pay a million dollars for a rare piece of artwork that I felt was beautiful, the amount paid would not be part of the equation afterward.
12. What factors influence your decision to buy/not buy art? (personal tastes, price, size...) The price is determinant only because it allows me to bring that piece home or not. I simply understand that I will probably never own a signed/numbered Lichtenstein print, like I see in one of my client's homes. If I was in the income level where that was a possibility, the price doesn't matter. The biggest factor is that the piece needs to resonate with my own personal feelings. I would NEVER choose a piece because it was "supposed" to be art, and others liked it, if it wasn't what I like. It is important to me that the vibe is good at the place of sales. Very important.
Two examples of "things gone wrong":
I went into a ceramic artist's gallery/store front, and saw some mugs that I liked. I wanted to buy them, and I DID want to support the artist. When I went to pay for them, she sat on the phone, not acknowledging me - actually making me wait - and it was a non-emergent, non-business, personal call. It was not right. When she got off the phone, she acted like a clerk who was on an hourly wage. Shocked, i was, to find out she was the artist. Clearly she hated being stuck at that store, and she treated me with disdain and sadism. I WISHED I had told her I'd changed my mind, and why. But I bought them. I remember that moment EVERY time I see those mugs, and regret the purchase.
When I bought the wooden bowl, I really liked it. Then, as I walked away, I heard an antiques vendor a few stalls down talking to the guy. She said "You finally unloaded that thing!?" It totally tainted the experience. I couldn't believe how, with one sentence, that lady ruined it for me. Of course, I think of that moment too, every time I see the bowl. Interestingly - because the bowl is an antique, and the artist inscribed it, I have been able to "separate" the dealer and the creepy lady form the bowl and it's creator. They were simply a bad link in the chain. I almost feel sorry for the bowl, like it had been in bad hands during this time in it's existence..... Energy, when it comes to art - is really, really important. Even for people who don't feel the connection of energy within the world.
[i/] 13. What is your favorite piece of art, or who is your favorite artist? Why? I don't have a personal favorite. It's all about the energy that happens in the moment of interaction. Someone comes to my home, stops at a piece and a dialog develops. At that moment, the artwork seems alive. Or, when I am viewing the piece alone - same thing. It's like the work is sort of "sleeping" in between. No favorites. Just feelings.
As you see, my art is nearly all decorative, and the important part is the connection of the moment in time as to when it came into my possession. To me - there is a definite connection "from the artist's hand." While I was making my own glassworks, this was an intense feeling for me. I would feel the energy of inspiration/dedication to the creation coming into my body(I know....wooo-ooooo, space cadets...) from above, and coming out of my body through my hands(like a prism and light). This was a very, very real feeling for me. And then, when I was finished with the piece, the handling of it was also important. When ever I move the work(from workspace to storage/display, etc., it was, in a way, sacred. Even though my work was pretty "low budget"($average selling price of $45).
When I am bringing the work of another artist into my possession, I want to have a good feeling of that artist, or the seller's "hands" - the tradeoff/transition. Maybe this is a nonexistent component to a lot of people, but for me - it is of the utmost importance.
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Jennie
Trad climber
Salt Lake
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Jul 31, 2006 - 12:43pm PT
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Good thread. I'm an aspiring painter who must work at a day job to avoid starvation, so I'm scrutinizing all posts, here.
Jackson, Wyoming has over two dozen art galleries, which may be the highest per capita in U.S., or at least for a town that small. Yet it's quite difficult for a nonfamous artist to get gallery space there. I know for a fact that climbers frequent the galleries,in Jackson. My observation has been that climber's in the Rocky Mountain states tend to like landscapes and favor realism in landscapes over impressionism, surealism, etc.
I've sold less than two dozen pieces of art and given most away to friends and family so I'm far from an established professional. Most of my art has been sold in Utah or Idaho at art shows rather than galleries. My art tends to find favor with tourists more than locals or climbers. Again, as far as mountain landscapes, I believe climbers prefer realism and detail but I have climber friends who purchase animal art with a expressionistic or even a surrealistic flair. One climber friend likes abstract art so maybe one can't generalize about stylistic preferences among climbers. But I will stick with the premise that, in landscapes, climbers prefer realism and detail.
I paid $3,000 for a Joanne Hennes original once, but later sold it through a gallery. I haunt the galleries in Salt Lake and Jackson. My walls are decorated mostly with art given to me, as gifts. I only hang my own work, at home, when I'm hoping someone will ask for it.
There are a few painters displaying larger landscapes for $15,000 to $40,000 in Jackson galleries. They seem to be selling them but I think they're going into the trophy houses of the rich that are eating up the land in Jackson Hole.
Hope you can keep this thread going.
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G_Gnome
Social climber
Tendonitis City
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Jul 31, 2006 - 02:40pm PT
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Too many questions Jerry.
I mostly have photos on my walls. I have a couple Verns and a couple Ansels and a couple by my friend Rich Grigsby. I also have some of my own work there. I have a few paintings and a couple framed posters that caught my eye over the years. Most are landscapes. Some are climbing related. I think maybe $300 is the most I am willing to pay for a photo these days. And I am somewhat plaguristic because if I see something I love and I know where it was taken I will try to reproduce it on my own. Some of this is learning lessons and some of it is probably sort of stealing. I still have to pay for the print and framing though.
In actuality, I intend to buy one of your prints soon (Whitney) but I haven't budgeted it in yet what with a gallon of gas at $3.50 and me going climbing every weekend. Maybe this winter when I only need to drive to Josh.
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caughtinside
Social climber
Davis, CA
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Jul 31, 2006 - 03:14pm PT
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1. What is on your walls?
Some paintings, some framed photo prints
2. Do you collect art?
Not really. I buy stuff that really catches my eye.
3. What medium do you like best/own most of? Why?
Paintings and photography. I prefer wall hanging kind of art to sculpture, etc. I like sculpture, but I don't need help with more clutter/stuff/dust gathering equipment in my living space.
4. Do you own original art, or are posters/reproductions good enough?
Original. Unless those photos where they make 100 prints doesn't count...
5. Have you ever spent more on a piece of art than the cost of your television?
Yep. No tee vee for me.
6. Do you own any original climbing art, including fine photography/paintings/sculpture, etc.?
No. However, I have been looking for some good Joshua Tree photography. I've looked at a couple online galleries, but nothing really spoke to me. I would love to get some josh on my walls, so if you've got links, post 'em!
7. Do you support artists you know by buying their artwork?
I have.
8. Have you ever bought art from a gallery?
no.
9. How many times a year do you go into a gallery?
a few.
10. Do you prefer to buy directly from the artist?
sounds cool, but really no preference. I just want art I love.
11. What is the most you would ever consider spending on any piece of art?
Right now, probably not more than $500, maybe $1000 if it was super rad awesome. But I don't own a house...
12. What factors influence your decision to buy/not buy art? (personal tastes, price, size...)
Mostly personal taste and price.
13. What is your favorite piece of art, or who is your favorite artist? Why?
I have an unbelieveable photo of emerald bay at dawn. the frame is 4x6' and the photo fills much of it. Love it...
If someone wants to start a post w/ links to great Josh photography, I would be psyched.
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Karl Baba
Trad climber
Yosemite, Ca
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Jul 31, 2006 - 03:19pm PT
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Hey, I'd better post on a thread with "buy" and "art" on the same subject line. I'm hanging in the High Country a lot these days but popped into a Mammoth Cafe to check email
1. What is on your walls?
90% is my own images. Sometimes I'll have an exhibition and when it comes down, the images have to live somewhere. So my house is the gallery/buffer zone so I don't have to store stuff.
2. Do you collect art?
I couldn't bring myself to spend money on somebody elses photography but I like to support artists of different sorts. I just bought a Dvd about David Brower by Kelly Duane after I met Dick Duane and appreciate what they do for climbers and the environment. Same goes for musician friends.
5. Have you ever spent more on a piece of art than the cost of your television?
maybe we should refer to the "value" of my television which is 15 years old.
9. How many times a year do you go into a gallery?
I like to check out what other folks are doing. I'm sure they can take one look at me and know I'm not an ideal buyer type.
10. Do you prefer to buy directly from the artist?
Absolutely.
13. What is your favorite piece of art, or who is your favorite artist? Why?
I'm my favorite artist and even my favorite human. I'm afraid that's pretty much true for all of us. Who would trade with anyone else? I can even handle the smell of my own farts. Not much of a stretch to appreciate my own art (just remove the F)
But I see a long road ahead to develop my creativity further. I guess I have fears that some of the creative directions I'm tempted to explore are less commercially viable than the stock landscape and climbing shots I've been doing, although the opposite is undoubtedly.
I find that, even though I offer online ordering/worldwide shipping and a satisfaction guarantee, I don't sell that much through the net unless they've seen my stuff in person. Folks aren't used to net art purchases and seeing something at 600 pixels isn't the same as 20x30.
peace
Karl
http://www.peaklightimages.com/
online galleries
http://www.printroom.com/ghome.asp?domain_name=peaklight
Last night's experiment
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graham
Social climber
Ventura, California
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Jul 31, 2006 - 04:01pm PT
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I bought one of Jerry's prints because it was worth it. Have a Jody shot also. I'd like one of Karl's masterpieces as well. So yeah, I buy art.
JL
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Jerry Dodrill
climber
Bodega, CA
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Topic Author's Reply - Jul 31, 2006 - 04:35pm PT
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"I'm my favorite artist and even my favorite human." That was insightful, and I believe you. We're really different, Karl.
Right on graham!
One of my favorite/most inspirational artists is Andy Goldsworthy. I like the intangibility of his work, and how it is process/experience based. It doesn't exist for most of us except through careful documentation,artful photography, and publication. His work has led me to look for natural patterns and compositions in nature that capture the imagination.
The most directly influential artist to me was Galen. We spent a lot of unreal time together in the field. I watched him closely, immulated his methodology, shared his enthusiasm for nature, light, and life. What an experience! It's hard pushing away from his style and creating a unique style of my own. I don't play up that experience much in my marketing because I want my work to stand on it's own. Invariably people pick up on the influence regardless.
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Karl Baba
Trad climber
Yosemite, Ca
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Jul 31, 2006 - 05:00pm PT
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I wasn't aware of Goldsworthy until recently. I have all these stacked rock scuptures around my house so I can relate.
I should clarify that "Favorite" artist doesn't necessarily mean "Best" I admire lots of artists, but when it comes to whose welfare I look after, well, I'm just being honest.
Peace
Karl
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Jerry Dodrill
climber
Bodega, CA
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Topic Author's Reply - Jul 31, 2006 - 05:46pm PT
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I was wondering. We have to look out for ourselves. There are a lot of "starving artists" out there who are really good. I'm only hungry, so if I can help out those who are starving, well, I do. Especially musicians; I can afford CDs.
Great info everybody.
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Nate D
climber
San Francisco
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Jul 31, 2006 - 05:53pm PT
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That's interesting you guys bring up Goldsworthy, 'cause I didn't want to list any names under "favorites", but his was definitely one that came to mind in terms of contemporary artists. I do really like his approach, but not always the execution.
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Jerry Dodrill
climber
Bodega, CA
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Topic Author's Reply - Jul 31, 2006 - 05:55pm PT
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Do you care if a photograph is part of a limited or unlimited edition, even if it is a digitally printed image where each print is exactly alike?
Would this effect your decision to buy?
I'll share my perspective on this later. I would like to hear your thoughts on the topic. It's often a can of worms.
edit:
Nate, I agree (I do really like his approach, but not always the execution.). But every piece can't be a masterpiece. He's damn productive and creates a ton of work. Each failure adds to the success of something in the future.
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David
Trad climber
San Rafael, CA
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Jul 31, 2006 - 06:20pm PT
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re."Do you care if a photograph is part of a limited or unlimited edition, even if it is a digitally printed image where each print is exactly alike?"
That's pretty much the million dollar question when it comes to the process of marketing and selling photography isn't it? My own feeling is that limited editions are a contrived and artificial way for dealers to manage the price point over an extended period of time in a manner that is more typical of paintings and to raise the status of a photograph to collector’s item.
I understand the thought process and I don't begrudge any photographer for trying to make money but I think limited editions are ultimately a rather silly concept and I would seldom be willing to pay the extra cost associated with such an image. The fact that you can with relative ease produce multiple copies of a single image will forever set photography apart from painting. I’d rather see photographers embrace this fact and figure out ways to sell more rather than fewer images.
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Karl Baba
Trad climber
Yosemite, Ca
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Jul 31, 2006 - 06:37pm PT
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I think limited editions are a joke and I hope I won't play that game.
It makes my laugh when I see a photographer who isn't Galen Rowell selling a "Limited Edition Print" number 3/500 priced at $1000. They'll be sitting pretty by the time they sell the other 499.
There is a potential for corruption here too as the artist might turn around and sell a different crop/size of the same image or the image they snapped 15 seconds earlier.
Some collectors insist on number/limited editions. I think it's snobbery (or maybe investing)
Still, if Bill Gates rings me up, I'll negotiate anything. Only have so much pride and just don't want to be bothered to number prints.
Peace
karl
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David
Trad climber
San Rafael, CA
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Jul 31, 2006 - 06:45pm PT
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Speaking of Bill Gates...
I've always thought it would be interesting to see photographers sell images in a manner that is more typical of software. In other words the intellectual property rather than actual physical print is the source of value. Let's say I purchcase an image for $400. I understand that I'm paying an initial cost in order to purchasing a slice of that particular photographers hard earned vision and talent. However, let say that five years later a better printing technology is available. I'd like to be able to by an upgrade for the actual cost of replacement. Let's say I move in to a bigger house and want to upgrade to a larger print. Again, it would nice to be able to simply pay an upgrade fee. I'd like photographers to be less precious with prints and more creative and flexible interms of how they market and sell images.
I think that days is coming. Photography has been bound by the gallery business which evolved around selling paintings but I just don't think it makes sense in the day and age of digial photography.
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G_Gnome
Social climber
Tendonitis City
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Jul 31, 2006 - 07:15pm PT
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I pretty much agree with David. As a person of modest means I don't care about owning limited edition prints. A long time ago I really wanted to buy a 20x24" print from a famous Jackson photographer but the limited edition was sold out. I am pretty sure that by now he would have sold many times the number of prints he has for way more money if he had not gone with limited editions. He has a few special photos that I have never seen anything close to that have been unavailable for many years. While he probably makes plenty of money off his craft I am sure in the long run he would have made more by selling more prints. When I buy a photo it is because I fall in love with the photo, not to collect art.
And I also agree that it would be nice to be able to reprint the photo we bought 20 years ago with today's technology. And while the artist will often trade your print for a larger one, this is not quite the same thing.
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Jerry Dodrill
climber
Bodega, CA
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Topic Author's Reply - Jul 31, 2006 - 07:27pm PT
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David,
I have customers upgrade frequently. They might fall in love with a big print, but can't afford it. They buy a small one, then later want a bigger one when they have money. I use their original purchase as a credit toward the larger print of the same image, as long as they return the small print in the same condition they bought it.
BTW, even Galen backed down on limited editions. All of his later work was unlimited edition. To my knowledge, Ansel never limited his prints, but each was unique, by nature of the process.
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David
Trad climber
San Rafael, CA
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Jul 31, 2006 - 07:35pm PT
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Jerry,
Good to know. However, my comments were certainly not intended as criticism of your personally. Just thinking out loud.
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Jerry Dodrill
climber
Bodega, CA
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Topic Author's Reply - Aug 1, 2006 - 11:42am PT
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RE: Limited Editions.
They have a valid place in the art market. Consider the print making world where the plates/blocks wear out with the continued pressure of the press. Edges crumble. Later prints in the edition are less sharp and lower quality. Often the early prints, artist proofs and first few of the edition, were made by, or at least supervised by the artist as they came off the press, then the rest of the edition made by a commercial print maker. Earlier editions were higher quality - worth more. Black and White photography printed traditionally by the artist is also a good place for it. Early prints may have historic value, and later prints show the time and experience the artist has spent mastering the print fom a particular neg. A simple date of printing could have the same effect, but not as good to a collector.
It follows that collectors and galleries would expect the same from photographers now. Create a limited supply that can be market to their collectors. But every photographer has a different system for establishing editions. Some may do 100/image. Others may do 300/size and keep releasing new sizes/editions simultaneously or when one runs out. It's bogus. If you are making digital prints, each one should be identical to the next, so the very concept of limiting editions to indicate where it stands in the print run in terms of quality isn't really applicable.
To most buyers it may never matter but they are used to everything being advertised as "Limited Edition." I have a limited edition jeep grand cherokee (Orvis Edition), a limited edition fishing pole, a limited edition bottle of wine, book, coffee cup, oh, and the great "Collectors Edition" magazines. It's all marketing hype.
California artists are required to keep track of their editions because there has been so much fraud. We have to supply a certificate of authenticity. It all creates a lot of paper work, but customers do like it. It's a headache for me. I don't believe in mass production or enhanced giclées (ala kincade), just make as many as you can sell and sign. When you die the only originals are the ones you personally signed in pencil. When you sign it you are approving it as authentic.
A gallery recently told me that limiting editions is motivation for the artist to keep making new work. Its a hollow argument. I keep making so much new work that I hardly ever keep showing the old work long enough for an edition to run out. So I've probably only sold about twenty five or thirty of any one print. I'd say that's pretty limited.
Maybe some day I'll regret not having editions, I don't know. I can always release a "NEW EDITION" of new work and really limit the heck out of them. How about limited editions of one. 1/1 would look great on the matte. I could sell them for thousands of dollars each as originals. Who wants to sign up? Pre-order NOW! Send checks for your very own limited edition print to...
Coffee kicked in. I'm going climbing.
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malabarista
Trad climber
San Francisco, Ca
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Here is my Balinese Vishnu on Garuda:
[url=http://imageshack.us]{{img}}h~~p://img370.imageshack.us/img370/355/garudagf1.jpg[/img][/url]
It is only 22 inches tall and about 10 inches wide, note the incredible detail of the carving!
I buy art only if it has some sort of spiritual resonance for me. I conceive of the decoration of my living space as serving as a magnifier of my energy field. I prefer to collect while on my travels and get to know the actual artist who produced the work, rather than buy from middlemen or galleries (although I have done this, I prefer not to). My collection is small so far, and the prices I've paid modest. The most I've ever paid for a piece was about $400.
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