Oh yeah, I have work in some shows...

Subdivision - encaustic and oil on panel, 12" x 12"

My work is part of a group show, Shelter, at Olson-Larsen Galleries in West Des Moines, Iowa.

The show runs until January 3, 2009.

The Living Wood - altered book

I also have 2 artist's books in a juried book show, Dog-Eared: Revealing the Contents of Artist's Books at Purdue University.

F3, Languish - collage, oil pastel, solvent transfer, encaustic and oil on panel, two 12" x 12" panels

Upcoming:
My solo exhibit, Seeking Shelter will be on display at the Leslie Powell Foundation Gallery in Lawton, Oklahoma starting January 10, 2009.

Also:
You can follow me on Twitter now:
http://twitter.com/deannawood

I've actually been Twittering for quite a while now, but I set up a new public Twitter persona that is strictly art-related. I won't tweet about my cats or swear like my evil Twitter twin does.

More Thoughts on Pricing Your Work

I was at a meeting of artists last weekend and the subject of pricing came up, as it does often among artists. When I got home that evening I had an email from another artist asking me about my thoughts on pricing artwork.

My friend Sharon Kyle-Kuhn just sent me a link to this Art-Tistics post about pricing artwork. I've written about the subject before, too. And Alyson Stanfield has written about it on her Art Biz Blog several times...

The Art-Tistics author discusses the need to have consistent pricing everywhere - every gallery that sells your work, regardless of region, and even your own studio.

"But artists must be consistent in their pricing and accept the fact that if they are going to work with an art gallery or art dealer or both, then they can’t have them competing with each other and also with the artist, because a good art dealer’s job is to protect both the artist and the collector."

I know for some artists, a 50% commission (which is standard) seems really steep. But the gallery (if it's a good gallery, doing its job) will earn that amount. They will learn all they can about your work and your process and share that information with their customers. They will promote your work in the press. They will contact collectors who have purchased your work in the past. They are salespeople. They want to sell your work as much as you do, and they'll work hard to make sure that happens.

And if you don't believe in galleries and you have the energy and enthusiasm and skills to market and sell your own work, then that's great. If that's the case, the author states, "... you control prices and can do whatever you want, and hopefully won’t be having art 'sales' where you’ll be 'discounting' the work that you sold to collectors a week earlier for a specific price, to a much lower price."

So if your work is in several galleries and you sell work from your studio, please be consistent with your pricing!

Some Like It Hot

I have work in a group show that opens this weekend in Dallas. It's a show of work by members of TexasWAX/Dallas.

Some Like It Hot
Artwork by Members of TexasWAX/Dallas

Curated by Janet Reynolds

Bath House Cultural Center
521 E. Lawther Drive, Dallas, Texas

August 30 - September 27, 2008

Reception: August 30, 7-9 pm

Encaustic Demos: September 13, 2-5 pm
In conjunction with the DADA art walk

Hope to see you there!

Upcoming show in Provincetown, Massachusetts

Safe With Me, collage, colored pencil, and encaustic on panel
24" x 24"
2008

My new Palimpsest series will be on exhibit at Ernden Fine Art Gallery in Provincetown, Massachusetts.

July 25 - August 7, 2008

Opening Reception
Friday, July 25
7-9 pm

I won't be able to make it to the reception (just blew the travel budget for the next couple of years!), but I hope you can stop by if you're in the area.

I've been busy getting this work ready to go. This weekend I was supposed to be packing the work and finishing up a couple, but I started a few new ones instead!

You can see the whole series (so far) in this Flickr set.

Deanna's Excellent Artistic Summer Adventure

I've been busy getting ready for my summer adventure. I'll be gone for almost a month! In a couple of days, I'm headed to the east coast for the start of my adventure:

Part 1 -
The Second National Encaustic Painting Conference near Salem, Massachusetts. I went to the first one last year and had an amazing time. I'm looking forward to seeing some of the artists that I met last year and meeting new ones.

I'll be staying with Kate Miller and Gwen Plunkett, who I just met in February when they came to Dallas for the College Art Association conference. We hit it off and I'm glad that I'll be able to spend some more time with them.

I'll be staying on a couple extra days after the conference. Gwen and Kate have both signed up for post-conference workshops and I may try to get into one of those or I may just do some sight-seeing. Or I may try to recreate my "Planes, Trains, and Automobiles" adventure to Provincetown.

Part 2 -
New York City! Since I have a few days between the conference and the start of my residency, I thought it would be fun to spend some time in New York visiting museums and galleries. Alas, since my search for a Park Avenue penthouse to crash in for free turned up empty, I'll be staying at a cool-looking hostel. I've been to New York twice but was with people who weren't so into the art scene, so I'm excited to get to do anything I want and go anywhere I want! Joanne Mattera has already sent me a Chelsea gallery guide, and of course I'll be visiting museums, too. And looking for good pizza. Art and food. It's all about priorities.

Part 3 -
Artist's Residency at Soaring Gardens in Pennsylvania. I've already booked my ticket on the bus from NYC to Scranton. I'll rent a car in Scranton and then attempt to find Soaring Gardens, where I'll be staying and making art for 18 days.

So now I'm busy trying to figure out how to cram a month's worth of stuff in one small suitcase. I also want to have someone ship my art supplies to me, so I don't have to lug them around.

Thanks to everyone who has "invested" in my residency. I'm overwhelmed by your generosity and I'm really excited to share what I learn with everyone.


I got a new laptop (Betty, pictured above), so I'll try to blog about my adventure as I go along, depending on internet access, of course.

I have a link on the blog now if you're interested in signing up for my mailing list. When I get back, I plan to start sending out a regular (hopefully monthly) newsletter. So please sign up. But don't worry if you don't hear from me for a while - I'll be adventuring!

Different Bodies of Work

Recently I've been wondering how to handle marketing different bodies of work. I guess I've always had 2 distinct bodies of work - paintings and artist's books. Most of my books haven't really dealt with the same imagery or subject matter as my paintings, so I've kept them separate. I really haven't marketed them much, since there aren't many galleries that carry artist's books. Mostly I've just entered them into juried book shows, when I can find them.

Deanna Wood, At the Park (detail), inkjet prints, chain, pipe, and aluminum

My "main" body of work in painting has been the Seeking Shelter series, dealing with the idea of tornadoes and dreams of tornadoes. I have really enjoyed doing these paintings and I don't feel like I've exhausted all I have to say on the subject.

Deanna Wood, Fragile (in progress), 12" x 12", encaustic and collage on panel

But I have wanted to take a detour every now and then and work on something else. Last year, I collaborated with Trayc Claybrook, where we each created work based on the theme Waxy Buildup. We're in the process of finding a venue for our combined work. We have two that have accepted our proposal, but no firm dates yet.

Deanna Wood, Poise, 12" x 12", collage and encaustic on panel

Some time last year, I began to play around with the idea of "palimpsest." When tablets, paper or parchment was not so cheap and plentiful, people would often scrape off or erase writing and reuse the tablet or sheet for something else. Occasionally the writing that had been erased would reappear. My encaustic process often involves scraping and reusing, so I began to play around with this idea. Initially, the work was too abstract for me, and I felt that I needed some imagery. I decided to incorporate bird silhouettes with the idea that birds sit around silently and listen to our secrets and then fly away with them. So the idea has evolved into hiding and revealing secrets.

Deanna Wood, Whispers, 24" x 36", encaustic and collage on panel

Initially I was worried that this work would seem too decorative or just "pretty*," and too different from my other work. But the feedback I've gotten has all been positive. And I do think it still looks like my work.

OK, so what do I do with it? I've gotten a couple of suggestions from other artists that I admire - one suggested that I contact art consultants and another suggested that I create a few more pieces and approach one particular local gallery.

Alyson Stanfield, in her book I'd Rather Be in the Studio, suggests that each distinct body of work should be marketed differently. "Each body of work that looks like a different person did it will be marketed to a different audience."

I'm sort of doing that. I'm offering the Palimpsest work to my current galleries but also stressing that I'm continuing my Seeking Shelter series as well, and they can have whatever they want. I'm also working on more to build up the Palimpsest body of work to market to new galleries and consultants.

I keep track of all the galleries that I have sent packets to, and I will send them information on my new work. Perhaps they will see potential for the new work that they didn't see in the old.

If you create distinct bodies of work, how do you handle marketing them?

* As in, "not serious." I respond to most art emotionally and tend to be drawn to work that I find "beautiful." I don't know why I avoid that label for my own work.

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Now playing: The Sea And Cake - Up On Crutches
via FoxyTunes

A Learning Experience

Which is what people seem to say when something goes wrong and they're trying to be positive...

I received work back from a show and the work was not packed properly. I was mad at first but now I'm just mad at myself. It's mostly my fault. I helped unpack the work but wasn't there to pack it up at the end. I just assumed that someone who helped unpack would pack it up or at least clue that person in...

Never assume.

So what happened was that whoever packed the paintings didn't put the archival paper on top of the paintings. This allowed the bubble wrap to lay directly against the surface of the painting and the pattern of the bubble wrap was transferred to the wax. It's hard to photograph but you can see it in the photo above in the right half - those shiny areas.

Maybe it's easier to see in this one - you can see dark and shiny circles:

What gets me, though, is that there was a piece of paper in EVERY box. Every painting was sent back packed in the correctly labeled box but the protective paper was disregarded underneath... Somewhere along the line it seems like someone would have wondered what it was for and clue in. Oh well...

Lesson: I should have included detailed packing instructions.

Fortunately it can be fixed. I will have to reheat each piece very carefully with a heat gun - that seems to make it go away. If you've done encaustic, though, you know that that can be tricky. Sometimes if you heat something just a teeny bit too much the wax will begin to run and you can lose your images, sharp lines, etc.

Here are the foamcore boxes that I make for my paintings. There are a few that I made out of cardboard, too...

I put labels on the top and sides with my name and address and I tape a thumbnail image on the top and sides as well.

Yes. I'm anal retentive.

But in a good way?

Update:
Kirsty Hall wrote a great post about packing artwork.

I also posted about packing and shipping previously (and obviously didn't take all of my own advice!).

And I should also mention that Cheryl McClure found some perfect already-made boxes.

Etsy Shop

Etsy Buy Handmade deannawood

I added a bunch of stuff to my Etsy shop. Please check it out. If you're not familiar with Etsy, it's a wonderful collection of cool handmade things for sale. Mostly craft and designerish stuff - jewelry, purses, baby items, blank journals, greeting cards, prints, etc. But there's some good fine art there, too.

I had created my Etsy shop over a year ago and posted a few paintings but I was advised against it. Since I'm going the commercial gallery route (as opposed to alternative venues, selling only online, etc), it's seen as being in competition with my gallery. I completely agree with that. BUT, I've got all these small paintings that galleries don't want. And I need to make some money!

So I decided to create some small, fun things that are much different than my work that the galleries feature and will be more affordable.


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Now playing: the pillows - MARCH OF THE GOD
via FoxyTunes

Thanks and welcome!

Thanks to Alyson Stanfield at the wonderful artbizblog for mentioning this blog twice recently!

And Joanne Mattera mentioned my work at Ernden Gallery in Provincetown, Massachusetts recently. Thanks, Joanne. I'm proud to be included in your "Wax Walk!"

Welcome to those of you who found your way here through Alyson or Joanne.

If you're here for the first time, check out the list on the right of "Helpful Posts." You'll find information on writing an artist's statement, putting together a proposal, designing a postcard, and many other things that artists often struggle with when starting out.

Please leave a comment. I love hearing from artists and the comments are often how I find new, interesting blogs to read.

Thanks for stopping by!

How Galleries Choose Artists to Show

Panel Discussion sponsored by the Greater Denton Arts Council. June 14, 2007

Panelists:
Nancy Whitenack from Conduit Gallery, Dallas, Texas
Marty Walker from Marty Walker Gallery, Dallas, Texas
Burt Finger from Photographs Do Not Bend, Dallas, Texas

The GDAC hosted an exhibition of emerging artists that are represented by galleries in Dallas (Denton is about 35 miles north of Dallas). They also hosted this panel and invited arts groups and art students from the area universities. I took notes and wanted to share them with you.

Nancy Whitenack:
Her gallery features two major spaces and a small "project room" where they show artists that they don't represent.
She sees the gallery/artist relationship as a journey.
She watches the artist change and brings the public around to the changes.
She picks artists instinctually.
She does studio visits and views juried shows.
She responds to work that she immediately resonates with and connects with - she has to love the work.
She tries not to overlap other types of work - not have two or more artists that do the same thing.
She likes work that examines a story in a different way.

Marty Walker:
Suggests that you take time to visit the gallery or website to see what the work looks like before you approach a gallery.
She sees several variables - she must like the work - the resume and exhibition history is important but not the final decision. She's willing to take a chance on an artist.

Burt Finger:
He looks for an artist that will add something to the gallery.
He thinks about his clients, not just what he loves.
Suggests that you do research on a gallery before you approach it.
He prefers artists who have work in major museums and who have a monograph.

Q&A:
What is the role of an alternative space?
Alternative spaces are important - Some recent grads are not necessarily ready for a commercial gallery. They're great for creating a community of artists and are important for experimental work (there were several artists present who are on the board of the 500X, a prominent alternative space in Dallas). But all of the gallery directors said that if they believe in an artist, they would be willing to show experimental work.

How should an artist approach a gallery?
If you're local, go to the openings and meet the gallery director.
Build up a relationship first.
Make a personal connection.
If you have work in a local show, ask them to visit to see your work.
Participate in major local juried shows (in this area it's the Contemporary, the MAC, Art House, Art in the Metroplex, TVAA, etc.)
Show work in non-art spaces to begin with - coffee shops, etc.

What makes you want to visit an artist's studio?
The artist has to be serious.
It helps to have built up a relationship.

What about exclusive contracts?
Marty Walker and Nancy Whitenack said that their contracts are usually just locally exclusive (if you show with them you don't show at another competing gallery in Dallas).
Burt Finger said that he prefers his artists to be exclusive to his gallery.

Other thoughts:
Most galleries will send out packets with info on their artists to museums and collections.
They all said that they didn't have any bias against self-taught artists.
If energy is happening in your studio then everything else will fall into place.
Don't expect to produce part-time effort and expect full time results.
Artist's recommendations are very important. They place a great deal of importance on recommendations from other artists.

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Now playing: Red House Painters - Another Song For A Blue Guitar
via FoxyTunes