Happy 10th Anniversary!

To Artists & Makers in Rockville, who will celebrate 10 years this coming March 7th!  Art galleries are labors of love and often run by the skin of the teeth of the owners! 10 year anniversary for art spaces is like 100 years for any other business!

Meredith Morris and the art of political art

One of rarest talents in art is to be able to float around different corners of the sensory scene that is everyday living and use the skills of being an artist to observe, create, and deliver a work of art that makes an impactful statement.

Art with political footprints is one of the more difficult and abused genres of the visual arts empire; it can quickly fall into heavy, Soviet-style fascist dogma, or even worse (in the eyes of some - not me) into illustration.

Then there's that astonishing moment when a work of fine art catches not only a moment in history (think of Goya's Third of May 1808), but fills your brain with reactive thoughts and senses, and suddently, places you there, alongside the subject of the work.

Meredith Morris has done that and more with the below masterpiece - she notes about it:

When I went into the streets in 2017 to protest the first election of Donald Trump I had already started a series of paintings inspired by his dehumanizing rhetoric that I named No Labels. This painting, Long Time Coming was an image I took from that day of a black man wrapped in the American flag marching in a sea of mostly white women. The image was powerful and stuck with me making me reflect on the promise of the Civil Rights movement of the 1960’s that I experienced growing up in segregated Georgia as a white girl. The Civil Rights fight made a lasting impression on me and my own family history played a roll there but that’s another story. Long Time Coming is a line in a song by Sam Cooke entitled A Change is Gonna Come.  I purposefully made the background abstract and chaotic to reflect the current political and social situation. However, there are some trees showing through that I leave to the viewer to interpret. This is a painting that asks questions of humanity regarding justice and equality and how long a people should have to wait for those things.

Behold "Long Time Coming" by Meredith Morris, oil in canvas, 2020, 40x30 inches.

Long Time Coming by Meredith Morris
Oil in canvas, 2020, 40x30 inches

This person takes the cake

By now I am getting close to 4,000 emails from female artists who want to be considered and reviewed for the Women Artists of the DMV survey show coming to six Greater DC art venues in September.

99.999% of the emails and interchanges are friendly and professional - there are these others of course - but generally speaking, everything is pretty normal and professional and cool.

Then there's this particular artist... let's calll her Ethel, or Bertha, or Antonia...

She is a talented artist, and sort of in that category that is not what the dealers of art as a commodity would call a blue chip artist, but certainly not an emerging artist either. She has exhibited mostly in the Greater DC area, and is not (as far as I know) ever been represented by any DC area art gallery or elsewhere for that matter.

I selected one of her works for the show, and she was very happy to be invited.

Then it went south.

Ethel sends me an email asking how many pieces would I like for the show; not the only artist who has asked this. I answer that it is only one work per artist, as I'm trying to fit as many worthy artists as possible into the survey show.

She responds by letting me know that she feels that her work and she as an artist have enough "impact" (her words) that she feels that she "merits" (her words) having one work in each of the six venues.

I let a day go to let that sink in.

In the intervening day, she pumps out three more emails on the issue, and asks for my phone to talk to me.

The next morning, another email requests a studio visit so that I can pick up the six works if that "would make me happier."

I decline, and repeat to her that only one work per artist, no exceptions.

"There are always exceptions" she notes in her response.

I go for the jugular then and send her a note asking her: "In your opinion then, which other artist or artists from the accepted list (so far) should have more than one work in the show? Any besides you who should also have six?"

There are some power hitters in this list; and naturally she goes radio silent.

She'll have one work in the show - venue to be decided.

Ronnie Offen can see those colors

In my immensely well-informed and humble opinion (cough... cough...), one of the hardest things to depict in art are scenes of every day life.  It takes immense skill and patience, and a rare ability to "see" what is there and even maybe what others cannot see.

In art school one of my professors - either Alden Mason or Jacob Lawrence - used to tell the story of how Manet was once painting outdoors at a park and looking and depicting a water scene.  A man approached him, observed the painting, looked at the scene, looked back at the painting and commented to Manet, "I don't see all those colors there," he said, pointing to the water and trees.  Manet, looked at him and responded, "Dont' you wish you did monsieur..."

Ronnie Offen can do that and do it brilliantly!

Behold "Two By Two", c. 2015, Pastel on pumiced gator board, 20 x 16  (25 x 21 framed) by Ronnie Offen, who would have seen those colors that Manet saw. The work will be exhibited at the spectacular setting of the Galleries at Strathmore Mansion in Rockville!

"Two By Two" by Ronnie Offen
c. 2015, Pastel on pumiced gator board, 20 x 16  (25 x 21 framed)

On the subject of framing 2D artwork

Me: Custom framing is expensive!

You: Everybody knows that!

The average price for custom framing around the DMV is brutal - and sometimes complicated (or made complicated by frustrated designers posing as framers or artists who have seen too many Rococo framing in museums).

Unless you're Frida Kahlo, generally speaking, the job of a frame for a work of visual art is first and foremost to protect the art.

Period.

And in the 21st century, and most of the 20th, the simpler the better; the less noticeable the frame, the more that the art is noticed.

If you have plenty of shekels, then a good framer will do a great job.

For the vast majority of artists, a frame should not cost as much as repairing your transmission.

For the Women Artists of the DMV exhibition, one of the requirements for wall-hung, 2D artwork is that all framing will be done to professional gallery/museum standards.  That generally means simple, minimalist frames in either wood or metal moulding of black/white/gray colors.  Matted work must be to full conservation standards for mats, professionally cut, and backing - all pH balanced, acid free materials.  Mats should only be neutral tones (all ranges of whites and grays). No need for a colored mat to "match the artwork." No acidic materials at all!

Painters who paint on stretched canvas sometimes have the option to hang stretched canvas unframed as long as edges are professionally dressed or nice and clean or what's called "gallery wrap", where the canvas curves into the back.  Note: The venue which exhibits the work determines the final say.

You: Can you get to the guerrilla technique part already?

Most artwork is done on geometric substrates; even if you cut paper or stretch your own canvas, most of the times it is either a square or a rectangle; ovals went out ages ago; in fact they were never really in - that's just my opinion - not a rule!

In the USA, these art substrates come in standard sizes that apply not only to the substrates (paper, canvas, board, wood, etc.), but also to mats, frames, and glass.

Thus, if you work on a standard size substrate to start with, you're almost home, because then you can eliminate the middle man to getting your work on a wall: the custom framer.

An 8x10 substrate will fit into an 11x14 pre-cut mat and into an 11x14 pre-cut frame; and 11x14 substrate will fit into a 16x20, a 16x20 into a 20x24 and so on.

Around the DMV, both Ikea and Hobby Lobby, and Michael's have ridiculously affordable prices for acceptable, minimalist frames. With Michael's if you sign up for sales alerts, you'll be bombarded with coupons (the best one is their 25% off for your purchase - including sales items; otherwise you get their 55% off regular price coupon emailed to you every 30 seconds).  Practically every frame at Ikea is a minimalist frame, but be careful because many of them are European size standards, which are different from US; however, Ikea frames generally come with acid-buffered mats, with is a nice "bennie" to have.

By the way, if you need a lot of frames in the same size - let's say two dozen frames, then I suggest that you find the ready made frame that you like and that will accommodate tour work (this usually works for photographers), turn it over and see who makes the frame and then contact the manufacturer (if it's in the USA) and see if they will sell you the frames directly. There's usually a minimum order to "qualify" for this option, and thus situations may vary according to your needs.

If you want to do artwork in other than standard sizes, then more power to you, and framing just got a little pricier, but there's also a technique.

First find a ready made frame that is bigger than your odd shaped artwork and visualize the artwork inside the frame. If the proportions are agreeable to you -- let's say you have a rectangular work which can be matted with both sides and top the same and bottom "heavy" - that is perfectly acceptable.

Once you have the frame, go to a professional framer and have them cut you a conservation mat that has the outside dimensions of your frame and have them cut a window that fits your work. Now you are only paying them to cut a custom mat, rather than paying them to do that as well as creating a custom frame and glass from scratch. It should reduce your costs by about 80%.

Then just bring your matted work home, pop it into the frame, attach your work with acid free artist tape or photo corners, and as the Brits say: "Bob's your uncle."

Best way to attach art to the back of the mat board, is by using acid-free hinging tape. You then place it on the top edge of the artwork, allowing the art to hang down without being permanently taped at the bottom. This method allows for natural expansion and contraction of the art, preventing damage over time - important around DMV as we get such drastic changes in humidity around here from super humid to super dry!

I left glass out because there's ordinary glass and UV-glass... and I am not a big fan of plexiglass, although sometimes it is unavoidable.

Melissa Burley added a great point:

Being a professional Art Handler for over 14 years please remember to use the proper hanging hardware on the back of your work. If using D rings make sure the size you use are rated for the weight of the work. French cleats are also a good way to go. If anyone has any questions , feel free to contact me 😊

You want more?

Then this post from well over a decade ago is still a good lesson -- the prices and estimates have gone up, keep that in mind:

A strategy for saving money on framing costs...

According to some stats I read a few years ago in a framing trade magazine, the average cost of framing in the Greater DC region was $67 an hour. It’s probably more than that now.

Other than time, framing two-dimensional work is often the most expensive step in organizing an exhibition (to the artist), and it’s astounding how little most art schools prepare students (and faculty) for avoiding the trap of spending a lot of money on framing.

There are some steps that artists can take to significantly reduce the cost of framing. Here I will try to list the most common mistakes, how to avoid them, and more importantly, how to get your artwork framed for a lot less than taking it to a framing shop to get it framed.

First and foremost: Prepare! Do not leave your framing to the very last minute. Having said that, I know that most of you will leave the framing to the last minute and then panic – go to your neighborhood framing shop, and drop way too much money to get custom frames made for your artwork. If you can afford it, and the price history of you artwork can sustain it – then skip this posting. But if you want to save a lot of money on framing, then prepare!

Do not, under any circumstances let the gallery or a second party take care of your framing unless you have the full costs ahead of time and in writing. Otherwise you will get stuck at the end of your exhibition with a framing bill rather than a commission check.

First of all: If (and only if) you can, work in standard sizes. Most photographers and painters already do. But unless your compositional demands call for it (like mine do), avoid working in one of a kind sizes. American and European standard sizes are different, but US sizes cover a huge range of sizes, such as 5x7, 8x10, 11x14, 12x16, 20x24, etc. If you can work within one of those sizes – i.e. do your watercolor on a sheet in one of those sizes, or print your photo on paper that size, etc. then half the battle is won, as then you should be able to buy ready-made frames that will automatically accommodate your matted work. This is important, as a good frame from any craft store, or from any art catalog, is usually a lot less than having one built from scratch! For example, a 16x20 metal molding frame, back metal brace/clips, wire, glass, pH-balanced acid free mat, hanging wire and acid free foam core backing is anywhere from $20 - $30 in any art catalog or locally (in the Greater DC region) from Apex Moulding in Alexandria (tell them Lenny sent you). Having the exact same frame hand-made in a frame shop is around $100.

If your work, because of composition or whatever, doesn’t fit into a standard size mat or frame, then another tactic is to go and shop for a ready-made frame that is larger than your artwork – at least three inches all around the diameter of the artwork. Then take that frame and your artwork to a frame shop and have them cut the mat for you. Now you are only paying for the labor and materials to cut a mat – not to build everything from scratch.

If you can’t find a frame in a shop that fits your unique sizes, then shop through art supply catalogs and have them make you one. The savings over storefront framers is still significant. I personally buy a lot of frames from this place. Once you sign up, you get their catalogs as well, and then I hit them when they have a sale going on! From any supplier you can order moldings in one inch increments, so if your work is 18x30 inches, then you'd order a set of 18 inch molding, a set of 30 inch molding and it will be delivered with the hardware needed to assemble it - all you'll need is a screwdriver. Then visit your local glass shop for a piece of glass.

Because most solo shows involve a larger number of works, you should start thinking way ahead of time as to the number of frames that you will need. If you can decide that you will need twenty frames for your show, and you know what size they will all be, then go shopping for ready-made frames in any of our local area arts and crafts stores, or other stores that stock frames, such as IKEA or Bed, Bath and Beyond. Once you find a frame that you like, turn it over and see who makes them. Write the manufacturer’s information down, and when you get home, call the manufacturer of the frame and place an order for the number of frames that you will need. You are now buying the frames wholesale and saving yourself the entire store mark-up!

Don’t let the process of establishing an account with the frame manufacturer scare you. They may require an Employee Identification Number (EIN) – you can give them your social security number -- and they will have a minimum purchase (usually $250) – but by the time that you purchase 20-25 frames, that will be easy to meet. All you are doing is ordering the frame directly from the manufacturer rather than buying them through a store – it’s perfectly legal and saves you a considerable amount of money.

If you work on canvas, you may not even need to frame them. Ask the gallery owner – a lot of galleries will be happy to hang canvasses that are “gallery dressed.” That means that the edge of the canvas wraps to the back and that’s where it is stapled – rather than the side. We actually prefer to show canvas paintings that way.

Do not cheapen your artwork by choosing cheap materials. At all costs avoid using acidic mats (use only pH-balanced, acid free mats) and do not use cardboard to back the work – use acid free foam core. Using cheap materials not only damages the work eventually (as the acid migrates to the artwork) but also tells a potential collector that you are not serious as an artist to properly display your work. I am shocked at the number of badly hand-cut mats in acidic mats that I see in galleries all over the country – a lot of time is just plain ignorance of the business side of the fine arts – and the importance of presentation of artwork in a professional environment – such as a reputable fine arts gallery should be.

If you are an artist that moves a lot of work a year, then you should seriously consider learning how to cut your own mats. A sheet of museum quality archival 32x40 inches mat board is around $6-8 and you can get four 16x20 inches mats from it. To have one 16x20 archival mat cut in a frame shop will be around $20. You can buy a decent mat cutter for around $150, and it comes with a video to teach you how to cut mats.

The bottom line is that minimizing framing costs not only reduces the amount of money that an artist has to invest in offering a show, but also reduces the price point of the artwork – a very important issue, especially for young, emerging artists without a sales history track.

Jenny Freestone and the art of prints

The most abused word in the art lingo is the word "print."

Jenny Freestone works in the printmaking media of etching, drypoint, monoprint, stone lithography, photogravure, direct gravure, and photopolymer gravure. Those are all "real prints." If you paint a watercolor and then have it reproduced on paper, those are "reproductions" - not prints!

And Freestone is a master printmaker! She writes about her work:

 I choose my printmaking medium carefully –  the stark etching line, the soft lithograph line, the rich drypoint line or the gravure method, the quality of a photographic image – to reflect the meaning I intend within the print.

Behold "Bird II", c. 2018. Photogravure with chine colle. 10x11 inches.

Jenny Freestone, "Bird II"
c. 2018. Photogravure with chine colle. 10x11 inches

Suzi Balamaci and energy

I met Suzi Balamaci's artwork last year at Strathmore where she was taking part in the exhibition of artists from the three-year Master Artist Program at The Compass Atelier.

Her work stood out to me because it transmitted the subjects so well! One could almost smell the bodies of the sweaty dancers, feel the aura of bought erotica, and they placed the viewer with them; there was a palpable energy radiation from the artwork!

She writes about her work:

I seek out the exhilaration and energy of a scene and capture them in my painting. These micro-moments observing people and their experiences are both nostalgic and reassuring to me. It is within every detail, line, and  snapshot of time in a place that I am inspired to hold onto these moments through my painting. 

About this series she adds:

I started this series after coming out of the pandemic with a desire to paint scenes that gave me a greater connection to the world through a means of something fun – which I was missing so much during that time. I am primarily focused on snapshot moments and capturing an instant on canvas. I seek out the exhilaration and energy of a moving or energetic scene and capture that in my painting. The series has grown to new ideas coming in 2025 that I am excited about.

Behold Bliss, oil on board, 11x11 inches.