painters TUBES magazine

leading specialist art publication

Category: # UK leading art magazine

The Web Highway or the High Street way? Spike muses over selling Art

painters Tubes magazine-article

‘Spike’ where do artists sell their paintings?

A year or two ago I read an art exhibition review which was pretty damming, not only to the exhibition in question, but also to the artist who made it. This wasn’t an anti-post modernist twentieth century rant, nor was it an intellectual twenty first century tirade of what Art should be or indeed what it actually is. Not at all, this review was more like the angry comments one sometimes reads after an essay about Contemporary Art. You know, those rants at some arts columnist who infuriates everyone with his almost myopic intellectualism that uses sentences filled with nine letter and twelve letter words that were lifted from a thesaurus the night before. To be honest, at first I laughed and then I was taken aback at the ferocity of the attack and then I felt really pissed off….

…the newspaper reviewer started off with, “that he found the exhibition so boring, that he could hardly find anything [to write about]. So, what was this horrendous exhibition he was so incensed about? – Artists vomit ‘installed’ on the floor of a gallery perhaps? Or maybe a live performance of an artist asleep?  Maybe digital prints of someone else iPhone selfies? Or even a person standing and staring into space for an hour or two naked in the middle of a gallery whistling out of tune? Nope…  none of those, it was a visual art exhibition showing paintings hung on a wall. Paintings, the most ubiquitous of all art was what this supercilious art critic railed against. He announced that painting (as an art form) was dead if not buried. So what if the artist had mounted an on-line exhibition instead of a bricks and mortar gallery exhibition? Would he have had to encountered such negativity and venom against the artist and the work? I don’t think so. On-line etiquette is far too well enforced, as far as commenting (read criticising) art is concerned. If you do critic any art on line – well, you know what happens guys…you get a bad case of the International Troll Gang gunning for you, social media is vicious towards critics. It’s sort of reversed in real life.

Do you Sell on line?
Showing paintings on line, seems to be the main stream for the dissemination of an artists work. Even though real life exhibitions are still relevant for many artists, an on line presence is essential (if only for street cred). Perhaps this particular critic didn’t realise that the “painting is a dead art” conversation has faded away as fast as padded shoulders did in the middle 1980’s. There has been a major change in attitude to painting in the last decade or so. In part, this may be entirely due to the need for the high street galleries to survive the financial crisis, the one that started in earnest way back in 2008. High street galleries need to sell ‘stuff’ and earn a profit – And paintings sell much quicker than ‘cool’ installations that rely on high brow art academics to authenticate the cultural importance of something that most people wouldn’t actually install in their homes (even if they don’t say so publicly).  And the institutions are happy to underscore the ‘Art’ as a thank you for the generous support (financial donation) made by the mega white cubed gallery brigade, whose artist is the latest exhibition in the museum. ”

William Shakespeare - There is something rotten in Denmark - article in painters TUBES magazine
“there’s something rotten in Denmark, me thinks.”

Yet, the installation art marketplace is tiny compared to what the two dimensional art market is and I think the galleries have woken up to that as a fact – so now painting is the ‘thing’ again. Today the sheer size of the visual art market (because of the internet and the web) has outgrown all that ‘arty farty stuff’ by leaps and bounds – certainly as far as turnover is concerned. So the www has become the place to set up your stall. Major funded on-line art galleries and some not so well funded independent artists, all have a go at selling direct to art collectors and art lovers.  Many of these artists and the one man art galleries start-ups fail quickly- some have a sort of:- ‘in the third year we will make money plan’.  Most, in reality, loose much more money than they bargained for and are wrapped up prematurely by the investors that backed the idea in the first place.  It’s not a case of chasing huge profits for many galleries though, on the contrary, it’s survival we are talking about here. Many on-line galleries are simply losing too much money, year in and year out. Consumers are going direct to source these days, via instagram.

“there is no money in Art…
…a very wise man once said to me (back in1990). He may have been right but for the wrong reason. Should Art really be treated as a commodity and be sold as such? – ‘Stack ’em high, sell ’em cheap is not an effective strategy for art, unless of course your selling from a production line of ‘copy’ paintings, you know, technically good, but utterly soulless. The high street galleries are having some degree of success especially the well positioned bricks and mortar establishments. They really do use the web effectively. Many sell-out their latest exhibition on-line, even before they hold the opening night. A night which also serves a vital purpose for the prospective client to actually see the Artwork for real – then the deal is invariably clinched on the spot. Sounds good, but nothing has changed for the artist who hasn’t the right connections or a million+ followers on Instagram, he or she still don’t even get a foot through the door let alone a painting to sell.

But – and it’s a big but…
….will authentic original art win out in the end? Or will the major on-line galleries self appointed art selectors continue to advance those artists that fit the preferred ‘style’ of the month and advise their visitors of the artists who are the ‘ones to watch’ (read invest in) – thus employing the ‘stack em high sell em cheap (at first), then up the ‘anti’ later strategy – all with an ‘additional discount to buy’ of course, which the Artist who created the work in the first place has to ‘agree’ to accepting the higher percent they take off the top line. Will High street galleries continue to be flooded by the hopeful newbie or the forsaken mature painters ? To be honest they really don’t stand a chance of being let over the gallery threshold as a exhibited artist.  High Street galleries have more than they can handle on the books already – so they tell me. And then of course we have the the on-line educators come experts (anyone can be an art expert if they say they are, all you need in a minor degree in sociology).  They tell us – “How-to Sell Your Art On-Line” does this unquantified  advise make any difference –  or is that bull shit too? Only Time will tell.  Real artists have to keep painting and have to wait and see with their eyes wide open to all the possibilities – or maybe  and better still – perhaps artists should create their own ‘marketplace and stick two fingers up to the lot of them.

SPIKE is an independent art critic painters TUBES magazine and does not neccessarily represent the opinions of painters TUBES magazine or painters TUBES Artists Gallery  –  ©Spike 2018- 2019

read the latest issue of painters TUBES magazine..here

SUBSCRIBE TO TUBES – PRINT ON LINE

TUBES new issue – order a printed Magazine today

Buy One Printed Magazine for £9 +pp 

(UK only) click here

In this issue:  Excellent Article on plein air painting  & a brilliant essay by Gregory Evans about taking risks (as a painter). A review of the legendary Russell Howarth (master painter from the North of England by Marianne Arnberg)  New contemporary paintings from the UK, Europe and the USA . And a new TUBES section where artists get to talk about their own words the new section is called “in their own words” – This issue Mark Lloyd, Niki Heenan and Barry De More – give their views.

this is the last issue of painters TUBES magazine that will be free to read on line

 free link: TUBES issue#13

all future issues of painters TUBES magazine on line will carry a small fee. Single Read will be £3 – with 6 magazines subscription at only £2 each  SUBSCRIBE FOR SIX ISSUES (ONE YEAR) – CLICK HERE

UK New Leading Art Magazine

TUBES NEWS for SEPT 2019

TUBES NEWS

The new TUBES is moving platforms to a fantastic virtual reality magazine which employs the latest coding to work on all devices – iPhones, Androids, iPads, Slates, lap tops and of course Desk Tops – The on line mags are subscription for only £3.00 per issue – or £2 per issue is subscribed for 6 (one year) – The printed magazine can be bought £12. including post and packing or just £9 inc post and packing when subscribed for 6 issues (published over one year)

The new TUBES platforms  includes TUBES APP. VR magazines. Artists Gallery. And will be fully available for your enjoyment in September

From September the 1st – You can also register to become a subscriber.  info@painterstubes.com

main page click here

painters TUBES magazine

surpassing reality…

painters Tubes magazine

Gabriel Grun – a classical contemporary painter

“everything in painting has been done already, so why bother to paint at all.”

It is probably the ‘realist’ paintings of today that is easy to critic.  After all they’d say, what is the point of copying something in front of you, when we now have the digital camera? – To a large extent I can and do agree with that statement. What I think they missed is the point of the process of painting, one that changes the reality and why that entails a complex relationship that a painter has to develop along with the work. And not only from spending a great deal of time working on it per sé- but creating something that didn’t exist before. To understand that process fully one has to actually paint, not talk about, not write about, and certainly not curate, to gain a total understanding of why painters still paint, by hand and not by computer or instruct other people to do it for them. These  new artists of the late 20th century were impatient and young, they had no time to hone a skill or tap into a natural talent, let alone develop one or need a natural talent whatsoever, what was the point when the new Art Marketing machine would triumph over Art, they said, and they were right.

 “talent is not enough..” …was another banner held high by the supporting tribe of over valued culture writers at the time. The new young artists all succeeded, they all became rich beyond their dreams. They had titles and honours poured over them. They have since then, been elected into positions that were once held by Artists who, perhaps unlike them, actually deserved the accolades bestowed upon them. This was the art world environment that appalled me as a 47-year-old painter of over 20 years [in 1998] when I was given the task of seeking out other real-artists to participate in a special exhibition called Heart 2 Art . It was a project commission from the International Support Group in Sweden and the Swedish Government Estonian Trust Fund. The show was in benefit for the survivors and the families of them that perished in the Estonia Ferry disaster of 1994. It was the most important and difficult exhibition that I had ever agreed to be the lead Artist, designer and curator of. I was given the lead by the Anglo-Swedish Art Group W.O.R.K (Waxholm Organisation [for the] Reformerandet av Konst).

It was at this time and in this frame of mind that I discovered a painter in far away [from Sweden] Argentina called Gabriel Grun. He became one of 27 Artists selected from nine countries that was finally exhibited in the Heart 2 Art exhibition in 2002 in Stockholm. The show was an eclectic mix of mediums of visual art that was to demonstrate the altered realities of humankind. And Gabriel’s work was a part of the show that visualised the link with the past and a new-vision how that link can be interpreted for the future.  As the years have passed since 2002,  Gabriel has been recognised in Argentina as one of their finest ‘fine artists.’ His dedication to filling the gaps that he feels have been left by the renaissance artists has, to my mind, been an impressive voyage. Yet, beyond that he has also ‘tuned’ himself from the stubborn art student who walked away from a modern art establishments curriculum in Buenos Aires, to a husband and father and a more mature artist who has perfected his craft.

“the idea behind my work is to pick the thread of the long line of visual narrative I love and cherish and give body to certain paintings I perceive somehow to be missing, to constitute gaps that are to be filled, that Rafael or Van Der Weyden just did not have time to do.”

….. I still keep in touch with Gabriel, and recently he told me that after a year or two or working on illustrating a book he is about to embark on a new series of paintings…I have to say I am excited to see what they will be…

©read the full article written by Denis Taylor on Linkedin under painters TUBES magazine

©2015 – 2019 painters Tubes magazine all rights reserved

 

painters TUBES magazine

one of Gabriel Grun’s early paintings that featured in the Heart 2 Art exhibition in Stockholm 2002 -collection of Denis Taylor/painters Tubes magazine

painters TUBES magazine -Denis Taylor

who is god? what is art?

Those are questions asked by the artist in the illustrated poem – PALIA HORA – which is Greek for Old Capital City (or town). Palia Hora of Aegina island once was the home of the entire island. It was in the centre of the island and afforded (and still affords) magnificent views over the entire Saronic Gulf – which was it’s downfall, as the inhabitants turned to piracy – and the Sultan of the Ottoman Empire ordered his General (Barrabus) to destroy the town and kill all its people – as a matter of a lesson to all – The Greek people built the town over a thousand years – and each important family had their own Chapel to worship God (Greek Orthodox) . Barrabus – (who mother was Greek) however left 32 chapels standing in remembrance of his brother (who died at the early age of 32) and out of respect for his mother. Today the Chapels have been restored (respectfully) by the Greek Church and visitors can now see murals in the chapels from the 12th to the 15th century by master Greek painters whose names have faded with time.

Click here to go directly to the publication  (best viewed on a large screen device (phone ipad, slate, laptop or desk top computer – all operating systems)

painters TUBES magazine -Denis Taylor

an illustrated poem by Denis Taylor Artist and editor of painters TUBES magazine

painters Tubes magazine-article

pay for space is it worth it?

 ‘Spike’ the resident critic of painters Tubes magazine take a stab at the vanity galler painters Tubes magazine , art critic, Spike, talks about pay for galleries (vanity)ies and the ‘pay for’ to enter competitions and art fairs.
 

Vanity  and pay for exhibition spaces or Galleries, are they worth it?

 

 

 

” So, what is an alternative to the favoured High Street galleries for the artists who cannot break the cycle of rejection, (however reluctant that may be, from a Galleries viewpoint). The so called ‘Vanity’ galleries have been around for decades and over the last two decades they have sprouted up everywhere, in one form or another. It is rarely they that are bothered or (overly) concerned about the quality of the artists work, the ones who wish to pay them for their space.

This type of gallery is in the business of renting ‘the space only,’ usually in a well located high street shop, for a profit. They use a branded banner on the outside and send out invitations of ‘applications,’  usually from commercially acquired mass emailing lists of artists, ones that are gleaned from, you guessed it, Social Media platforms. Some advertise directly on mass media or other social media with attractive wording that will entice the Artist to go one step further and start a conversation with their ‘curator’ (read Salesman). It’s only when you actually read the ‘deal’ that you discover that it will cost a ‘shit-load’ of your own money, that you begin to temper the ego and dreams of exhibiting in a gallery with that of your own financial reality.

Those who are brave and drown out the ‘money’ objection, one being screamed at them for all corners, convince themselves that they will ‘break even’ financially – if only given the chance to show their work, but usually they have either, miscalculated the cost, or are unaware of what it takes to ensure a reasonably successful ‘selling’ exhibition. Or they simply cannot get past the artistic  ‘blue-sky’ thinking syndrome. Not so long a go I did a cost analysis of exhibiting in a ‘pay-for-space’  gallery. This was based on an out of City centre location, (in the UK) with reasonably accurate costs for space, marketing, transportation and so on. The final figure came out at a cost for a 5 to 6 day solo exhibition of around £3500 ($4,800). Major City centre space was nearer double that price, when I looked further into it. That’s a lot of painting to sell, based on the market average price for a half decent sized canvas for an unknown painter, at the lower (attractive) ‘stip-end’ market price level of around £350 each (circa $500), So is it worth it? Just for friends and family to rub ones ego and confirm you are a good artist?

How about selling on the web and creating a virtual reality exhibitions on your own website?

Sure, but I would suggest for that to be really successful, (i.e. selling on a regular basis for a consistent period of time) the artist will need a very good e-commerce enabled website (i.e. one that is not cheap to acquire and maintain) – And spend a great deal of time making strategic posts on social media – Or hire someone to do that specific task, and with a regular advertising budget. In this case I would suggest an annual budget for Marketing and PR of in excess £3000 per annum, for doing it all yourself, or £5000 to £8,000 annually, to hand this ‘job’ over to a professional full time SEO and art marketeer to do it for you. Who will no doubt, not give you any guarantee of a return for your money.

painters Tubes magazine - what do you benefit from by entering art competitions?
cartoon by ©ARNY- Sweden

How about entering Art Competitions to gain recognition?

Why not, if you can live with the rejection element, nine out of ten times of entering the ones that, according to their pre-publicity, ‘give You the chance of lifetime’ to be internationally famous. Let’s be honest here, it’s a bit of lottery. The important thing to remember is, who does the judging – Usually there is an academic, a curator, another well known person who knows (not a lot) about art and the winner from the previous years competition. So the winning entries are somewhat vacuous in their preferences because of their own bias to one form of art or another. There again, if you actually ‘Win’ or come second or third, what does it bring you? – Well if it’s a National Competition’ then about 15 minutes of fame and a commission from the sponsors of the Competition, and loads of Facebook likes and messages of congratulations (ego gratification again). Plus, maybe 3 minutes on a You Tube video interview or a feature in your local newspaper.  The rest of the smaller comp’s are really a bit like Vanity Galleries, except they don’t make as much money out of the ‘customer’.  It can cost around £30 to enter three paintings to an ‘average’ competition – And if you are short listed you have to physically take your paintings to a central point – for ‘further judging’ and then schlep them back again (when rejected), which can cost you up to ‘whatever’-  depending how far away you live form the nominated place of ‘drop-off’. The on-line ‘competitions, to my mind, are simply a money gathering exercise, full stop. And, again only in my opinion, are really not worth bothering with – unless they are free to enter of course.

Read ‘Spike’ in painters TUBES magazines issues on line subscribe here

Powered by WordPress & Theme by Anders Norén