Your posts are so much fun to read. You know Cecil, similar thoughts go through my mind when I visit a museum or a gallery. I wonder what makes these artists stand out from all the other artists. Some of the work is great and some not so great in my opinion. I don't think some of those artists' work belong in a museum. I agree with Rebecca about being in the right place at the right time.
My undergraduate work was in Interior Design and graduate work in Printmaking, but I worked as a graphic designer most of my life. My heart was always in fine arts ever since I was a child, but I had to make a living I was told, so I put the fine arts on the back burner until I retired early and tried to make up for the lost time.
I must say I enjoy every minute of it. Like you, I am also very private; I like to work in peace and quiet where I can be in my own world when creating and developing an idea. I feel like there is not enough time left for me to execute all the ideas that I have. I have had shows and sold some of my work, but I have never aggressively pursued marketing my work. If I don't like a piece, I don't want to give it to someone, and if I love a piece, I hate to depart with it.
I also wonder what will happen to all of my work, since my only daughter does not care much for my art. I don't mind if someone does not like my work. I am doing art because it gives me so much joy. It keeps my mind working and engaged in the creative process.
Cecil, about your art, however, you don't have to worry about what happens to it all. Your children won't have any problem selling them if they did not want to keep them.
Thanks for Writing Touri! About the last sentence. Yes, I am working out with my wife and gang how they will continue having my works out in the market. I have stockpiled enough of my art that at my current number of annual sales I could stop working now and never run out of something to sell for the rest of my life even if I live to be a hundred years old or maybe much longer.
I enjoy reading all of your posts. Reading about the New York trip was fun. I know Jenny uses assistants. Besides talent, I think a lot of it has to do with being in the right place at the right time doing the right type of work. I found this article interesting: https://www.dazeddigital.com/artsandculture/article/23205/1/jenny-holzer-texty-lady.
In my youth, I anticipated the typical artistic life, one with many shows, big sales, etc., but discovered I’m too much of an introvert, too laid back and basically dislike being the center of attention. I was exhausted just from the shows I did manage. I am so thankful now that it didn’t work out for me. I like my current, creative life. I can’t image the amount of energy such a long, life full of creative high demands and obligations must require. I wouldn’t have lasted.
What was really an eye-opener for me was reading The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. It was quite informative, a bit of a shock in fact. However, my main concern now, like many others, is what to do with all of my remaining and future artwork. It’s quite the dilemma for me.
Thanks for the great response. It begs the question: So what is your current creative life? How are you living it out and shaping it to please you? A creative life does not depend on generating a living from it or a reputation, etc. but like you say, then what is to become of the relics generated by that creative life? I know one artist who died in recent years and he decided to destroy a lot of what he had left and he was a professional artist. He thought it would be a burden on his kids or realized his kids didn’t want to deal with it. There are lots of different stories about artist’s estates including the interesting story about Van Gogh’s sister-in-law who ended up with all of Van Gogh’s work. Clifford Still comes to mind and the story behind the Clifford Still museum in Denver.
I stopped doing work a few times in my life, but realized I’m much happier doing it. As I’ve gotten older (70s) and now have issues with health problems, I’ve had to readjust how I work. I avoid most chemicals, use no paints and precision is out the window for me, but I am very thankful that I can still make pieces.
Off and on over the years, I worked on typical abstract works. I also became involved in making some political and environment pieces, but the more I went in that direction, the worse I felt. I actually became depressed. So, I then moved toward a more natural approach. I guess more meditative/Zen. I am very content with what I do now. I am not a prolific maker and I work fairly small compared to most, nor will my current work set me up in galleries etc., but I’m okay with that.
But the real challenge for me is what to do with it all. I have no children. I know Louise Neaderland was searching for someplace to donate her work (xerography books) and I believe the Ringling College of Art and Design took her collection. I’m not sure how that went or anything about the details. Hopefully that happened before she died. She also donated work to her alma mater. I may package my pieces in sets and try to sell them that way as a group. I’m trying to make more work that connects in some sort of book form. From reading your posts, I am currently hooked on making 8x8 collages. They could easily fit in a book format for me. I’m not sure what I’ll do with my larger fiber pieces. That is a real challenge for me. I haven’t come up with any great solutions yet, just that they are piling up.
Yup! The End Game is a reality that we older people cannot help but think about from time to time. I completely understand your thought process in this matter. Perhaps we should embrace the following:
"Don't sweat the small stuff... it is all Small Stuff."
Thanks Linda. I have been thinking about death since my little brother died when I was 13 years old and I realized; 'Hum... what happened to him now that he is not here any more that will obviously happen to all of us? I was wrapping up 8 years of Catholic grade school. It was June, Friday the 13th, 1969. I asked the adults about death and realized nobody knew anything about it. That surprised me as a young person. Subsequent internal events spurred by that event totally altered my view of the world. I don't fear it, but I am always preparing for it and thinking about what is important in life in relation to it. I frequently say to myself; 'Birth is a terminal condition.'
Cecil, sadly, I do understand, and I am sorry that you had to endure such a grievous event.
As creative teens, (at the time), our minds did work a bit differently in comparison. Thankfully, the creative process helped a great deal with adapting and learning to cope.
Cecil, I love the musings you share here about what sets the "superstar" artists apart from the pack. I've wondered that myself. Thanks Annette for your comment giving us a glimpse behind the curtain, so to speak, with your gallery experience.
When I was involved with New Gallery in Houston, I'd witness the artists who did get to the highest fame of game and mostly I saw that they had a "ruthlessness" to them. They lived, breathed,ate, farted art and nothing else. They didn't/couldn't maintain intimate relationships, or friendships. They were pushy, even rude and unlikable most of the times. I have a life and it includes creating art but not at the expense or sacrifice of the rest of my beloved life.
Hi Annette! Good to hear from you. Good points. It is hard to keep a life in good balance for sure. I do support relentlessness but ruthlessness is quite a different animal. Would you say it has to do with competitiveness? A teacher once told me early on that an artist only competes with his/her own best efforts and ideals not with other artists. Hum.. could be a good article in there to mull over.
Could be about competitiveness but I think it's more about getting seen and to the top of the food chain, getting validation, being recognized with fame and money. Not that there's anything wrong with getting to a higher place with one's art but ethics and integrity should be a part of that equation. I've been enjoying your posts so much. You look great by the way and I love love love your collages. I still adore the 5 framed pieces in my dining room and still love looking at them up close. They are some of my favorite art pieces I own and they are as fresh and beautiful as when I first got them all those years ago. Let me know if you ever come to Houston. My email: awilzigeleven@yahoo.com You're a gem of a man and an artist. Glad I found your site here.
I am glad you still have those 5 little collages. That's great. I still have the traded antique Tibetan thangka around here somewhere rolled up in a tube.
I didn't know Thom traded with you. I don't see him much these days. He comes here for Thanksgiving and I take him out for lunch on his birthday. He's been through a LOT...all his own doing; don't know how much you know about what happened to him.......it's a long story. Hope you and yours are doing well.
Your posts are so much fun to read. You know Cecil, similar thoughts go through my mind when I visit a museum or a gallery. I wonder what makes these artists stand out from all the other artists. Some of the work is great and some not so great in my opinion. I don't think some of those artists' work belong in a museum. I agree with Rebecca about being in the right place at the right time.
My undergraduate work was in Interior Design and graduate work in Printmaking, but I worked as a graphic designer most of my life. My heart was always in fine arts ever since I was a child, but I had to make a living I was told, so I put the fine arts on the back burner until I retired early and tried to make up for the lost time.
I must say I enjoy every minute of it. Like you, I am also very private; I like to work in peace and quiet where I can be in my own world when creating and developing an idea. I feel like there is not enough time left for me to execute all the ideas that I have. I have had shows and sold some of my work, but I have never aggressively pursued marketing my work. If I don't like a piece, I don't want to give it to someone, and if I love a piece, I hate to depart with it.
I also wonder what will happen to all of my work, since my only daughter does not care much for my art. I don't mind if someone does not like my work. I am doing art because it gives me so much joy. It keeps my mind working and engaged in the creative process.
Cecil, about your art, however, you don't have to worry about what happens to it all. Your children won't have any problem selling them if they did not want to keep them.
Thanks for Writing Touri! About the last sentence. Yes, I am working out with my wife and gang how they will continue having my works out in the market. I have stockpiled enough of my art that at my current number of annual sales I could stop working now and never run out of something to sell for the rest of my life even if I live to be a hundred years old or maybe much longer.
I enjoy reading all of your posts. Reading about the New York trip was fun. I know Jenny uses assistants. Besides talent, I think a lot of it has to do with being in the right place at the right time doing the right type of work. I found this article interesting: https://www.dazeddigital.com/artsandculture/article/23205/1/jenny-holzer-texty-lady.
In my youth, I anticipated the typical artistic life, one with many shows, big sales, etc., but discovered I’m too much of an introvert, too laid back and basically dislike being the center of attention. I was exhausted just from the shows I did manage. I am so thankful now that it didn’t work out for me. I like my current, creative life. I can’t image the amount of energy such a long, life full of creative high demands and obligations must require. I wouldn’t have lasted.
What was really an eye-opener for me was reading The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. It was quite informative, a bit of a shock in fact. However, my main concern now, like many others, is what to do with all of my remaining and future artwork. It’s quite the dilemma for me.
I read the linked article. That kind of answers the question as far as Holzer is concerned. She kind of Forest Gumped her way into it.
Thanks for the great response. It begs the question: So what is your current creative life? How are you living it out and shaping it to please you? A creative life does not depend on generating a living from it or a reputation, etc. but like you say, then what is to become of the relics generated by that creative life? I know one artist who died in recent years and he decided to destroy a lot of what he had left and he was a professional artist. He thought it would be a burden on his kids or realized his kids didn’t want to deal with it. There are lots of different stories about artist’s estates including the interesting story about Van Gogh’s sister-in-law who ended up with all of Van Gogh’s work. Clifford Still comes to mind and the story behind the Clifford Still museum in Denver.
I stopped doing work a few times in my life, but realized I’m much happier doing it. As I’ve gotten older (70s) and now have issues with health problems, I’ve had to readjust how I work. I avoid most chemicals, use no paints and precision is out the window for me, but I am very thankful that I can still make pieces.
Off and on over the years, I worked on typical abstract works. I also became involved in making some political and environment pieces, but the more I went in that direction, the worse I felt. I actually became depressed. So, I then moved toward a more natural approach. I guess more meditative/Zen. I am very content with what I do now. I am not a prolific maker and I work fairly small compared to most, nor will my current work set me up in galleries etc., but I’m okay with that.
But the real challenge for me is what to do with it all. I have no children. I know Louise Neaderland was searching for someplace to donate her work (xerography books) and I believe the Ringling College of Art and Design took her collection. I’m not sure how that went or anything about the details. Hopefully that happened before she died. She also donated work to her alma mater. I may package my pieces in sets and try to sell them that way as a group. I’m trying to make more work that connects in some sort of book form. From reading your posts, I am currently hooked on making 8x8 collages. They could easily fit in a book format for me. I’m not sure what I’ll do with my larger fiber pieces. That is a real challenge for me. I haven’t come up with any great solutions yet, just that they are piling up.
Yup! The End Game is a reality that we older people cannot help but think about from time to time. I completely understand your thought process in this matter. Perhaps we should embrace the following:
"Don't sweat the small stuff... it is all Small Stuff."
Blessings to You dear Cecil.
Thanks Linda. I have been thinking about death since my little brother died when I was 13 years old and I realized; 'Hum... what happened to him now that he is not here any more that will obviously happen to all of us? I was wrapping up 8 years of Catholic grade school. It was June, Friday the 13th, 1969. I asked the adults about death and realized nobody knew anything about it. That surprised me as a young person. Subsequent internal events spurred by that event totally altered my view of the world. I don't fear it, but I am always preparing for it and thinking about what is important in life in relation to it. I frequently say to myself; 'Birth is a terminal condition.'
Cecil, sadly, I do understand, and I am sorry that you had to endure such a grievous event.
As creative teens, (at the time), our minds did work a bit differently in comparison. Thankfully, the creative process helped a great deal with adapting and learning to cope.
I send blessings and heart-felt understanding.
Cecil, I love the musings you share here about what sets the "superstar" artists apart from the pack. I've wondered that myself. Thanks Annette for your comment giving us a glimpse behind the curtain, so to speak, with your gallery experience.
When I was involved with New Gallery in Houston, I'd witness the artists who did get to the highest fame of game and mostly I saw that they had a "ruthlessness" to them. They lived, breathed,ate, farted art and nothing else. They didn't/couldn't maintain intimate relationships, or friendships. They were pushy, even rude and unlikable most of the times. I have a life and it includes creating art but not at the expense or sacrifice of the rest of my beloved life.
Hi Annette! Good to hear from you. Good points. It is hard to keep a life in good balance for sure. I do support relentlessness but ruthlessness is quite a different animal. Would you say it has to do with competitiveness? A teacher once told me early on that an artist only competes with his/her own best efforts and ideals not with other artists. Hum.. could be a good article in there to mull over.
Could be about competitiveness but I think it's more about getting seen and to the top of the food chain, getting validation, being recognized with fame and money. Not that there's anything wrong with getting to a higher place with one's art but ethics and integrity should be a part of that equation. I've been enjoying your posts so much. You look great by the way and I love love love your collages. I still adore the 5 framed pieces in my dining room and still love looking at them up close. They are some of my favorite art pieces I own and they are as fresh and beautiful as when I first got them all those years ago. Let me know if you ever come to Houston. My email: awilzigeleven@yahoo.com You're a gem of a man and an artist. Glad I found your site here.
I am glad you still have those 5 little collages. That's great. I still have the traded antique Tibetan thangka around here somewhere rolled up in a tube.
I didn't know Thom traded with you. I don't see him much these days. He comes here for Thanksgiving and I take him out for lunch on his birthday. He's been through a LOT...all his own doing; don't know how much you know about what happened to him.......it's a long story. Hope you and yours are doing well.
I have heard snippets here and there but that is about it. You'll have to fill me in one of these days. I sent you an email.