Craft Council Launches Member Mixers

One of the impressive shows and catalogues at SOFA 2012 organized by a collector's group.

This coming Friday, the 18th of January the Craft Council of Newfoundland and Labrador is launching its series of Member Mixer events.  These will be 30-minute long presentations that bring together the membership of the Council for conversation about issues that impact them as professional craftspeople and light refreshments.  The presentations will be Skyped if possible.  You can contact amanuel@craftcouncil.nl.ca.

For more information.

First up will be Jason Holley and myself speaking about the SOFA Chicago 2012 Art + Design Expo.  Jason will speak from the artist's perspective as he was a recent solo featured artist and I will speak from a curator's point of view.  As a curator I end up with a dual passport that gives me entry to both the collector and dealer's worlds.  So, if you'd like to know what it is really like to deal with the platinum credit card set south of the border this event should interest you. 

The event starts at 4:30, with the presentation at 5 p.m.  It should wrap up in time for about 6.

I will be talking about the trends I noted during the Art Fair; what the dealers shared with me regarding what they are looking for and how they view artists and fine craft makers as well as how they are coping with the financial ups and downs; and tidbits like who, among the public, visited SOFA 2012.  Here's a hint of what's up my sleeve:  I was told that fewer and fewer galleries are hosting opening receptions.  "They are just parties for the artists' friends" one dealer lamented to me.  The serious selling happens before the opening or afterward.  The trend is toward joint openings held among galleries within the same geographic region or neighbourhood and these are geared toward building new audiences or public relations.  Galleries are trying to work together rather than compete. 

These gloves are by Ellen Green who is originally a tattoo artist and someone whose work I am following since SOFA 2012.

Crafty collaboration-Alexis Templeton and Susan Lee Studios produce stunning results

I am always on the look out for new product ideas and I am especially interested in creative collaborations in the craft world.  My definition of a good collaboration is where the two or more makers jump start each others' creative process and they come up with something that would not be possible otherwise.  Potter Alexis Templeton is someone who consistently is setting herself new challenges and it seems like she has found a good match in up and coming jeweler Susan Lee Studios.  They both have an affinity for the natural world and its small gems like seashells - Alexis has worked with midnight blue mussel shells and Susan with cross sections of a nautilus.  They are also both drawn to crystals, and the myriad of patterns found in nature's textures.

This is Susan talking about how she worked with the porcelain pieces by Alexis:

 I've received great feedback at craft fairs from my customers on our project.  So many of them are familiar with Alexis' pottery, and because the crystalline glaze is so decorative, the idea of taking home a bit of it in a piece of jewellery gives them an opportunity to showcase it more publicly than they otherwise would be able to on her dinnerware.  I think there is also an appeal in obtaining the workmanship of two craftspeople in one object of fine craft. 

I always eagerly await new cabochons, as they challenge me to pursue new directions with my jewellery designs.  First I must consider the weight of the cabochon and decide what type of jewellery it might be appropriate for since the clay itself is not light, and the yet crystals need room to grow in the kiln so Alexis cannot make the porcelain cabochons very small.  I try to interpret the pattern the crystals have made in the glaze onto the metalwork in some way.  Sometimes they have suggested Queen Anne's Lace or frost, another time it was a butterfly's wings, or a chameleon's eyeball.  I then manipulate my silver, bronze, copper, & brass to fill in the details of the "story" that I see suggested in the glaze.

With her typical business flair Alexis showcased the new product line with a "See How It's Done" demo in her studio/shop.  That's a great way to bring in existing customers for a return visit as well attract new customers.

Susan has also Facebooked about the event and posted a photo album.  Here is the link she has provided:

The best place to see the whole series of Crystalline Collaboration pieces is on my Facebook Page.  The link to the relevant photo album is here:
 http://www.facebook.com/media/set/?set=a.242538032440219.77916.115716491789041&type=1

At the time of our initial See How it's Made demo, I also wrote this blog post: http://susanleestudios.blogspot.ca/2011/07/crystalline-collaboration.html

Life after Christmas

A pile of Paul McClure's metal tags from Chicago

Christmas is over and hopefully we all have a few days to relax.  In my case, that means finally getting to the pile of catalogues I want to enjoy.  Not just read but enjoy.  Mull over, stroke the photos…

I will finally get to have a leisurely visit with Quintet, the jewellery and metal art catalogue featuring Shona Kearney, Martha Glenny, Paul McClure, Wing Ki Chan and Katherine Miller.  Good stuff all round: lovely wrap around cover with a tab closure, embossed design and close to 90 pages.  Not for a quick read.

While I was in Chicago I got to meet Paul McClure.  I was intrigued to discover he had a surprisingly sunny disposition and a great sense of humour, something you don't take for granted from a man who makes such serious work.  He was giving away these GATC brooches.  Here's what they say on the card: The LOVE icon of the 1960s by American artist Robert Indiana is re-imagined as an icon for our genetic age.  G, A, T, and C are the symbols used to denote the four nucleotides that make up the genetic code of the DNA molecule: Guanine, Adenine, Thymine and Cytosine.

GATC is a biological acronym for the code of life.  The metal tag is folded over clothing and worn as jewellery about the body, on the body.

The other catalogue I am looking forward to digging into is Michael Massie's 50@50, produced by his gallery in British Columbia, Spirit Wrestler.  Michael kindly sent it to me along with a letter reporting on the opening and sales.  It's been almost ten years since I did Michael's big show for The Rooms but he still keeps in touch; that's the mark of a pro.  The only thing I noticed is that he still doesn't sign his catalogues!  That's something his collectors complained to me about back in 2002.  Remember kids, when someone buys your art they are collecting you too.  Enjoy the attention.

Greg Payce is another artist whose career I've followed with interest and who has maintained contact with over more than a decade.  Check out his fabulous feline Christmas card.

Finally, one my all time favourite Christmas card comes from Ingrid Jenkner (Mount Saint Vincent University Art Gallery) and her partner photographer George Steeves.  Their's is an envelope I always open first from the mail pile because I know I am in for a treat: subtle, eccentric and outspoken all at once.  I'll try and post the image if I get permission.

Studio Magazine's New Strategy

Back in October I received this letter from Leopold Kowolik, the new editor in chief at Studio magazine which is published by the Ontario Crafts Council with contributions from sister Craft Councils across Canada.

It is an invitation to be part of a committee that is mapping out the strategy for the magazine's next five years.  I think it is important to set goals whether it is personally or professionally - otherwise, how do you define your success?  To me, having a national crafts magazine is important, especially if you don't live in Central Canada.  As well, I think a combination of big issues expressed in accessible language plus craft news from across Canada is important.  And that, in a nutshell, is what I told them.

Yes, that's Nicola Hawkins on the cover.

Dear Gloria, Janna, Michael and Gord,

Emma Quin, in her capacity as Executive Director, is in the process of developing a 5-year plan for the OCC. She will present this plan to the board of the OCC and along with that a set of mission statements and mandates for each part of the OCC's organisation.

Studio is a part of this organisation and Emma has asked that a committee be convened to lay out such a document for Studio Magazine.

I would like you to join me on this Committee.

Our goal is clear and simple: to compile a single page document which articulates the three elements of Studio's identity: Vision, Mission and Mandate.

I have requested your presence on this committee as you each have a familiarity with Studio and our general, nebulously defined, current mandate. You also have a sense of craft's identity in contemporary Canadian culture. Most importantly, I feel that you each share belief in the potential for critical discourse in craft, albeit from differing viewpoints.

The demands on your time will be minimal:

a)1-2 hours preparatory reading

b)one 2-hour meeting

c)<1 hour concluding reading.

I will pull together a draft document based on the parallel document already drawn-up for the OCC gallery and exhibition dept. I will also compile extracts from similar documents for comparable publications. You will then be asked to consider these documents and assemble your thoughts for a meeting we will hold in Toronto during mid-to-late November 2012.(The meeting was held last week and there will be further discussion at the end of January.)

At that meeting we will discuss our various opinions and reach consensus on Studio's Vision, Mission and Mandate. I will then draw up a final draft of the document and then recirculate it by email. Any further discussion can be concluded by email and a final document will be submitted to Emma by mid-December.

I realise that you are all very busy and that further demands on your time must be justified. Let me therefore state that this is essential work.

(I tease Leopold about his idealism but he is genuine.  I've added the italics for emphasis.)

I believe that Studio can be the central resource for high-level critical discourse in a material culture weekly addressed by art and art discourse and under threat from mass-production (and the appropriation of 'Craft' as a marketing tool.) How Studio positions itself and what identity it chooses to adopt can be of fundamental importance in this hour of civilisation. Crafting and finding authenticity in material lies at the heart of twenty-first century issues; Studio requires the best possible identity if it is to have the fortitude to weather and respond to the demands that can and will be made of it in this pursuit. The clearest, best and most diverse opinions about Studio are therefore required and that is why this committee requires you.

view of the OCC's gallery and its recent glass art show

Please let me know if you will be unable to join, otherwise please let me know if there are days/weeks in mid-late November when you will be unable to meet so that we can set-up that meeting asap. I will then circulate the documents I mention within the next month.

Many thanks

Leopold

Leopold Kowolik 
Editor in Chief

Studio Magazine
Ontario Crafts Council 
990 Queen Street West
Toronto, ON, M6J 1H1
t: 647-519-5260 | f: 416-925-4223
www.studiomagazine.ca

Studio unites Canada's diverse craft communities and shares our values with society-at-large. Studio is the source for thought-provoking and lively conversation about the culture, politics and issues shaping craft today. Studio is essential reading for everyone passionate about contemporary fine craft and design in Canada.

Christina Parker's New Gallery Space Shines

Diana Dabinett's vibrant paintings inspired by her residency in Costa Rica in 2010.

It was a delightful Monday afternoon surprise to discover the Christina Parker Gallery open at its new location on 50 Water Street.  The space is bright and airy even on a foggy afternoon and overlooks the St. John's Harbour, which is no doubt an added bonus to tourists discovering the city's charms.

What struck me as I walked the length of the gallery and taking in the varied art on the wall and pedestals was the sense of growth and maturation that several of our local artists have acquired.  For example, I have always been a fan of Peter Drysdale's quirky sculpture composed of found objects.  But the works that were on display showed a new sense of resolution and design sophistication that I would not have associated with his earlier work.  The over-busy quality was gone and it was like the static on a radio channel had disappeared and the words were coming across clearly.

Dianna Dabinett's paintings of tropical flowers were also impressive.  The smaller scale came across as more focused than the previous larger scale works, especially those on silk or mixed media.  This was Dabinett doing what she does best: making us fall in love with the sensuous beauty of nature.  The brighter colours and compositions in the horizontal format were irresistible.

Ned Pratt's Landline series of photographs earned him a solid place in the Pratt dynasty.

Ned Pratt's photos from the Landline series and Kim Greeley's landscape paintings made an intriguing but probably unintentional pairing.  The whole notion of the human presence in the landscape, whether by farm structures (Pratt) or the yellow striped highway (Greeley) is tackled with dramatic subtlety and contemporary flair.  They both have the potential of developing renditions of our landscape that are truly iconic rather than cliché.  Pratt seems to have found his voice with this Landline series.

In terms of new names (at least new to me), Michael Fantuz, caught my attention.  In particular I was taken with his large (40" x 40") black and white oils interpreting the abandoned communities near Burgeo.  I preferred them over the coloured landscapes which seemed more overtly picturesque.  The black and white paintings seemed more dramatic but less sentimental.  And even though very large they didn't seem inflated.  The large scale seemed to invite viewers to step inside and enter a world apart from the gallery.  They had authority and expressiveness.  It did my heart good to note several red "sold" stickers on both the brightly coloured and more austere black and white paintings.

This image shows both the black & white, and the coloured paintings of Fantuz.  Which do you prefer?

Collectors and Change - collecting art in uncertain times

An installation by Lino Tagliapetra a maestro among glass artists.  This image came from the Schantz galleries.

I have been asked by some of you to comment further on my observations of collectors at the recent Chicago SOFA show.  So, here goes:

There is a remarkable difference between American and Canadian collectors in my experience.  At the risk of generalization, I will say that American collectors tend to be more upfront and less shy of being noticed and actually enjoy their share of the limelight.  By contrast, the Canadian collecting community tends to be more private and actually asks not to be mentioned in the press or to have their homes featured in magazines.  More than once, I have been handed hard cover books documenting an American collection and I still remember going to one party and noticing a Dale Chilhuly vessel being used as a soap dish in a bathroom.  Mr. Snyderman of the gallery by the same name mentioned to our group that he had actually "gotten out of the glass scene" because he found the competition between the glass collectors distasteful.  It was "well you got one, I've got two" style of one-upmanship.  On the other hand, I have had tea in more than one living room in Canada with a Monet hanging on the wall and I've been asked to not mention it in an article just because of security hassles.

Speaking of glass art, it was the most noticeable selling high-end art.  I had fun tailing one couple and watched them drop close to $250,000 by the end of the fair.  It was not unusual to see a piece of sculpture go for $65,000.  The sheer range of price tags at the SOFA intrigued me.  There was literally something for everyone –under $100 upwards.  I was also surprised by the overall quality–and I mean museum quality–of the art on display.  I did not expect to see such consistent quality over such a large show.  And the dealers came from as far away as the U.K. and Israel to sell.  It was truly a pleasure to see a Hans Coper that wasn't behind Plexiglas.

Another Lino piece.  This one is very similar to the piece chosen for the cover of the SOFA catalogue.

I wondered how many collections there are out there that will migrate from private to public collections.  With the graying of our population that is increasingly the case.  However, just like your bookshelf at home institutions have limited space available to store, maintain, and display them not to mention the human resources to work with them.  Even in Toronto, I have heard more than one conversation between a dealer and a collector where the collector asks for an institutional discount saying that is where the collection will ultimately go.  I think it will become much harder to donate to public institutions in the future as space shrinks and so do government sponsored budgets.

But there is an interesting new trend in Canada where collectors open their own galleries not to sell but just to display.  These are hands-on collectors who enjoy being their own curator and sharing their collections without the constraints of policy and budgets.  Ydessa Hendles  closed the doors of her Art Foundation on October 30th but others have already stepped forward to fill in the gaps.

Ann Rosen, the Trade Commissioner, made me smile when she answered one artist's question, which went something like, how to we spot the collectors?  She said, 'look for the power couples.'  A couple shopping together will make a decision.  The guy in the baggy pants and wrinkled shirt may be worth a lot more but he will need to consult his wife first.  I know exactly what she meant.  I used to work for a pair of brothers who owned an engineering firm that specialized in pulp and paper–Ben and Eli Cowan in Montreal.  Eli was a salt of the earth guy who didn't care what you thought of his attire.  He was a self-made millionaire who at one time was a lumberjack.  Unwitting visitors to the company would mistake him for the janitor.

SOFA Chicago 2012 Dazzles

I am very grateful to have had the opportunity to visit the 2012 SOFA Chicago show with its stunning array of fine craft from across the States, Canada and Europe.  This is an event I have wanted to experience during my entire professional life as a craft curator and writer.  It was most illuminating to be able to attend this 19th annual SOFA during these difficult financial times to see how our American colleagues are dealing with their challenges.  I was pleasantly surprised to discover how people–artists, dealers and collectors–welcomed the opportunity to share their experience.  See my comments for Friday and Saturday for some of their remarks.

October 31st was a travel day

This is the first time I have flown Porter to the U.S.A.  A word of caution, neither the travel agent, nor I appreciated that this would not be a direct flight but although no plane changes were required it was a milk run, with stops in Ottawa and Halifax between St. John's and Toronto that would eat up six hours.  On the plus side, Porter uses the Billy Bishop airport in Toronto and the Midway airport in Chicago.  Midway is a smaller, quieter airport that is significantly closer to downtown Chicago than O'Hare and thus a cheaper taxi ride.

November 1, 2012

This day was spent in the workshops presented by the Craft Alliance and the very capable Bernie Burton.  Here is a break down of the 2012 participants:

A sensational bikini bottom by Jason Holley.  In my talk I examined the influence of his metal work on his ceramic work.

15 people participating in this mission; 10 craftspeople (2 from Newfoundland & Labrador; 2 from New Brunswick; 1 from Prince Edward Island; 5 from Nova Scotia; 5 observers from Atlantic Canada craft organizations.)  Everyone took advantage of being in the same hotel and would meet daily at breakfast to talk shop, network and share images.  I was able to make suggestions for potential contacts at galleries and publications in Canada and abroad and to share my own experience with the craftspeople.

This is the line-up of speakers and workshop topics.  In each I collected handouts and made my own detailed notes.  Below, I have included a short highlight from each workshop session:

Immigration Law, Anna Morzy Fragomen, Del Rey, Bersen & Lowey LLP

Anna Morzy strongly recommended that if your stay in the U.S.–during which you cannot process any sales of your work– was less than six months it is not worth applying for a visitor's visa.  It can cost up to $5,000 and require the support services of a lawyer.

Getting Your Work Across the Border, David Michalek, of AN Deringer Inc.  If your work comes in for exhibition purposes it must leave the country as such too –sales must be from Canada; "fine art" cannot be in multiples exceeding twelve and travels across the border duty-free.

Canadian Consulate, Ann Rosen, Ann cautioned against entering the U.S. market through the larger cities and recommended that smaller cities afforded less competition but still had many opportunities.  Look for cities with universities and a diversity of industry such as Wisconsin or Madison County.

Working with Galleries, Rick Snyderman, Snyderman-Works Gallery

Snyderman suggested that the art market in the U.S. had two years still to work out the financial consequences of the downturn and that during that time it would not be conducive, due to the extra cost and labour associated, to bring Canadian work across the border for sale.  Although he felt positive about Canadian art he said it had no profile in the U.S. and that if pressed he could not name any of the top makers.

Legalities in the Arts, William Rattner, Lawyers for the Creative Arts

Be the one who decides what happens to your art inventory, copyright and intellectual property (including e-passwords & info.) in the event of your death.  A collector may own your work but not the copyright; don’t assume your family wants your collected works or the job of dealing with it.

The Gallery Scene, Ann Nathan, Ann Nathan Gallery

Despite being in business for decades Ann maintained that things have not changed: "collectors still want great stuff and artists still want great notoriety".  She felt that artists' expectations were too high in terms of sales and has cut back on openings, advertising and instead focused on collaborative ventures with other galleries and now takes work from Spain and Portugal.

I hope that one day Jason Holley finds a way to adapt his sculpture for outdoor installation work.  As this photo demonstrates, his work makes a dramatic impact in nature.

Thursday evening was the SOFA Gala during which the excitement was palpable amongst the well-heeled crowd.  When I noticed that some of the dealers were buying from each other, one of them shared with me that this was a tradition for many of them and that they enjoyed acquiring a piece each year for their personal collections.

Friday, November 2nd and Saturday, November 3rd was spent touring the show of the work of over 800 artists.  I was struck by the presence of collectors' groups (for example I talked with one group from Arizona) and in the special exhibits that they mounted (see list below).  SOFA Chicago has always been associated with studio glass, and this year was no exception, but jewelry and wood also received special exhibit attention.  Several of the gallerists mentioned to me that jewelry was especially popular and was easy for them to travel with and display. There was unsubstantiated talk that the Sante Fe SOFA show that has folded (the NY show also folded after its rental costs tripled) would be replaced by a jewelry show.

The Society of North American Goldsmiths (SNAG) was in full force and its focus was leading up to the 2013 Toronto joint conference of U.S. and Canadian jewellers and metalsmiths.  Some groups, like the Society for Art Glass, also held board meetings in adjacent rooms.  I spoke with the President of the glass group and she said her main challenge was securing younger members for the board, a reoccurring issue with several groups.  (Ironically, her husband was the volunteer sound tech for my lecture so we got to talk about the rising prices of fine craft making continued collecting a real challenge to those whose incomes have not risen accordingly over the decades.)

I also broke my time up on the floor of booths by attending lectures - for example Paul McClure's lecture- and presenting my own talk on Jason Holley.  Anne Meszko, the Director of Educational Programming at SOFA expressed special interest in my lecture saying that they got few proposals from critics and curators and asked that I stay in touch.  The audience of fair and lecture goers was augmented by busloads of students, ranging from highschool to post graduate students in Fine Art programs from neigbouring cities and states. 

Special Exhibits: Among Fellows: An exhibition of work by the 2012 college of fellows or masters of the American Craft Council; What is Beautiful? Changing Perspectives in Contemporary Wood Art- presented by the Collectors of Wood Art, Corning Museum of Glass; Eye of Mr. I: A Tribute presented by Intuit: the Center for Intuitive and Outsider Art; Gothic Jewelry: Sinister Pleasures - Metalsmith's 2012 curated exhibition presented by SNAG.  There were also glass and mosaic demonstrations.  Chubb Personal Insurance was the special corporate sponsor and Collectify a new software company specializing in inventory software for collectors was also active with a booth.  I purchased and collected catalogues to share with Craft Council members.

In total: 12 areas were set up for special exhibits and related booths including special-interest groups such as NCECA or publications like Ceramic Arts & Perception.

Speaking with long-time participants I learned that this was the smallest SOFA Chicago show ever with 64 galleries and 7 solo artist features participating.  However, by the end of Saturday many of the top galleries, such as Snyderman's, unofficially reported good sales and new galleries like L.A. Pai, which participated for the first time, received much attention.  Mid-range galleries said they at least broke even and felt the fair was a success.  Elena Lee galerie and Barbara Silverberg's Option Art were repeat participants with with busy booths. Barbara said that her sales at the SOFA were on average in excess of what she could sell in six months in Montreal. 

I was able to attend a special brunch event hosted by the James Renwick Alliance, an independent national nonprofit organization that celebrates the achievements of America's craft artists and fosters scholarship, education and public appreciation of craft art. The Alliance is the exclusive support group of the Renwick Gallery of the Smithsonian American Art Museum, the showcase of contemporary American craft. In November, the Renwick is hosting a critical thinking conference about post-disciplinary craft, which also was the topic of my SOFA lecture.

At the Renwick brunch event, I was also able to make contact with support groups that mirror our Canadian non-profit groups.  Given our growing list of natural disasters and the lack of insurance carried by many craftspeople, I brought back Studio Protector an artist's guide to emergencies.  Their disaster readiness and response resource should be of special interest to those in our industry.