THE CADMIUM YELLOW BLUES

Unfinished canvas
60"x60"
it looks OK at this distance

 Cadmium Yellow is one of my most treasured pigments. Yes, I am aware that there is a health hazard with them, but I am drawn to the cadmium colors. I sense some kind of extra energy in all of them.

My studio, once a guest bedroom, is fine for smaller works. Located in central California, the windows and doors are open most of the year for ventilation, however, I did not want to be in a confined space with twenty-five square feet of fresh out gassing paint (see links below). So, in the late afternoon, on the shady side of the barn, I leaned the big canvas against the wall. With a large brush, I laid on a generous amount of a Permalba white with a squeeze each of Cadmium Yellow Pale, Cadmium Yellow, and a splash of a French Lemon Yellow. The colors were blending beautifully into the clean, clear, soft yellow background I had seen in my mind. Just when I thought it couldn't get more perfect, I noticed that I was not alone. As fast as I was painting, every square inch (all 3,600) of it was filling with kamikaze-style little black bugs.

Anyone who has tried to rescue an innocent insect from fresh oil paint know how futile that is. I hoped I could just work them into the paint as each one is tiny. No one would notice. I tried to console myself saying this is life (in this case death), this is an authentic event in the evolution of a work of art. I kept working the canvas until it was completely covered and with paint and more bugs. As I walked away from the finished background, I faintly hoped in the morning the bugs would have somehow found away out of their predicament on their own.

No one would notice, hah!  At best, black mixed with yellow looks green. Most of them still appear very black. I spent a sizable part of the next day with a razor tipped art knife, with only moderate success at picking out bug parts. When it is completely dry, I will have to sand parts (with respirator), fill the knife gouges in the paint, dry, sand again, and repaint at least once the whole upper half of the painting. Next time, I will paint indoors, and then dry it outside in the full heat of the sun when there are far fewer bugs.

I had to laugh today, I remembered that yellow is used as a lure by agriculturists to trap insects.  It appears that many insects are attracted to yellow also, and my canvas may be the biggest sticky trap ever. My apologies to entomologists, environmentalists, and bugs.

Links to learn more about the toxicity of cadmium paints:
The University of Illinois  
Golden Artist Colors
Yahoo Answers

ART DEALERS - Part 3 - GETTING PAID

"Small Treasures"   
© JLicsko    18"x24"     oil on canvas

  

     Have you ever wished that you could find someone to take over the business side of your art, and leave you to focus on just the creativity? I'd bet my first born the answer is yes. Well, forget about that dream, and face the fact that nobody cares more about your wallet, and your goals than you do. The successful artist takes care of his own business.

     Most simply put… your job is to supply the art; the gallery's job is to put your work in front of collectors and the buying public, and get you the money. It can get a lot more complicated than that, so ask questions before you agree to leave your work with them.

     Commissions vary. Non-profits may only take 30 or 40%. They are usually not aggressively sales oriented, so while you may get more, you may not sell much. There are a few galleries that want 70%. Before you start screaming, just know that some of that commission may be because of extremely high rents in the most valuable real estate areas in the country. For some artists, it may work out well. Most often, you will pay 50% commission, and for that you should get some services. Determine what's important to you. Ask questions. Will you be expected to pay for publicity, show opening expenses, invitations cost, etc? More often than not, it's all negotiable.

     While your basic good gallery will pay you in thirty days, the annoying ones pay you within 30 days from the start of the next pay cycle.  Still, if they have other positive qualities, and the artist is disciplined, it can work.  Occasionally, a dealer, will buy the work from the artist.  Usually, those dealers will take an additional mark up percentage in their favor, and for some artists it works perhaps because of the volume of sales.

     Some dealers will be so happy to tell you they sold one of your works, they will call you immediately. The best galleries put a check in the mail the same day, or within a few days of the sale.  These galleries know that most artists live close to the edge, and paying them quickly means they usually get the best work, and keeps their artists loyal. 

     Others, particularly if you are not in the same locality, might not ever tell you your work has sold, using your money until you discover the work is not in the gallery. At that time, they will tell you, they have just collected the money, and now they will be able to pay you.

     Dealers to be most cautious of are those in financial trouble. They may sell your work, not pay you or the other artists, then declare bankruptcy. I have experienced this. The loss of your work  may be prevented by having a clause in your consignment agreement that states "the title of the work transfers to purchaser only when the artist has been paid in full".  To be sure you are fully protected, check with an art attorney.

     For more valuable information on artist/dealer relations and so much more, visit Allan Bamberger's website Art Business .com.

ART DEALERS - Part 2 - CHOOSING THE RIGHT GALLERY

"On Sale" 

© J. Licsko 2010    6"x6"    oil on canvas

      After you are sure that your intended gallery is a "good fit" for your work, then you must be equally sure it is right for your personality. Artists, being easily influenced emotional beings, must consciously respect and protect their psyche. 

     Two art dealers were asked how they feel about their artists visiting the gallery. The first said, " I love it when the artists drops in to the gallery frequently. It is easier to sell a painting when you really know the artist, and they are always on your mind."  The other said, "Artists should deliver the work, and then leave it to me. I will call them if something sells".  Artists should ask the same question of their prospective galleries.

     A good dealer knows that his artists are crucial to his success. The gallery owner and staff will treat the artist with warmth. They want you to know that they welcome you, and are proud to show your art. Nurtured by this environment, your creativity has the best chance of flourishing.

     The worst dealers have personality problems that infect everything and potentially everyone with whom they come in contact. Even if your art sells in that environment, you will be able to find a better gallery. If you feel unwelcome when you visit your gallery, move on. 

     A good gallery presents and handles art in a professional manner. If you find your paintings on the floor, leaning against a wall, or worse, in the storage closet, you need to know why. Does this happen often? Are they getting scratched? Are you finding thumb prints on the tops of your canvas caused by improper carrying? Are you being asked to repair work damaged in the gallery? 

      Some galleries may sell your art more frequently than others, but if that's done by always discounting your work, you loose. Even if the dealer takes the discount from their own commission, it decreases the retail value of your current works, future sales, and handicaps the other galleries you work with. Make it clear in your in your consignment sheet, that the gallery's commission is a clearly specified percentage of the retail price. This is different from telling them "your price" thereby allowing them to make whatever they want on top. Honor your galleries and your art by keeping your retail prices consistent. Do not undercut your galleries by selling privately at lower prices. And remember, the Internet makes it very easy for collectors to comparison shop the different galleries. There are no secrets.

     The best art dealers will work to sell your art at its full value, promoting and educating the collector about all your strengths. They will help the artist build the value of their work, at the right pace, over time. They are not afraid their artists will out grow them, because they want to grow too.

     Just as good fences make good neighbors, good consignment agreements make good business. In a previous post, I have shown an example of my own contract that is short, and been "good enough" for me in most circumstances. I augment it as I go along, adding or subtracting points that are relevant to each gallery situation. If you can afford an art attorney, it would be wise to have one designed specifically for you and your needs. However, be warned, it is the tendency for lawyers to be so detailed that prospective galleries won't sign it without the advice of their attorney, and that added expense could be a deal breaker before you have had a chance to develop a relationship. Ask your attorney to keep it as simple as possible, adaptable to various galleries, and preferably, one page.

     Next post: part 3 Getting paid.