Food, Wine, Stuff on the wall, and some of the trend of ArtHop
Submitted by Out of the Void on Wed, 06/20/2007 - 12:57.
With the closing of club Jinaka came up some comments and feelings about what ArtHop is about, what is proper behavior of gallery attendees, and the whole issue of 'when there is wine and food there, how long are you supposed to stare at something, -do you eat the chow if the work isn't that great? Is there an obligation when someone says '..hey, this is free.' Etc. etc.
Rather than bulldoze the thread, I'm writing more of it here.
(This is the link to that thread,)
http://www.fresnofamous.com/node/6218
Okay, for openners.
This is not ,
'...Yeah Ed, I saw your stuff and it wasn't worth the time it took to wait to get a free glass of wine.'
Make no mistake in that.
-I did look up some of your work,
(just to see if I've seen it,)
and, yup, I was there,
and, yup, remember it, I think.
(You do a lot of arthops, you see a lot of stuff, sometimes the memory needs a little priming.)
(I liked the concentric circle blue thing, that was pretty cool.)
Now:
I think the situation, needs to be understood, and could be a great barometer for how ArtHop/BikeHop works.
Further?
I'm glad you're not holding a grudge against BikeHop.
You have no grounds to.
Seriously?
I am sorry that the experience wasn't pleasant.
Don't take it personally nor let it daunt you as a painter.
(Don't paint because of what people think, paint because you want to.)
Selling?
That's another can of worms.
There needs to be an understanding about the dynamics of a gallery showing/opening.
(This is something that we were taught and extremely schooled in even before Freshman Year of ArtSchool.)
-That was NOT wine and Cheese and crackers you had on the table, there, Ed.
That was Bait.
In a lot of respects?
The fish ate your bait and then swam away.
That is what fish do.
Now Look:
Try to understand what I'm going to tell you, and as an artist and an educator, see the reality of it.
If we pull the emotions out of the situation, we need to realize something.
ArtHop is a sale.
Yep, sorry, in a lot of ways? That is what it is.
It's a commercial, it's a teaser, it's a trailer, it's an invitation, it's all that…
But it's a social event that is designed to do (at least,) a few things, (and it's extrmely cool...)
It brings people downtown and into the tower from an afternoon into an evening on a consistent level, (and) has branched out to other areas.
It's meant to get foottraffic.
For who?
Well, the businesses, the galleries, the clubs, the restaurants, (the town,) ---and (hopefully,) the artists.
It's not just 'show and tell' every first Thursday.
If somebody wants deep and personal meaningful conversation about the work presented,
I suggest that ArtHop is NOT the best place to do it.
There are a few parameters that need to be understood:
-It is a severely limited period of time. Though I have met several painters, sculptors, photogs, etc, during 'the Hop,'
It is extremely rare that there is time to sit and really talk about the art in any great detail.
-You have to decide, upon going on the 'hop if you are looking to really catch a bunch of showings, or try to focus on the ones that you want to sit and absorb.
It's kind of like street theatre, it's a LOT of selling, and it's understanding that
A.) You have a very quick period of time to present something,
B.) Folks really do just want to 'bounce through,' (because there is a lot to do in a short period of time,)
C.) Audiences are very fickle, and (especially if it's not a sit down, 'okay entertain me,' thing,) You may never know if folks really got the work, often the best you're going to get is: 'Hey, this is cool, who IS this.'
D.) People don't go to ArtHop to buy artwork anymore than they go to the zoo to buy a giraffe, or a custom car show to buy the BatMobile…
(They think it's cool, they want to see it, -and IF the price is right, they may consider it, --but for the most part it's a social exercise.)
Now, this can be turned around, (and it's a great opportunity,)
But it's up to you to make that magic happen, ---not them.
-Sad fact of it is, in order to be a successful artist, you have to be a good business person, (IE Sales,) or have somebody who is good at this repping you.
-There is nothing wrong with understanding this,
-There is everything wrong in missing this or seeing it as cheap, dirty, or 'going commercial,' and being less authentic.
There are some artists who hang work who really don't care if it sells or not.
There are some galleries that open, and are a great 'behind the scenes,' place to hang out for a night, and 'see what the artist is up to,' ---but as much as I love these workspaces, If those people are looking to sell and make a living from their art, they are going to starve.
Period.
It's not really the nature of the artist to be about the sale, through and through.
When the work is being created, it's about the soul of the artist and the piece.
Then it's time to say goodbye and get the thing out the door and into a good home, (much like selling a box of puppies,)
—You want things to go well, but you need to let go, trust the situation, get PAID, -and people can call it what they want.
The world of Art Presentation and Sales is a very very volatile thing, and there will always be this fight about 'what is authentic,' and what is 'commercial and 'all about the benjamins.'
Some (Warhol's or Dali's case,) are excellent Business People who happen to be excellent artists,
---They completely understand how to build a situation, get people interested, make some stuff that they can hang on their walls to remember it by, ---and make a ton of money.
(It's funny how many artists and musicians I find out (now,) who had top grossing shows and who have started entire movements in the arts, -really were just 'creating,' so that they could build their portfolios and get better cred. as managers/producers.)
Others? (Pollack being one,) were driven completely over the edge by the whole process of the audience getting too close and marketing of it.
For Artist and viewers? A lot of them want to talk about it, (some don't,)
-But for either party to go looking at a situation like ArtHop (or even faster,) BikeHop,
as a time to really get into discussions about the work, is kind of a tricky thing.
--There are artists who, when I see their stuff, I'd love to talk with them about what they were doing, --but (and I'm embarrassed to say this,)
If I ask a question that is too technical,?
the artist lights up,
we start talking about the particulars of their piece,
---and like, twenty other people now feel left out, and the artist's spouse is like, '...um, honey, we have other guests...'
This is why ArtHop is NOT entirely a Comic Book Store (oh, sorry, what are they now 'Illustrated Novel,' store,) with a bunch of guys sitting around debating the finer points of the deeper meaning behind an X Men Character… (Yes, there is some of that, -but by and large? That is not what it's about.)
There is a time for sitting and discussing the fineries of the work,
and it's always appropriate to praise good work in a way that the artist can understand,
---but the very word 'HOP,' to ArtHOP means that this is going to be a brief visit, and sometimes the best aspect of that visit will be that you have a clean bathroom and cold bottled water and some Bill Evans on the stereo, and a smile,
--that may make someone want one of your cards, almost as much as what's on the walls.
Needless to say, in this whole situation, the expectations have to be left reeeeeeally open.
There is definitely a time for all of the above, and knowing the skills as well as when they are appropriate does not make the situation more vulgar,
-it simply shows wisdom in how to address your audience.
You cannot go into the situation of ArtHop with locked expectations.
There are too many variables, There are too many different people going through, each with their own thoughts.
They want entertainment and to see something.
Your job is to show them something.
-There is a time limit.
There are no strings attached.
They will make their decisions within seconds of seeing your work, that is simply how the mind works.
What I'm finding in a lot of your complaint,
---as well as what I see in some of the venues and galleries that I attend is that some people understand the way people think, others do not.
-That's not the audience's fault.
Watch 'Best in Show,'
'…You don't just tell them, 'This fly will work on that stream,'
No, you take the fly, you take this map here, of the local streams and rivers,
and you take the fly that works in that area,
you tape it to that area, and you go stream by stream,
with what fly works for that fish on that stream,,,,
In the end?
You sell them the map,
You sell them the flies,
You sell them some inside information,
---and all they have to do is go out and go fishing…'
Not for nothing, but I think there are a few urges and necessities that will cause a person to risk their life, maybe even kill somebody, over…
(What are they…?)
-Food
-Water
-Defence of life.
-Protecting their loved ones
-Sex.
???
Now, look at that hierarchy of needs.
… your gripe is that someone came in an ate your chow and then left and didn't talk about your art???
Putting food and wine in the room is like working on stage with a child or a trained animal.
If you don't know what you're doing, they will always steal the show.
Sorry, these people held up their end of the bargain.
You said:
'…I'm putting up my artwork on the walls, come and look at it.'
'…I'm putting food and wine out on the tables, come eat it.'
'It doesn't cost you anything…'
They said:
'…Hi, were here, (ahuh,) that's your art,
and (oh look) there's food and wine.'
-thanksbye.
Ever hear the old line '…why buy the cow when the milk is free?'
If you're hacked off
(okay, you're not holding a grudge,
-you just needed to put the comment in at the end of another comment and write about it…
but, you know,
you're not upset…
just needed to write about it,,,
…it just happened, but it was no big deal…
(you just needed to write about it…)
Yah.
But anyway, that experience,
(which, hey?
Who remembers it? Right,?)
Was a simple:
'They are taking advantage of the situation, they ate my food, they drank my wine, they didn't talk to me about my art.'
Ed, it's a lesson that folks need to learn, and it's a valuable one at that.
There are some rules here that everybody has to understand.
If you had them into your home,
and they simply sat down,
ate,
burped, and ran out the door?
Yeah,,,, that's rude.
-But still, -when offering something to someone for Free?,
-there are no strings attached,
(unless there actually ARE.)
-You can have hopes on the deal, but there is no guilt to be had in people taking you up on your offer.
-again, this is seen as a 'social event,' to the audience.
This is a public setting and an opportunity to engage people and (not just,) show them your stuff,
-BUT TO DO SO IN A MEMORABLE WAY THAT FOLKS WILL REMEMBER YOUR WORK, AND MAYBE EVEN BUY IT DOWN THE ROAD… (hello, is this thing ON?)
---It's up to
1.) YOU
2.) The Venue (if you're paying them) ---or your agent,
-To make sure that it's well presented
and that people have a real chance to experience your stuff and want more.
-There needs to be some personal responsibility understood here... The audience is simply the audience.
Provided they didn't burn the place down and didn't wreck the joint? They did their job.
Again, this is a promo event and a sales opportunity.
You are selling your self and your work.
(you.)
Honestly?
If it is going to be a sale?
It will be purely based upon the stuff being 'that good,' and the right person seeing it at the right time.
You really need to know how to target.
There happens to be a collage artist who hangs down at Teazers, (a girl,)
---darned if I can remember her name, real sweet kid
-but I bought a lighter off of her, (and I don't even smoke,) because it was cool, It wasn't expensive, (really,) and it is a really great memento.
—She has larger works that I like too, -but she sold me a lighter (I was hooked…)
-That the artist is located in a place that has high foottraffic and is reasonably priced?
Excellent situation. Somebody did their marketing homework.
There are other galleries that have some pretty high-end works that you'd expect to pay some bucks for, -and probably (don't) sell a whole ton of stuff,
---but (at least,) the work is hung in a good gallery, is HighTraffic,
-and has people walking through who have the bucks to afford dropping a few large on a piece.
-Selling those works is a different sort of thing than selling lighters on a sidewalk, -but you know what? Both will only be successful if the people know how to target their audience, as well as how the game is played.
(And by the way, if you are going to sell something expensive?
You better have NO food out, or REALLY good food out, or they will avoid your next event like the plague… that is simply how it works.)
Jinaka GOT this:
Often when you went into the gallery, the focus was on the work on the walls, (well lit, well placed, etc.) and the food table was also well presented.
-What that said (to the audience,) was that the food was there, it was good, it was accessible and all were invited to partake,
--it was also PART of the ART…
-This also made the transition of
'…good food, beautifully laid out,' —to 'Excellent stuff on the walls,'
-Psychologically?
The person is now eating good stuff that is beautiful,
-then is looking at good stuff on the walls that was beautiful,
--and the price was somehow easier to swallow because of the bridge provided by the experience
---where the food and wine opened the door for it.
Again, They knew what they were doing, (It was a giant romancing of the senses, which is one of the few ways to get somebody to lay out some cash for a bunch of cloth hung on wood with paint all over it.)
Was the food Bait?
Was it Art?
Was the lighting deliberately dramatic and enticing (Bait)
Was it part of the art?
-You tell me.
THAT's why Jinaka closing is so sad, (for me, personally.)
This was a class act.
They knew that it was the art of presentation and hosting, and in that?
'Cheap House White (the Philadelphia College of Art Standard,) from gallon jugs, served with cubed swiss,' withstanding,
It always will be the artist's responsibility to take advantage of the situation and present something truly good and memorable. (or, again, the gallery hanging (selling,) the stuff.)
It's the art of presentation, (something which unfortunately from time to time even during ArtHOP, can be a lost art.)
»
Celena, thanks for the post...
I saw that there was an update on this thing, and thought...
What?
It's funny, kind of like being a japanese soldier who didn't get the memo that the war was over, I shimmmy down this coconut tree, and there's a friendly face, smiling who used to hold art-hop hostings... (pardon my rusty rifle...)
I have to confess something:
Seriously, it's a secret, and I hope you can hold onto it...
I was a bikehopper, (possibly why I attacked Ed when he was dissin' my sweaty crew...
nah..
that would be too easy an answer..)
-But seriously?
I WAS a bikehopper, (may go again someday, right now my sched is insane.)
--and it was great to just pootle along on the wheels, surrounded by folks who were all just looking to see what was out there... (and for us, the ride was just as much fun as the art, ---well, 'cepting the time I nearly got ran over in front of Spectrum, (but that was really more my fault than the Toyota that was doing, like 60 down the road...)
The secret thing?
Yeah, having been a figure painter and sculptor for so many years, and having been raised in it, (my dad is a painter too...) It was just so cool to wind up in somebody's space, or show, and be just blown away by their work... and get to tell them why, (intelligently,) as a fellow artist.
I've made the coolest friends that way... I mean, it's just so excellent to risk the communication and see it really land.
-Now, I know 'praise is praise,'
-and it was just cool to see them get all jazzed over anyone digging their stuff...
But to be able to discuss their technique, as well as why the piece really worked... that was so excellent.
-The beauty of it?
Sometimes even they didn't even know why it worked...
(which was the hilarious part... I go through it too.. when I'm in something or making something? I can only tell you if it really works, -and have to step back to say 'why.'
THAT's why I love arthop, or BikeHop...
It's seeing something really excellent, and maybe talking to the artist and hearing them out,
or at least giving them a chance to see a real expression on your face,
'cause when it hooks up,,,, man, what a rush.
The whole 'hang out have a meal,' concept?
Sounds amazing... (but I'd be far too shy to actually stand there and do such a thing...)
-but I'd love to see the work...
Don't feel bad about the 'shy thing,'
-Being German? we don't just show up empty handed to something like a dinner, -we usually have some sort of offering, (like potato salad,) -and often like to do the dishes too...
I dunno... maybe it's that whole 'we understand that the company and trust of someone, -and eating with them, --is a gift, yet priceless, and should be shown something in appreciation... (hence: potato salad.)
I do know this:
We've lost some of our really great artists, (it's an awkward thing to say, I mean, they're all really good,)
---but a lot of the anchor folks have blown out up to Portland... and the scene is changing.
--Now, that's healthy and all, (and trust me, I want to see what Portland is like someday... I mean, it sounds gorgeous...)
But there will be a lot of holes, and current shifts happening with how arthop is going, ---and a nice lady who opens her house, shows works, actually feeds people, (and has a toddler as master of ceremonies...)
Sounds like a lot of soul restored.
So when your ready? (and only when,)
you say so, and I'll pedal on over check out your stuff,
-and bring some potato salad...
(and animal crackers for the little paint-chomper...)
yours was an honest and lovely post.
-Eric
Art Hop Trends
I used to host an art hop stop at my home studio. I plan to do it again when the youngest isnt trying to eat the paint.
I had food, wine, dessert. You could come to my stop, have a meal, hang out and then do what you like. I just treated my visitors like they were visitors to my home. I played hostess. I got to know them.
I just dont like going to galleries, and if you havent hung out with the artist since 1978, you wont have any idea as to who they are or if you are even welcome to talk to them.
I dont need the old cheese and crackers.. just have them be a bit more friendly.
Diablo / Ed / all
I appreciate your tying things together with a definitely valued stance.
I also like some of Ed's work too, (as stated,) and, since we're both Christians? we'll be be stuck with each other for eternity, so there will be plenty of time to hash stuff out... You know what they say, you can pick your friends, but you're stuck with your relatives, and love them no matter what.
Regarding VanGogh.
The irony of it?
He was, at one time a Dutch Reformed Minister.
-Problem was... (well, if you've ever been in the Dutch Reformed Church, (my mom and her family were raised in it, I was considering entering the pastorate with them a few years back, actually,)
-It's a very inter-political denom, --and he did not mix well with that.
--When a person is a minister? It's a calling, and to be called to do such a thing, and then NOT be able to do it, is horrendously frustrating, (It fueled his work and, like all in the ministry, he never really stopped caring as a minister, ---and in a much greater sense? When you look at his work, He never stopped ministering, and probably reached more people with his efforts on canvas and board, -than he would have ever reached in front of a congregation.
-And yeah, he probably never realized such, and he just went down hitched to the plow as most good servants do.
I'd recommend two things:
-First:
the book 'Dear Theo,' (Edited by Irving Stone) ISBN: 0-452-27504-0
It's the actual collection of letters from Vincent to his brother (Theo,) and back.
(I need to buy some coffee from you ASAP so I'll bring my copy by.)
-Second:
-Find the song: 'Skin,' by Bill Mallonee and the Vigilantes of Love (it's on Vigilantes of Love: 'Blister Soul')
-Pretty much anything by Bill is tremendous stuff to hear, but Skin (which is about VanGogh,) is one of the most stunning pieces you'll hear at any time.
In reading the thread, it could look like there was deliberate bloodshed on this issue between myself and Ed.
-Such was not the intent, (speakin of my end,) and I'd think it even less from Ed.
We're both adults, we're both believers, we're both educators, (he's the college team, me? who knows, maybe someday,) we're both artists, and I don't think either of us are afraid to put up or dukes in a discussion about what we feel strongly about.
That's one of the things I respect about Ed.
Further?
The man has put together a body of work and has hung (at least one) show that I had the opportunity to experience.
-Now, It's one thing to ask your peers what they think about your stuff,(and you can guess, peers can be quite honest.)
-It's way more to just let it all hang out and let the court of public opinion have it's way with you.
-THAT takes brass ones...
Further?
Ed's one of those writers on here that remind me of my fellow lifeguards, (back in the day,) who I trained with.
We'd all go in the deep end, form a ring, and throw one of us in the middle and then (under the careful eye of a mentor,) try to drown each other.
-Why?
Because we knew all the dirty tricks that had happened to us when we were out saving lives, and knew that if we knew how to deal with such in a controlled environment, -we'd be less likely to be surprised in the real world.
It wasn't always fun, but we got way better at what we were meant to do.
(And no, that wasn't done in malice either, there was no room for that, it was purely a clinical situation.)
We also knew each others strengths and weaknesses and knew how to work with each other better as a result.
-So in the end?
Everybody wins.
For me the thread was not 'Ed, you suck, Your opinion sucks, and your work sucks.' Nope, I don't feel that way at all.
It was two perspectives that needed to be understood, and I figured may benefit both attendees and exhibitors in ArtHop.
-So, yeah, now folks know how it feels from these particular sides.
(They also know that, if I'm swimming up to you in a deep body of water? If you're in trouble? I'll help. If you're not? I'll remind you why you're there...)
Now, I'll offer this:
(In front of Ed, his Furniture Buddy, God, a Coffee Roasting Engineer, and the whole world...)
My schedule is kind of nuts at the moment, but if Ed wants?,
at his next showing, I'd be happy to stand by the door,
(and you know I am not a small person.)
...Heck, I'll even serve the goodies with an apron on, (but it's going to say 'Park Bike Tools')
-screen for ID to keep the twelve year olds from getting loaded,
-and look folks square in the eye and say,(with a smile,)
'..hey there!, thanks for coming out, bubba,,,
did you look at every painting???
yeah?
are you sure???
yeah? YEAH,
well go look again...
-they're for sale, you know...)
I'll only take a break when BikeHop comes through, (at which time I'll have to go out, make sure tire pressure and brakes are properly adjusted and then give folks a hard time for not wearing a helmet.)
(Might have the whole place sold in just under an hour...)
...Provided it's not during the Rogue, the offer stands.
cordially:
Eric Field
(former lifeguard / occasional game-dog.)
A different perspective
I haven't had a chance to participate in an arthop yet, but I'm working on it. Free cheese and wine, that's cool. I'd feel bad if I ate and ran. Bad manners to me. Insulting to some and I can see why cause to me it has nothing to do with the art thing at that point. Someone paid for that food and wine, just like if you went to a friends house. And you don't go to a friends house just eat their food and run. That's taking advantage. I wouldn't eat and run because I appreciate someone's effort either in trying to expose me to something different, in making me feel at home and welcome enough to offer me free food, because I know that stuff isn't free and I respect the dollars it took to buy that food. So I respect the person offering the food enough not to eat and run/take advantage of. But that's just me.
I'm reminded though, my father is/was an artist, of some history I just read on a famous artist. I did have exposure and have paid attention to some things in life. When it comes to art though, I'm a little more fundamental in some respects. In this instance, I'm reminded of Van Gogh. I read this just a day ago. He did not have a job. His brother gave him enough money just to survive. Van Gogh did not sell one painting in his life. He made not one dime off anything he painted. Once a week his brother gave him money. Van Gogh bought enough food to eat for 3 days. He starved the other 4 days. He starved because he saved his money to buy paints and other equipment to paint with/on. He painted because he loved to paint, nothing more.
To me if not one person ever liked my art, I wouldn't care. As long as I like it and I can stand behind it, and it means something to me. I have created things and sold things. Every time I have sold a work, I was sad and had a kind of separation anxiety. I really loved what I created and when it was gone, I missed it. Many hours of work, attention to detail, the blood, the sweat and the tears. I asked for what I thought was a lot of money because I really didn't want to sell it. It meant something to me.
Mixing business with art is a tricky ordeal. Both points of view express why. It's subjective and objective and the value, the value often times seems to be tied in more with popularity and other non artistic variables. I feel your pain Ed. Stay strong.
Not everyone can appreciate art in the first place. Kudos to Ed for trying to show people. Kudos to Eric for trying to show people. Thank you both. Never mind about the little things, that's just stress you don't need.
Diablo
so.
not sure why you're not getting what i'm saying, why you think i'm giving some sort of mixed message so i'll summarize it:
1. completely understand that people come to arthop for various reason.
2. completely understand most visits will be brief.
3. completely understand not all "work" is stunning/brilliant/etc.
4. completely understand that people will eat your snacks - that's why you put them out.
5. not upset at all, wasn't upset that night.
6. all i'm asking is that people look @ the art.
-Ed, do you even read what you write?
In your comments you say two things at once, and you really should address this, and possibly? you'll find the nature of your own discomfort quelled.
-You state that you understand that people will, during ArtHop come in look around, grab some munchies and then head out the door, having looked around.
-but you then get irritated when folks 'dont give the artwork a chance.'
Read what I wrote about a dynamic presentation as well as dynamic work that grabs folks.
Let it sink in, maybe it will help.
(For someone who is such an ArtHop veteran, you really freaked at one of the first premises to showing publically, bub.)
My experience with your work on that night?
I remember seeing the blue concentric circle thing and thinking, 'okay, I get it, interesting exercise, 3D impression on a flat surface working monochrome representing liquid.'
--now, that? That was about it.. It was interesting, it was cool, it was not spellbinding.
(for me.)
Good or bad? who's to say.
It's art, it's subject to interpretation as to whether it's good or not.
What I can tell you, (honestly,) not knowing who the artist was, was I walked in, looked around, know I saw that one piece, (and probably didn't even have any wine or cheese... (I tend not to eat and drink when I'm riding.)
But I can tell you, MY definition of amount of time I needed to 'really take in THIS artowrk,' and your definition and amount of time? --are not going to be on the same page here,
(and I saw the show with neither malice nor allegiance.)
Yes, there have been works that I've seen that I stood there impaled, There are works that I've dragged my friends over to see, There are artists who I have sought out and wanted to know the studies deeper meanings.
Regrettably, the show that you had on that night did not fit that description. (for me.)
-I have different tastes and requirments than a lot of people.
-For others?
Hey, I hope it went great and you had tons of dialogue.
But the real blank paper on this is:
I didn't know it was your stuff one way or another, and (truth be told,) there has YET to be an artist who's work I've met in Fresno who I knew the artist FIRST, and would have had to be 'nice,' about the piece (so as not to offend.)
Usually it goes: '...wow this is cool, who is it.' --and then the relationship and communication starts.
Considering that this dialogue was not to take place for, what, 8 or 9 months in the future?
I would have had no reason to be for or against your work based upon anything written by you at any time.
Now... it took me less time to view the show and move on than it really took me to write ANY of the comments in this string.
--This is NOT to say
'..yeah, I figured it wasn't worth my time in no time flat,,,'
-not at all...
It's just that me,
(a studied painter, somebody raised in the arts, who just goes to ArtHop with no expectations (for the most part,) determined quite quickly that I was not taken in nor desiring more information on these particular works.
Sorry.
I'm one person, it's only my opinion, and (again,) a lot of other folks walked through those doors, (besides the bike-hoppers, hopefully,)
-and I'm hoping that there were some real great conversations that took place, (seriously.)
Different work by you? Different setting and presentation? who knows.
But while you may be saying
'...yeah, I respect people's own time frame and ability to look stuff over while eating the food...'
-Then determining that somebody (such as myslef,) was giving you short shrift?
(and just taking advantage of the free eats?)
Me, being the one who was meeting your work for the first time, would have to differ.
See the problem in that?
-You're saying '..give the work a chance.'
-An audience member is saying '..I did.'
-You're response '...you're wrong, you didn't.'
Now, why would I turn around and deliberately dis your work?
I'm there to see new stuff, (heck, being new to Fresno? everything is new and I definitely respond to work that hits me, (ask anyone standing next to me when I'm in front of it...)
I think you're blind to your own oversensitivity here, bud.
Until you give it the possibility that maybe something could have been better presented, -or better executed, (or that maybe the crowd wasn't feelin' you that night?)
-You're going to be making comments about people coming in and grubbing the wine and cheese,
-and not considering, 'hmmmm, maybe the wine and cheese was the best thing in the room...'
--Now, that consideration being voiced?
I can tell you, as an unbiased observer that such was NOT the case,
-Again, there were some good aspects of the show, as I remember it, (again, the blue thing,)
But God's Honest truth?
I had to look it up on the flicker pool and see if anything really jogged my memory.
One thing kind of did.
There have been other artists, I can think about who I met one time over a year ago, and I still want to see more of their stuff, and barely remember their name, (I just have a slip of paper with a smeary phone number and (maybe,) a name on it.
-But what they DID really struck. (Sometimes so hard that I'd come home and write about it within minutes of getting in the door.)
Not everybody felt the same way, I'm sure some folks passed over their work (and sadly, I saw them present one time, which sucks, because this guy was an amazing photographer.)
Maybe the reason why yours didn't hit that hard is (just possibly,) the reason why folks came and then left?
Not trying to be an asshole here, but there's only so many ways to cut it, and if you're going to present work in a setting like ArtHop you need to realize that the temp reading is going to be 'hot-cold,' 'yes-no,' 'stay and talk - move on.'
For all the blase looks on people's faces it's actually quite cut-throat.
This is also a good reason why some artists do not hang at their own shows... (Besides, if their work is strong enough? people will get pulled into it, and then sign up on a mailing list and take a card.)
-The bad part?
Yeah, your experiences with that show and a group that came and left, (for whatever reasons,) not fun, and I'm sorry that that happened to you.
-The good part?
The collective memory is a short thing.
You do another show?
Folks will come and check your stuff out, and will respond anew.
I for one, if seeing your name on a roster? am staying waaay clear of the snack tray.
You're right 'whine,' is what you've been doing, and it's time to stop.
(I would also? post a pitbull near the refreshment stand, or have a mandatory 'stand here and look for _____ amount of time, before anyone gets anything to drink.'
Sign posted.
on cubed cheese and cheap whine
you say, "… your gripe is that someone came in an ate your chow and then left and didn't talk about your art???"
and what i said was, "to restate my original point: i understand people come out to be seen. people in the doors is a good thing. it builds buzz. hopefully, buzz will eventually = $. but, please look @ the art while you mill around. the artist, however good she or he is, has themself invested in it. you don't have to stay long, but give it a fair look."
these are two completely different things. my comment was that people seem to be more concerned about being seen and i used an example of people coming in en masse and drinking wine & not viewing the art. this was an example, not a gripe. and, as i continued to clarify, it had little or nothing to do with the particular group. and, as i continue to restate, i understand that people come out to be seen, and that's alright, but i hope that while they do that they look @ art.
you're preaching to the choir on the nature of art hop. i know that refreshments are a "bait." i know that people won't linger for hours. i know most people won't even talk to the artist. (this wasn't my first rodeo, and even when it was i already knew what to expect because i'd been going to art hop for years.) in my statements i've clearly identified that i know the exact nature of art hop. in other posts, i've defended art hop. i've defended art hop to other artists that complained about not selling work @ it. for someone else to complain that art hop has become less about art and more about gathering is their opinion, their right. for me to talk about my own experience of seeing people milling around, and watch this closely, desire for them to also look at the art is perfectly alright and fits within the goal of art hop. what i am saying is that it's alright to mill around and be seen. it's alright to spend under 5 minutes at a spot. it's encouraged to go to many sites. but, in all of this, please consider the work. give it enough time to take it in. the goal of art hop isn't to just get people out of their houses. the goal is to get people seeing art, to expand the cultural life of our beloved city, and to get them out of their houses and into galleries/venues.
i'd love to talk to an artist that wants people to come in to a show, and not look @ the work. any out there?
(btw, for all those wondering, the title was unintentionally spelled that way, but i liked it and left it.)
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