Comments on: “One Question” with Caroll Michels

By: jack bauer

jack bauer — Sun, 20 Mar 2011 22:22:14 +0000

hi im a disabled ny artist, im just starting to like my art, you can view my art by going into youtube then typeing in artist jack bauer, or yahoo then typen my name artist jack bauer, im so frustrated as i have right sided brain damage, due to 4 strokes, but i keep on painting, why i have no idea, probaly because i do have some faith in myself as an artist, staten island artist jack bauer, im probaly the only other artist that has spent so much time re painting the mona lisa on a wood panel,

By: Norbert Marszalek

Norbert Marszalek — Thu, 11 Jun 2009 02:09:33 +0000

It is best if you contact Caroll Michels directly – -

By: Linda Leonard Hughes

Linda Leonard Hughes — Wed, 10 Jun 2009 22:48:59 +0000

I have studied art most of my life and have started recently promoting my work. Art gives much joy to my life. I have lived in New Engalnd and work very hard to try to get my work out there but I am having a hard time getting a break! I am a member of OPA,juried into,and several other national organizations. I would like to very much get into a good gallery, I am in a small gallery in western Mass. but need to make it into something a little more high powered! I had a chance in late winter to try out of J todd in Boston but it was the wrong time for me! I keep a positive attitude with lots of hope but need “the break” Would know of any galleries that might be interested in my work? Could you give me any tips that would help me personally? I do have your book and it is wonderful! Warm Regards, Linda Leonard Hughes

By: bill Dolan

bill Dolan — Wed, 13 May 2009 23:48:45 +0000

Hi Barbara,

I would add that it would be a good idea to start promoting your work as soon as possible, perhaps not wait until you feel you have a complete body of work, but maybe a few pieces that you feel are strong examples of where you are going. It can be a long road, so it’s best to get started as soon as possible. Good luck!

By: Norbert Marszalek

Norbert Marszalek — Wed, 13 May 2009 17:29:23 +0000

Hello Barbara,
That depends. For larger paintings a body of work could be 6 or 8 pieces. For very small work it could as many as 30 pieces. On average a body of work is around 20…give or take.

Some artists paint in the same style and subject matter for years so their body of work just keeps growing and growing.

By: Barbara Van Rooyan

Barbara Van Rooyan — Wed, 13 May 2009 16:56:53 +0000

How many pieces of work- in my case, paintings – is enough to be considered a “body of work” that can now be marketed/sold?

By: Norbert Marszalek

Norbert Marszalek — Sun, 08 Mar 2009 18:20:37 +0000

Verna, you can actually sand your paintings down…just like you sand wood.

Bill made some great points too. I would just keep the paintings and move forward.

By: bill Dolan

bill Dolan — Sun, 08 Mar 2009 05:21:24 +0000

Without knowing your work, it’s hard to help. I personally use a heavy paint layer. The more I pile on the harder it gets to correct and change things. In some cases, I’ve been able to cut off some of the peaks of paint with a palette knife and paint on top. Also, since you seemed to already think these paintings are worthless, perhaps you can cut a new painting out of the ruined pieces and remount the new work. Other artists have painted on the backs of old work. A large part of being an artist is experimentation, which means there will be failures. I personally have a huge stack of work that I feel is inferior. I think the trick is to get your work out in the world before you judge it to be less than what it could be. Let the art historians look back at what you’ve done and judge what is important and not. They might even be able to track your growth as an artist.

As an artist, you can’t worry about failure. There is a lot of shit that passes for good work. Learn from your mistakes and trust that you’ll do better on the next piece.

The “40″ in the spray-lubricant WD-40 stands for the 40th formula. During research, the first 39 formulas were a failure. The 40th was a success, so never give up. Put the messed up work aside, look at it. If you can’t paint on it, maybe you can do something with it. Play with it.

By: Verna J. Doane

Verna J. Doane — Sat, 07 Mar 2009 20:25:36 +0000

Carol , I could tell much more about my art more less inbreaded with-in me but self taught. I want to ask how does one correct a dryed painting when there was to much paint applied or pegments of paint. I have some paintngs that may be worthless due to this error.
Thank you and I want you to know I am loving your site.

By: bill Dolan

bill Dolan — Thu, 26 Feb 2009 03:54:37 +0000

Besides providing facilities, a dealer provides the unknown artist with credibility that she or he doesn’t have. It’s not a stretch that a large part of the value of the work is based on the dealer’s reputation rather than the artist. In which case a higher cut of the proceeds is warranted. It’s more of a partnership in the artist’s career. The artist brings the work. The dealer provides the sales network and his or her reputation. In the world of art, reputation is what drives the price of the work.

However, as the artist’s career grows, the source of reputation shifts more toward the artist. The dealer’s role becomes more of an agent rather than partner, therefore, perhaps the split of the procedes should change to reflect this change in this source of reputation. If the career is growing, so are the prices, which may help lessen the effect of a lower percentage going to the dealer.

I agree that dealers are important. Art as a commodity is largely a retail situation and in retail there is usually a middleman. The gallery, then, is the retail outlet.

The cost of running the gallery, such as credit card fees should be covered by the dealer. It’s his or her business and the cost of advertising, etc. should come out of the dealer’s cut. After all, the artist pays for materials, etc. out of her or his cut.