We can use a hypothetical model based on market criteria and calculate value with some probability.  These criteria are expressed here in general terms or rules of thumb.  Examples are provided – but knowledge and expert advice are important if you are investing any real money in art for reasons other than personal preference for the work.

1.  What artist created the work?  If the artist is well known more value attributed to the work.  If the work was completed by a group or assistants to an individual artist, then it will probably be of less value.  Artists like Picasso or Matisse will certainly bring a higher price than a contemporary regionalist.

2.  Is the artwork a unique, one of a kind – or is it one of a multiples production.  Many prints and sculptures may be produced in a limited edition of 3, 6, 50 or even in the thousands.  Multiples, or pieces produced several at a time are usually less valuable.  In the case of a multiple on which the artist may have made unique alterations, such as adding different watercolors to each print in a series, or working to make variations in a cast sculpture after is has been produced, can raise the value.  These would be considered as more original on a continuum.  In fact the series itself may make any individual differences more interesting, hence more valuable.  If the changes were made by assistants they will be probably be less valuable.

3.  Strength of composition is also very important in valuation of any individual work of art.  Whether the artist sells in hundreds or millions of dollars, a strong composition will almost always be sought over other considerations.

4.  Better examples of the artist’s mature style will be be more important to most collectors in any market.  If a work of art particularly presents the strongest and most appreciated elements of an artist’s mature style, then it will be worth more.  The only exception to this rule is when a particular individual work by the artist is seen as a flash of genius that stands outside of his known progression of stylistic development.

5.  Involvement, discipline and time spent in producing a work of art is an important factor to many buyers.  If a work is complex but strongly unified, and that a many-phased process shows the artist’s strengths, then the work will draw a much higher valuation than his/her quick sketch.  The only possible exception to this rule is when a virtuoso performance is evident in a work of relative spontaneity.  Some art forms and styles are based on the ability of an artist to convey visual power with spontaneity rather than a more methodic and painstaking presentation.  Spontaneous production of disciplined compositions, including sumi ink can be valuable based on grace of execution.  Some art forms using spontaneous production of a relatively unplanned composition, such as action-painting, can be valuable for the quick but powerful production of composition that is less preconceived and more reflexive.  In these cases the discipline is more in the initial physical act than the reworking of stages of many physical actions to create a composition.  Critics of these more spontaneous art forms speak of accidental creation.  But when an artist can frequently produce fine composition from a spontaneous approach, then examples of that ability are valuable.

6.  Size of work within any artist’s body of work will generally correlate directly to value.  The bigger the work, the more valuable, other factors being equal.

7.  The medium is also very important in valuation.  For flat work, or more two-dimensional composition, oil works are most valuable followed by pastel, acrylic, water color, collage, ink, pencil, prints, and lastly digital works.  For three-dimensional more sculptural works the most valuable for small pieces are bronze, stone, wood, assemblages, found objects.  For large pieces stone may be more valuable than bronze.  If castings are multiples they are of course less valuable than uniques.

8.  The number of available works by a given artist is a big consideration in valuation of the individual works.  If the artist is dead, then of course production has ended and has become a finite pool of available pieces. If the artist turned out fewer works, but they are sought as true masterworks, then they will each be worth more – and raise the prices of even lesser works by that artist.

9.  Who is selling the work?  If the work appears in the catalog of a major auction house you must consider the matter of prestige and the overhead costs of exhibiting the work.  The pricier the surroundings and the sale costs, the pricier the work.

These nine criteria are the most important rules of thumb to be considered in understanding the value of a work of art.  Following these rules you will have a higher probability of determining the relative value of any piece.

- Tia Marks

Many cities, counties and organizations sponsor these shows.  There are Art Associations that list many of these local Art exhibitions. Make sure to start with these organizations. For nationwide listings, here are show directories: artfairsource.com – festivalnet.com.  Here is the Art and Craft Show Yellow Pages.  Choose shows that interest you and are within your geographical requirements.  Call or email the contact person of the show for an application, if it does not appear online.

When you are submitting an application, check the deadline first thing.  The application will explain show regulations,
entry fees and many other rules. Be careful to follow the directions in the application.  The fees involved may be expensive, depending on the shows location, history and prestige.  There will an application or jury fee, paid to decide whether you will be admitted as a seller/exhibitor. Then there are booth or place fees.  The standard booth space is 10 feet by 10 feet and it can range in cost from $20 to $500.

After the jury has seen your application, you will receive one of three replies: A Letter of Acceptance, A Letter of  Rejection, or a Standby Notice. The Standby letter means that your work did not make the first round, but that you will be in if any artist should cancel for the exhibition. Your can choose to remain on the Standby list or withdraw from the show.

Most of the time images or pieces of your work will be requested with the application. More and more shows are starting to request digital scans or photos. The quality of these images is very important to jurors in the process of judging your work.  Many shows will request a “Booth Slide” to visualize your complete display. To make a good photo of an outdoor display with canopy you should make the sure your booth looks its best.  Your canopy or tent may be taken to the show, or rented from some shows on site.  The best canopy will protect your artwork from the weather.  You can shop online for good canopies and make sure to read reviews on the various products offered.  Some canopies have an array of features like doors, awnings and skylights.

Display panels are necessary to hang your flat work on.  A flip bin is an excellent way to display matted or unmatted works on paper.  Their are several companies who sell displays with all the accessories.  Weights are necessary for the canopy. The wind can destroy your displays if the canopy is swept away.  All of the legs of the canopy should be weighted as well as any other spots that are vulnerable.  Concrete blocks or sandbags will work but covered weights are available for a more attractive appearance.

Make sure that you have the capability to accept payment in the most popular ways.  If you want to accept checks make sure to ask for identification.  If you have a merchant account you can accept major credit cards. This definitely increases your odds of making sales.

It is important to people who attend the show to know how to contact you for possible later sales. Business cards, brochures, refrigerator magnets are all good ways to stay in easy contact with people who like your work.  Attitude is important.  Smile and greet viewers who enter your area or show interest in your art.  Make sure to dress neatly, but comfortably.

For beginning exhibitors at Art Fairs, Festivals and Outdoor Exhibitions  this should help to get you on your way to a successful art fair – and hopefully some sales.

-Giselle Borzov

What decisions do you make when you begin a painting?  “After I decide the size and shape of the painting, my next considerations relate to any end product ideas that I might have.  For instance, if I want to achieve a certain color scheme I may have ideas about what colors I use on the initial phases of the ground or first layer of color.  If I decide that the painting will have various different color areas – this is on my mind from the beginning.  A later concern is structure or movement in the painting.  If I know that I want to end with certain types of shapes or intersections of contrast or arrangement of form, then this is probably second in the time continuum of decision-making.  For me, non objective painting does not mean that the finished composition will be “all over” as Jackson Pollock used to say.  I know that I will depend on more delineated structures and forms than Jackson Pollock did.  But, if you look at even the loosest “all over” paintings of Jackson Pollock or other drippers, you find concentrations and parallels of line and focus of color and rhythms.  This is a loose form of structure and movement as I see it.”

Jackson Pollock stated that he thought all good artists paint themselves.  He explained his style as a projection or expression of his psyche and his unconscious.  Do you consider that your paintings have such meanings?  “For me, whether a painting has meaning or not is not important.  Whether some meaning is apparent or imagined by a viewer is irrelevant for me.  Any non objective painting is not about meaning.  I certainly intend no meaning. In fact I always, or at least very usually, try to escape any logical meaning really.  As far as expressing myself or painting the real person that I am that is not my goal.  My goal is to find a way to mesh color, structure, form, movement, texture into a working, living composition that is free from allegory, allusion, irony, politics, religion or any personal or social concerns whatsoever.  I do not live the rest of my life like that, so you could say that I paint the genuine painter that I am.  With very abstract painting an artist at least has some style – which is the sum of choices made according to that artist’s own conscious and unconscious set of rules.  But analysis of that is immaterial.  Does style have a meaning?  Abstract painting – non objective painting depends on all those many lines of decision-making that constitute style.
We relate to other people’s styles – or not – just as we relate to their personalities.  I can respect a strong style as a style and begin to see the decision-making processes.  But I may not like what I see.  Other than a style I don’t think non objective painting has any apparent or intended meanings.”

I noticed that you had a rather strong reaction to the suggestion by the curator’s assistant here that an abstract painting could be hung in any direction, or upside down.  Would you explain now what you told me again about your reaction to that idea?  “Well I know the assistant was joking, at least in part.  And I have heard artists and some of the faculty suggest the same idea.  These people are saying that a composition should work visually in any direction if it’s good.  Why?  I do not know.  Some of my non objective paintings have been hung like that, once or twice as a joke, once or twice out of ignorance.  One time when I objected to the direction, upside down, I received a bit of nonchalance, but I was patient, finally I just said that my signature was upside down.  It was funny but also stupid. . . But now on to the earlier explanations I gave to you.  For me there is always an up and a down, a right and a left.  When I have thought about this I believe it relates to some feeling about writing or a graph or a map or a picture.  I know it relates to my preferences about a composition in physical space.  I wouldn’t hang a landscape upside down or show you a signed document upside down even if that orientation was also aesthetic.  Also, the left to right dimension for me has some connotations about movement through time.  It is a lot like handwriting for me.  There is an up and a down and a right and a left.  I have always been interested in peoples’ signatures.  I have studied graphoanalysis, kind of secondary to my formal training in psychology, and I was always struck by the different aesthetics in each person’s signature.  And my painting is similar in that respect.  The character of line holds a lot of weight in a composition for me.  So I am careful about it’s orientation amongst forms for directionality.  Also, if I want a line or form in my painting to be experienced in the correct orientation or directionality, I am very careful when I add this element as I walk around a canvas if it’s on the floor or flat on a table.  And I look at it carefully when the painting is in an upright position.”

What is your next project?  “I am getting ready to create a series of large and very large paintings on canvas.  I am also thinking about another project – a series of large mixed-media works with a more sculptural feel, like a relief sculpture.  But I really don’t want to talk about those ideas right now.  They are still rambling around and formulating without any cohesion yet.”

Can I interview you again for another installment?  “Whenever you want.  I have enjoyed it.”

Thankyou Brad Bannister for your viewpoints on the creative process for non objective painting.  You can see more of Brad’s work at his website.

- Giselle Borzov

The top ten nonobjective paintings are not ranked, nor are they listed by date of production, alphabet nor any best criteria other than the Giselle Borzov order of research and selection in real time.  Each painting has information with the artist’s name, title, medium and year of production, and a few characteristic quotes of the artist about painting in general.

Each of these nonobjective artists made historic strides in the world of art and they are all well represented in museums and galleries worldwide.  Not every one of their paintings was a masterpiece, but many were.  So selection of a work as best or top was not an easy task.  I sometimes tried to select a work that was most characteristic of the artist’s main style.  Since many of these artists were well received for a sequence of their developing styles that also made for another dimension of consideration.

Wasilly Kandinsky – “Yellow, Red, Blue” – Oil on canvas – 1925.  “Abstract art places a new world, which on the surface has nothing to do with ‘reality, next to the real world.”  “There is no must in art because art is free.”

Josef Albers – “Homage to the Square” – Oil on board – 1963. “I have also come to the conclusion that the square is a human invention, which makes it sympathetic to me. Because you don’t see it in nature. As we do not see squares in nature, I thought that it is man-made. But I have corrected myself.  Because squares exist in salt crystals, our daily salt.  We know this because we can see it in the microscope”.

Jackson Pollock – “Lavender Mist” – Oil on canvas – 1950.  “It’s all a big game of construction, some with a brush, some with a shovel, some choose a pen.”   “The method of painting is the natural growth out of a need. I want to express my feelings rather than illustrate them.”  “Every good painter paints what he is.”

Hans Hofmann – “The Golden Wall” – Oil on canvas – 1961.  “When I paint, I paint under the dictate of feeling or sensing, and the outcome all the time is supposed to say something.”  “Painters must speak through paint, not through words.”  “It is not the form that dictates the color, but the color that brings out the form.”

Willem de Kooning – “Interchange” – Oil on canvas – 1955.  “In art, one idea is as good as another. If one takes the idea of
trembling, for instance, all of a sudden most art starts to tremble.  Michelangelo starts to tremble. El Greco starts to tremble. All the Impressionists start to tremble.”  “Whatever an artist’s personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists.”  “The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can hope for is to put some order into ourselves.”

Robert Motherwell – “Reconciliation Elegy” – Acrylic on canvas – 1978.  “It may be that the deep necessity of art is the examination of self-deception.”  “It’s not that the creative act and the critical act are simultaneous. It’s more like you blurt something out and then analyze it.”

Antoni Tapies – “Creu I R” – Mixed Media on wood – 1975.  “My wish is that we might progressively lose our confidence in what we think we believe and the things we consider stable and secure, in order to remind ourselves of the infinite number of things still waiting to be discovered.”  “The artist has to make the viewer understand that his world is too narrow, he has to open up to new perspectives.”

Kenneth Noland – “April” – Acrylic on canvas – 1960.  “Because of this the representation I’m interested in is of those things only the eye can touch.”  “I think of painting without subject matter as music without words.”

Franz Kline – “C & O” – Oil on canvas – 1958.  “The final test of a painting, theirs, mine, any other, is: does the painter’s emotions come across?”  “Franz Kline If you’re a painter, you’re not alone. There’s no way to be alone.”

Mark Rothko – “No. 13 (White, Red on Yellow)” – Oil and Acrylic on canvas -1958.  “It was with the utmost reluctance that I found the figure could not serve my purposes. But a time came when none of us could use the figure without mutilating it.”  “The progression of a painter’s work as it travels in time from point to point, will be toward clarity – toward the elimination of all obstacles between the painter and the idea – and the idea and the observer. To achieve this clarity is inevitably to be understood.”  “Since my pictures are large, colorful and unframed, and since museum walls are usually immense and formidable, there is the danger that the pictures relate themselves as decorative areas to the walls. This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative.”  “I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.”

So there you have it, the Best Top Ten 10 Most Famous Nonobjective Paintings.  I hope you enjoyed the images and the artists’ quotations.

- Giselle Borzov

How did you begin in art? “It isn’t remarkable that someone will start drawing in childhood, as I did at four years of age. But, immediately I began to draw for hours and hours a day, and that continued for thirteen years until I graduated from high school. I estimate that I made over 100,000 drawings in that time, and along the way I learned a thing or two.”

Can you tell us how you progressed through various media and particularly into pastels and abstract landscapes? “That progression question is an interesting one. I did use every type of flat media that is common to art, just like any other art student. But the pencil was my truest form of expression, and when I decided to become a professional about 12 years ago, I felt the urge to present color with my art. I had a feeling that I could do well with color, but that I didn’t have much experience beyond the basics of color theory. Pastel was the natural next step for a drawing-centric artist, but I quickly saw its potential and that it really is a great painting medium. So, the growth areas for me were to go into pastels, and into the landscape. Landscape was new for me since my standard subject had been the figure. Then came the abstracted landscape. I guess I had been abstracting the figure for many years, too, because you get tired of realism after a while. . . New, new, new! That’s the idea of art: an exploration into what is new for you, and perhaps new to the world at large.”

How did you develop your style into its present direction? “Mostly by looking intently at contemporary landscape and modern artists. Wolf Kahn is an obvious influence on me. If patrons compare me to him, which often happens, I say,
‘thank you’! That is no easy feat. ‘Artistic looking’ is important. I once saw a view through the trees about 2 miles past my house that has continued to influence me. I also have an image of the river by my childhood home that sticks in my mind. . . Intuitive color choices are the substance and subjects of my works. My compositions subvert everything to the color idea, and walk the line between color field work and the landscape.”

Please tell us what kinds of color selection you like to use? “Browns are not allowed in my palette. Only the three primary and the three secondary colors are used. This allows for greater intensities, and a unique look. I will use gray as a neutral, however. . . Mostly I like to just keep trying new things. Trial and error describes it well, or I like to call it ‘intuitive choice’. . . There is some thought that I put into choosing color, too. My pink and green series was a heart felt love of that composition, which I worked on kinesthetically for months before I got it down on paper.”

What will be your next project? “I heard of an artist who arbitrarily chooses to work with a two-color wheel, like red and blue. I want to try that next.”

Please tell us about your working techniques? “There are a few different patterns occur. As far as concept is concerned, I ruminate on color ideas for a long time before I start to explore them. Sometimes, however, I just start throwing down color in a quick composition. But, other times, I will actually have dreams ahead of time relating to ideas that I’ve been exploring. . . Frequently I will do a value study, which gets the shades and also the lines and shapes organized. I don’t wish to be too exact, however. Spontaneity is important to me.

I do know what I’m about when I approach the paper, and that confidence transmits to the image a sense of freshness and looseness. My ‘subjects’ are very limited to scenes in the trees. I grew up in the rain forests of coastal Washington State. You literally couldn’t see the forest for the trees, as they say. Nor could you see any sunlight!

About ten years ago we moved to Eastern Washington, where sunlight and open ground are the rule. I liken it to van Gogh’s move from the Low Countries and Paris to the Arles area in the south of France. Gray into color! People do sometimes try to describe an image of mine and they speak about light. That is way, way off of the mark.

In my weaning years on the coast, we had almost no direct sunlight ever. People would move there from Seattle and commit suicide. My art was about lines and shapes. Now, here in the sunny inland region, I suffer the intense sunlight. But what color! All of a sudden my art has intense, pure color. But my format still remembers the lack of direct sunlight and reliance on shapes and lines. And Modern Art influences me, with its flat, formal presentation.

My pastel images are executed very quickly. I don’t begin lightly and carefully layer up a perfect image. Instead I go in heavy and with intention. After all, I do know where I’m going. Few layers, heavy coverage, loose marks. I don’t create an image and then leave it on the easel to work on later. Do or die, you might say.”

What kind of tools, light, studio do you prefer? You mentioned pastels and Lascaux fixative – what brands of pastel, and what is the chemical content of your fixative? “My studio is being remodeled. I moved it out of the north room of my house, which we call the library, and am installing a freestanding studio by the old garden. Right now, the floor is half finished and we are getting ready to trench in the power cables. I’m chasing the frost to get the power in, so it’s very exciting stuff. Right now, I shiver in front of an electric space heater powered by a 100-foot extension cord. But, to answer my preference, I do rely on a north light widow, and a Dazor combination lamp. I have a track light in my new studio space where I have both warm and cool lights over my palette. I made my own really big shallow wooden tray that houses my assortment of pastels. Pastelists have hundreds and hundreds of sticks. And I made the table that it sits upon. It is waist high, and shallow enough that I can reach the whole tray plus a little extra room, and it is seven feet long. I resourced the Formica top from a salvage pile in a barn.

I am now making my own pastels, using powdered pigments. My favorite brand, though, is Diane Townsend. I write about
these things on my blogs, TheColorist and Pastel. The URLs are: www.thecolorist.blogspot.com and www.pastelsblog.blogspot.com. Behind Townsends come Sennelier, Schmincke and Unison. I also have about five other brands in my palette.

For a fixative, I use Blair for early layers where a little color change is insignificant. Later layers get Lascaux, which doesn’t change the color as far as I can tell. Lascaux is 10% Xylene and the balance is alcohol and propellants. No fixative goes on the finished work because of what it does to the structure. Pastel is a three dimensional thing to me, with two being the picture plane, and the layers of pastel being a third. Light goes in through the pastel, reflects off of the paper – which is why
I don’t choose black paper – and back to the eye.”

What are your sources of inspiration? “That’s a hard question. Certainly the objects, such as trees and skies are low on the list. I would say the formal parts of color are first, and then come the other formal elements, such as line and value and all of that. I am motivated by emotive and aesthetic qualities in painting. I participate in the broader society of art, but not so much that I need to be aware of what the ‘art world’ is up to. Art is personal, now. . . Beyond that, I have been making art for so long – about forty-five years – that I would say that art is a habit and an ingrained thing. Creative behavior is second
nature, or a part of one’s personality. Survival skill, maybe? I don’t know.”

What other contemporary pastel artists do you respect or appreciate? “That’s another subject that I write about in my blogs. . . To answer the question, I value Wolf Kahn for his newness, believe it or not. He has moved Abstract Expressionism onto the contemporary stage by using its formal stuff in landscapes that are nominally realist. Some probably burn him for that, and it is part of what I love about him. In your face expression, new color treatments, totally loose rendering. And behind him lie – directly – Mark Rothko and Hans Hoffman. Behind them lies van Gogh, who was the first really free artist with color. Vincent van Gogh stung me at an early stage in my artistic development. And he’s contemporary, right? I mean, a little over a hundred years is not that long in art history, in my opinion.

I appreciate Daniel Greene, who will be revered as a prominent guy in art history. He does for the portrait that which our day requires, and then takes it beyond. If I were a portraitist, I’d be on his doorstep. Harvey Dinnerstein is doing figures in pastel that emote classicism, but are ‘right now’ as far as I’m concerned. If we have an era of experientialism now, his figures stare out at us with full and moving presence. Those guys are realists, but that reflects our day – anything goes.”

What was the most difficult project or commission you’ve encountered? “Maybe generating this whole colorist signature has been the most difficult effort for me. It was hard to define, and a little hard staying on topic. Art fairs and gallery shows have caused me to be disciplined about that.”

Can you tell us about any interesting experiences with exhibitions, galleries, collectors or art writers? “Finding and identifying my audience has been an experience. That sounds crass and inartistic, in a way. Some one will slam me for saying this, I’m sure. But, in point of fact, I am slicing off huge segments of the public when I travel my road. The goal is not to broaden anything, but to focus on what my art is. The people who like my art – mostly artists and art professionals – shine a light back for me to see what I have been making.

Writing about my art is one-sided. Even in the social world of blogging. But, taking the art out to the public is not a choice, but a necessity for me. There I get, bit by bit, a type of cognition of what my art actually is, or ‘looks like’. I mean I still have to go into the studio and face the blank paper alone. But, I rely so much on intuitive process that often I never stop to think about meaning or whatever. I just make. Rothko was big on the invigoration – or death – of one’s art out in the public.”

What kind of pricing do you put on your work? Can it be bought from your website directly? “People can get me directly on the phone or by e-mail. Since I don’t put my art in prints, I don’t count on the Internet for much selling. I use it more as a resource for those who want to follow up on me after having seen my originals in person. I have a great deal of antipathy towards the camera, which prints are based on. Maybe there is some of van Gogh’s blood in me. He hated the camera, too.

My art will be at the Karlson/Gray Gallery in Langley, Washington for January. After that, I usually do the Bellevue ArtsFair and the Park City Art Festival. Those are in July and August. Also, the Spokane ArtFest in June is my local venue.

An example of a price for my pastels would be about $800 – $900 for a 13 or 14 inch by about 10 inch piece. I stay
self-consistent by pricing according to size, but I also respond to demand over time. Gallery and fair or in-studio prices are all the same, but the market does change. Get hold of me now while I’m relatively undiscovered!”

What are your interests and dislikes in contemporary art? “My interests are modern authenticity and creativity. But I don’t much care for forced or extravagant abnormality. It was Thomas Hart Benton – maybe in his waning years – who
said that the only thing in art that he really cared about was ‘Thomas Hart Benton’. My art world is 90% what I want
and need to do, and the balance is what I want to see that teaches me.

Flat medium art interests me. New mediums, or non-medium arts don’t interest me much. I mean, pastel is the oldest
medium, isn’t it? I’m thinking about doing an imaginary interview of a cave man who uses ground-up pigment and applies it to rocks. And yet, I still insist that creating the new painting is the center of what artists do. Has every possible picture been painted? Certainly not!”

Thank you Casey for the insights and experiences.

- Giselle Borzov

The following artists listed below all have websites.  I learned of them by reading their interviews as they appeared in CAG magazine.  Have a look at their work and the philosophy expressed in their artist statements.

Sander Steins – Digital Art
Greg Smith – Mobiles
Lorraine Huber – Painting
Ariel – Collage
Brad Bannister – Painting
Peter Reginato – Sculpture
Shawn McNulty – Painting
Anne Stahl – Painting
Lynne Taetzsch – Painting
Nora Ness – Photography

I am always looking for artists interested in showcasing their work on this blog. So, if you have a portfolio and you can stand some publicity please send me an email. I write here and other places as well. And if you are a fellow art blogger get in touch if you have any ideas for collaborative projects.

- Giselle Borzov

“I began by taking art classes throughout middle school and high school. The art program at my rural consolidated school district did not have much to offer. I took as many art classes as I could in high school taking a few independent art courses where I would pretty much work on whatever and my teacher would check in on my progress. It wasn’t until my second year of college though that I really seriously considered art as a career. Using creativity to transform ideas into reality was an intriguing concept for me as I came to an age of awareness of myself and current surroundings. My father was a true artist although he never really did much with it as a career path. He died a few years ago but while living helped bring a new level of awareness to my life. With this newly found self, I felt it necessary to express what I was feeling and realizing about the world.”

“When I first started in the art department at KU I had no real idea of what I wanted. I saw it as an opportunity to explore all media and find my niche. I took photography, sculpture, painting, and printmaking. Out of all these both sculpture and
printmaking were of most interest to me. I enjoyed translating ideas to 3 dimensions and enjoyed the process of construction. I kind of went back and forth for a short while with both sculpture and printmaking but finally decided to dive into the printmaking department. I felt that with printmaking I could express my ideas in greater detail. Serigraphy was my emphasis within the department. I ended up taking 4 or 5 serigraphy courses and doing independent studies with it as well. I could access the photography from which a lot of my prints would derive with this particular medium. The interest in photography came from a course I took at KU, my first actual studio class. I documented my hometown and other rural areas as a social documentary assignment and immediately began realizing things about my environment and past that never would have occurred to me before. So from photography I moved into printmaking which I felt could transfer cohesively as one. I took other print classes of intaglio, lithography, and relief. I was drawn to the methodical precision and close attention to details of printmaking. The accessibility of both serigraphy and relief outside of school has allowed me to continue work in my home studio.”

“I developed my style and continue to develop it through many hours of repetition and finding out what works and what doesn’t . I am constantly in a state of transition from one idea to the next. If I find a method that works best for the creation and expression of a particular piece then I will go with it and manipulate it as I move through the actual act of creating. I discovered that the ideas I was having about land and place not only applied to my hometown but to much of the world. The ideas of land, history, and place that comprise much of my work broaden as they move in various directions simultaneously. It is a constant struggle to keep moving in new directions while still trying to keep focus in that one main
direction where all my ideas culminate into something I don’t know quite yet.”

“I enjoy the openness of the land and the sky. Open space with few distractions. Simple composition of one or two subjects within the picture plain. When I photograph or even search for photographs as references for drawings I look for a specific angle where the subject photographed is most visually interesting and demonstrates the qualities I am specifically looking for. I like shooting low angles diagonally to the sides of structures, where a real sense of monumentality and perspective can be observed. Composition is given great care and consideration as I develop my ideas onto paper or whatever surface I am working on.”

“Just recently I have been working on some new works based from my own drawings and transferred to paper through serigraphy or screen printing. My new drawing/screen prints carry on a common theme of alternative energy and transportation. I am continuing with more drawings and ideas with this same theme. I also have a children’s book in a constant state of progress. It is very far from being complete, but I have the basic story and starting illustrations for the book. I have a few bigger shows coming up here in the summer and fall of 2008 and some new works will inevitably be created for those shows. I have been wanting to create another video, similar to the one that I and a fellow filmmaker made last year, in correlation with one of the shows coming up here next year.”

“I use serigraphic techniques of paper stenciling, blocking out with screen filler, and printing photographs or drawings though a photographic emulsion exposed onto the surface of the silkscreen. I can express the man-made qualities of rural architecture with a photographic stencil technique. Simultaneously, I evoke changing atmosphere within the land and skies by using monoprint and paper stencil techniques. A monoprint is created in a much more improvised way by applying ink through the open screen directly to paper. Monoprints are one of a kind prints. I use several different tools to create various color blends and textures throughout the work.”

“I have set up a small print studio in the basement of our home. By the way, I am married, have a 5 year old daughter, a baby on the way, and my wife and I own our cozy home here in Topeka, Kansas.I have onstructed a light table – by cutting a hole in an old drafting table, setting glass over the hole and placing my Grandma’s old lamp underneath – a printing table with hinge clamps created from an old kitchen table, and inherited an old discarded exposure unit from school. I use a power washer in the corner of the basement next to the drain to blast out coated screens and ink after printing. Squeegees are the tools I use to apply ink through the silkscreen to create image on the paper. I use multiple screens for each color layer and separation that I create. Exacto knives are definitely one of the most widely used tools in my variety of processes.”

“My sources of inspiration are the landscape, particularly that of Kansas and the Midwest, my wife, my daughter, family, art museums, history museums, films, music, home, place, travel, a supportive art community and patrons, other artists who are prolific and doing great things with their abilities. The list goes on and on. I take whatever I can get inspiration from no matter how normal or mundane it may seem.”

“I can’t really name too many off the top of my head. I guess I don’t really look to specific artists for admiration. I have admiration for many works that I have seen whether it be in a well known museum or gallery or a small art center or local gallery in a small town or city. I admire those printmakers and artists whose work I am drawn to. I don’t really have any specific names for you although I have seen some amazing works on paper recently in a variety of places.”

“The most challenging project that I took on recently was an installation that I did for an exhibit at the Olive Gallery in Lawrence, Kansas in November 2006. I proposed to the gallery that I would paint a giant gallery wall size golden map of northeast Kansas on the walls to serve as a background for my framed serigraphs that I was creating. To make a long story short I got in way over my head and ended up working for two days straight painting the gallery walls with help from those who were willing. The prints followed a marked route that I had traveled in a days’ time from Topeka to my hometown of Robinson, Kansas, a little tiny farm village in the countryside of northeast Brown County. I also ended up using little rub on press type letters to mark the names of towns and a little dotted line to show the route traveled. Almost all the work for this exhibit was done within a two month time crunch. It was total insanity on my part. When I commit to an idea I follow through to the very end. The problem is that these grand ideas turn out to be great, big grand amounts of work that I have to push my body and mind to its limits to get through.”

“My first solo exhibition in May 2005 was an unforgettable experience which gave me the confidence and inspiration to move forward with my ideas and own direction. As the opening night progressed I had many people come into the space to see my new work. I had an incredible amount of encouraging feedback and little red dots kept being placed on one print after the other. By the end of the night I had sold almost all of the framed pieces that I had hung in the gallery. I was amazed and totally thrilled that my ideas expressed onto paper could spark such emotion and excitement in others. I left the gallery that night overwhelmed with emotion and inspiration to keep plugging away at all those ideas constantly floating around in and outside my mind. Encouragement to carry on was all I was asking for that night and I received much more than I imagined.”

“I am especially drawn to art that contains content that I can relate to in a certain way. I usually enjoy art that has some kind of representation to it. Whether the representations be landscape, people, animals, architecture, etc. Photographs and especially works on paper whether printmaking, painting, or mixed media I find myself visiting in art museums or galleries. My likes and dislikes are hard to explain. There are so many different elements that make up and define art that trying to pick specific details about what my tastes are is difficult. All I can really say is that I enjoy good art and sometimes depending where you are, good art is hard to find. Small details, some kind of narrative or dialogue, skill and craftsmanship, color, interesting subject matter, an understandable concept, all of these things are different qualities that I notice when viewing a work of art . Subject matter or imagery that I would be drawn to no matter what are prehistoric creatures, old vehicles, old buidings or houses, trees, country roads, highways, rustic well crafted or expressed landscapes that are not cheesy, old barns, , animals, work dealing with place, home, rural realities, urban realities, any work that sparks emotion or ideas. I enjoy art that is organized but in a haphazard way, Rauschenberg’s work for example. There you go, there is a name. I saw an exhibition of his combine paintings at the Metropolitian in New York last year. It was incredible. Another exhibition that stands out in my mind was an exhibition in NYC at the MOMA of Jeff Wall’s giant wall size slide photography. His photographs are so monumental and totally draw you into each theatrical scene that stands motionless before you. All the photos are backlit in huge light boxes so the colors are reallly intensified. I dislike bad landscape painting, paintings you would ind in a small tourist town in the midst of kitschy little antique and souvenir shops. I enjoy work that is edgy and contains substance, but not too strange. Although from time to time I do enjoy that absurdityand stangeness that I can’t quite rap my head around. Like this show that I saw in a Chelsea art gallery earlier this year. I walked into the space and there were these giant ceramic vessels, some were as tall as me. I could see into some of them but others I had to stand on the tip of my toes. I was surprised and pretty frightened by what I saw in each. There were taxidermy animals ranging from small birds and bats to whole deer and goats. Each vessel had a different animal. This was an exhibit that contained some of that bizarre, strange, and absurd quality that challenged and confused me a little.”

Justin, I appreciate your words on your prints and the creative process of printmaking.

- Giselle Borzov

The advent of photography brought an artistic medium that is rich in variety and stylistic expressions. The nude has made a major impact in the portfolios of many photographic artists. Nudity in art is represented so strongly because as a very visual species humans know that the variances of the human body are intriguing and often very beautiful. This visual knowledge is so strong that it has encountered many different taboos in different times and cultures, but it will never lose its primacy, as long as mankind has any memory of a physical, visual world.

There are many artists photographing the nude, and the volume of content that the electronic media carries offers proof of the power of this visual interest in the human form. One photographer and artist who works with the nude, Michael Barnes, is also a leader in selecting other artists’ works for view by the truly international audience of the world wide web. Michael Barnes maintains his own online portfolio with some representative works of the nude that are esthetically superior as well as technically solid. Michael Barnes also writes the Art Nudes Blog, a distinguished and very popular online exhibit of excellent images from many different photographers of the nude. In this sense Michael Barnes contributes twice to the knowledge and appreciation of the nude in photography as an art form.

When I asked Michael for an interview I wanted to ask about his knowledge but also his understanding of the nude from the perspective of an exhibitor of the works of many artist photographers.

How long has your “Art Nudes” blog been online? “My first posts date back to February 2003. At the time, I couldn’t find any blogs dedicated to what I considered true fine art figure photography, so I started my own. It seemed to have filled a need though, because the site immediately started attracting critical praise from people who wrote in to say, ‘At last! This is what I’ve been looking for!’. I’m truly happy to report that there are now several really wonderful blogs that focus on similar subject matter, and seem to have the same emphasis on the quality of the photography rather than on the sexuality of the model. I’m not suggesting that I influenced the creators of those sites, but I seem to have managed to catch the leading edge of the wave of a cultural trend.”

Have you seen any newer trends in photography of the nude in the last 20 years? “There hasn’t been any single trend specific to photographing the nude that has influenced the genre across the board; it’s simply too big a category with a very diverse group of artists. However, there has certainly been massive changes in photography as a whole due to the emergence of the digital revolution. In the world of fine art nudes, this has meant more colour photography in a genre where black & white once equaled art. It also means more manipulation of images. For better of worse, this means that the standards of perfection that were once the stock and trade of magazine covers are now becoming prevalent in fine art photography. It is now extremely easy to make that freckle disappear, or to erase that tattoo that was ruining the symmetry of your composition. I am not passing judgment, only making an observation. I have certainly used those tools in my own work. Photographers have been altering their work for ages, it’s just easier now, and the alterations are more extensive.”

Many people are concerned with drawing some kind of line between “art” and “pornography,” especially when it comes to nudes or erotic poses. Do you have any sort of guidelines as what does or does not delineate these two concepts? “That is the eternal question around nude photography. My guidelines are both instinctual and technical. Basically, my criteria is to look at the photographic merits first, and then weigh it against the intent of the image. If to me, the photographer’s portfolio is primarily about the attractiveness of the models, rather than about creative photography, then it likely won’t make the cut. There’s some amazingly talented glamour photographers out there, but their job is to portray an idealized figure for the purpose of inspiring desire. Fine art photography aspires to something more lofty in my mind.

The internet has really influenced fine art photography in that the visual vernacular of pornography is being increasingly referenced. Sometimes the references are ironic and critical, sometimes celebratory, and sometimes fine art photographers shoot work that is simply pornographic. This is particularly true of ‘fetish’ photography, as it is by nature full of photographic potential. Psychologically, it’s about power relationships, sexual politics, and violence. Visually, it’s got great dark moody themes, shiny latex and all the various accoutrements that go along with it. Nonetheless, I seldom post that type of work, unless the photography is exceptional.”

I understand you’ve recently had some issues with the blog around the definition of pornography? “Yes. My blog was recently put behind an interstitial warning page by Google because someone, somewhere, flagged my blog as having inappropriate content. According to Google’s terms of service, they define it as follows: ‘Pornography and Obscenity: Image and video content that contains nudity, sexually graphic material, or material that is otherwise deemed explicit by Google . . . ‘ Lumping nudity with sexually graphic material is ridiculous. What sort of nudity? Does a baby’s bare bottom in a diaper ad count? Does a naked adult female with arms strategically placed to cover her breasts count? Sadly, according to Google’s policy, anything that elicits a complaint from the most easily offended person can result in the warning page being forced upon you. However, as I indicated in the previous question, this has always been the problem with this type of work. The prevailing attitude is, ‘I can’t define obscene, but I’ll know it when I see it.’ Unfortunately, this results in the most conservative people wielding a great deal of power, and limiting access for the rest of us. You can say it’s just a warning page, but I’ve received several emails from readers in foreign countries that now can’t access the site because it has been flagged as objectionable. Here’s where I’m tempted to go off on a rant about free speech and Libertarianism, but I’ll hold off!”

What newer or emerging photographers do you believe are making good art with nudes? “That’s so difficult to answer! There are so many talented emerging and established artists that I’ve had the opportunity to discover through my blog. In a pinch, I’d have to say visit my blog, and in the permanent links section under ‘Photographers’ is a list of photographers whose work I admire. Many of them I have the privilege of having made friends with via email correspondence, others simply do work that personally inspires me.”

What are some of the most notable reactions you have received to the entries on your ‘Art Nudes’ blog? “The most remarkable reactions I’ve had have not been about photographic entries, but rather to personal ones. When I was going through the recent trouble with Google and then experienced a hacking incident that decimated my traffic, I came very close to throwing in the towel and quitting. The outpouring of support I received via email and in the comments sections was sincerely touching. I felt like Sally Fields doing her infamous Oscar speech, ‘You like me! You really, really like me!’ Seriously, it was wonderful, and because of those reactions I’ll carry on with the blog for the foreseeable future.”

What can you tell photographers that might want to submit their work to your “Art Nudes” blog? “They should read the “Art Nudes FAQ” page see that they meet the requirements and then simply email me a link to their website using the Contact Art Nudes link on the blog. People should be aware though, that many are submitted, not all are chosen. A nice polite introduction and explanation of why they would like to be featured puts me in a better mood than a simple link submission.”

Michael Barnes, thank you for your viewpoints on photographing the nude. In addition to enjoying your fine work at barnes-photo.com I must say that I admire your philosophic stance on the art of photographing the nude. In my opinion your blog at artnudes.blogspot.com is itself a work of art. Your philosophy and sense of esthetics are very well exhibited there by the exceptional entries of many, many worthy photographers. Your leadership in acquainting viewers worldwide with those esthetics and philosophy is a wonderful phenomenon deserving of the highest recognition.

Giselle Borzov

I have been looking at the etchings of Marcelle Hanselaar, images of her etchings can be found at her website portfolio at http://www.marcellehanselaar.com/. My recent article on the paintings of Marcelle Hanselaar appeared in the Contemporary Art Gallery Magazine, titled “MARCELLE HANSELAAR Expressive Sexual Symbols”.  I asked Marcelle for an interview about her art works and her thoughts appear below.

How did you begin in art? “I drew a lot as a child, preferring my self created world to the ‘real’ one. As a teenager I had no idea what I wanted to do, drawing was the only thing I liked – short of telling stories to myself or to my sister when she was half asleep. So, I enrolled at the Royal Academy in The Hague. There I got a taste for possibilities but didn’t like the restraints of the art classes. I dropped out in the second year, became a painters’ model and from then on have been learning from other artists, dead or alive.”

Can you tell us how you progressed through various media and particularly into printmaking? “I am primarily an oil painter. About ten years ago my parents died and to my surprise I was hit by a kind of identity crisis. It is easy to know who or what you don’t want to be like and so with nobody to set myself off against I realized I had to start all over again to find what and who I was, not in comparison to anyone but in a freestanding way. Consequently I started drawing, obsessively and mostly late at night. These drawings became the basis for my etchings. In the beginning my drawings were related to childhood feelings I recalled, quite distorted of course by my grown up perspective. After a couple of years the focus shifted from the past to present experiences. These experiences are transcribed in scenes like theatre stills. The edginess and the tension within ourselves, our past and presents, our disappointments and longings is something I keep coming back to, both in painting and etching.

I never think of what I am going to draw, objects people, places all seems to flow out of my personal image bank. Similar to dream language. My etchings are erotic, expressing the fierce longing to bring the dark uncivilized, hidden and often unacceptable part in us into the light. Etching to me is very much a medium of secrecy, of stark visions and of sharp bitten lines. A medium which suits the unconventional and the hilarious. There is a lot of cross pollination both in technique as in subject between my graphic work and my painting. Painting I do in daylight, I face my canvas standing up, moving my hands and feet all the time like a dancer. Etching and drawing I do in the night, I sit down, knees pulled up, bent over my A4 size paper or plate, my hand and eyes the only bits that move.”

How did you develop your style into its present direction? “Over time my work moved from hard-edged abstract to lyrical abstract to an all out figurative expressionism.”

What kinds of compositional concerns do you respond to? “Tension is essential. The image should be contained in but not confined by the canvas size.”

What will be your next project? “The last 2 years I have been mainly painting, and I just finished fifty paintings and twelve etchings for my next solo show ‘The weight of smoke’ – An eighty page, full-color book/catalogue of the same title will be published in September of 2007. ‘The weight of smoke’ 21 October-26 November 2007, De Queeste Art, Watou, Belgium.  www.dequeeste-art.be. Galerie De Buytensael, Arnhem, NL London dates in 2007-8 to be confirmed.”

Please tell us about your printmaking techniques? “I work on both zinc and copper, always hardground with often quite a harsh bite . Being a painter I love the tonal quality of aquatint which I use in sugarlift or spitbite or in a straight forward layering and scraping til something appears which pleases me. I will try out tonality in line like Seeghers for instance, or build up layers of different kind of aquatints or acid strengths. This is quite experimental, a bit like cooking really, just trying to read the plate to see what is happening. And I draw with charcoal on my proofs to see how to develop the next installment!”

What kind of tools/light/studio do you prefer? “As a painter I work in daylight only, I have my own studio, very private with a skylight. For painting I need solitude. Printmaking is more social practice. I draw my plates in my studio and then take them to a Print workshop were I bite them.”

What are your sources of inspiration? “My life and the observations of others.”

What other printmakers do you admire? “Goya, Mimmo Paladino, Otto Dix – all the German Expressionists really – Ken Currie, Louise Bourgeois, Bartolomeo dos Santos and the Chapman brothers.”

What was the most difficult project or commission you’ve encountered? “The next painting or etching.”

What are your interests and dislikes in art? “I dislike visual art which has no integrity – art which is made, like adverts, to be attention grabbing but has nothing more to offer. I particularly dislike those audio things at exhibitions, it’s impossible to listen and look at the same time and people stand there blocking your view and only look at the label to check if they are in front of the relevant picture! Grrrrrrrrrrrrrrrrrr. I like the illusionary nature of painting and drawing. I love Baroque portrait painting – Velasguez, Rembrandt, Rubens etc. which is sensual and theatrical but where everything is suggested but not revealed. You need to look many times at them and they get more and more rewarding. And the great Beckmann for his merciless vision and sense of composition. I like the mysterious as in Salgado, Oppenheim, Hatoum, Kikki Smith, Bourgeois – all 3D artists – but also painters like Manet, Permeke, Ensor, Dumas, Borremans, Lupertz, Tuymans.”

Thank you Marcelle for the images and your interview. I hope to see the images from your upcoming exhibition. Here’s wishing you continued success.

- Giselle Borzov

What is your role with 3 Quarks Daily? “I am the founder and primary editor.”

What has been the main focus of 3 Quarks to date? especially in relation to art? “We don’t have a focus and we are proud of that. We feel like we engage any and all fields of intellectual endeavor. Six days a week, we link to articles from the more
serious magazines and journals and book reviews, and sometimes blogs, and one day -Monday – we have original writing by our editors and guest columnists. So we are a combination of filter blog and weekly magazine, in a way. The Monday columns are all collected here:

Your blog includes commentary on art but this seems to be more from the observation of a social or cultural phenomena – do you have an interest in the esthetics of art? “I personally do happen to have an interest in aesthetics. As part of my Ph.D. program at Columbia, I took one of my qualifying exams in aesthetics and worked with Richard Kuhns and Arthur Danto, and I retain a fascination with some of the areas of philosophy of art that I was exposed to then. As a site, we often post links to art-related material – especially my co-editor and president of the well-known Queens art-collective Flux Factory, Morgan Meis – and we have had original writing about art, as well – for example see Timothy Don’s columns at 3QD. In addition, my sister Sughra, who is a very fine doctor but also has a fine arts degree, posts an art image every Monday, with some links to more information about the art, artist, etc.”

When considering contemporary art what kinds of creative expression would you like to see? “Some of the most arresting
visual images I have been seeing in the last ten years have been on ads on billboards, in magazines, etc. I think fine artists should relax their focus on the cognitive aspects of art – stop trying to be meaningful in some deep way — that’s SO last-millennium, as my niece might say! – and produce stuff which is cool to look at. And there is a lot of cool stuff out there. Playfulness is key, I think.”

Do you have any conceptions on what the limits of art creation should involve, or what the limits of art exhibition should
involve? “No, I don’t.”

What kinds of relationship would you see as healthy between art and world culture? “Identity. In other words, art IS world culture and vice-versa.”

Where does abstract or nonobjective art sit on your spectrum of creative expression? “I don’t have some sort of hierarchy of art in my head into which I might attempt to fit abstract forms of art. Obviously, they have an important place.”

“Perceptions: Chaos or Choreography?”
Photograph by Harry Callahan. Circus, Chicago, 1955.

Does 3 Quarks have any upcoming directions or projects? “3QD itself is an ongoing project and we plan to keep doing what we do. We do ten posts a day, every day, so it is quite relentless!. We don’t have any special projects coming up, though we are considering holding some online seminars on interesting and important topics.”

What are your sources of inspiration? “For me, personally: ideas coming out of the academy, ideas coming from the intellectual journals, ideas coming from the press, ideas coming from the blogosphere, ideas coming from my cat, ideas coming out of my own head. In that order.”

What other blogs do you admire – especially arts-related blogs? “I like, in alphabetical order: Amitava Kumar, Arts & Letters Daily, Cosmic Variance, Crooked Timber, David Byrne’s Journal, Jason Kottke, The Loom, Majikthise, Mtanga, and Wood’s Lot. And other’s too numerous to list here. Have a look at the ‘Links’ page at 3QD.”

What has been the most difficult content or controversy you have had to deal with – especially art-related? “We haven’t ‘had’ to deal with anything, really. We do post about ongoing controversies sometimes, but it’s not as if we are getting death threats or anything. . . The worst abuse anyone on our site has gotten has probably been when my friend and co-editor Robin Varghese got a comment on something he had written, saying, ‘Shut up, you commie pinko!’”

Do you have any interesting experiences with arts-related material that you can share? “No, they are all top secret and highly classified. I could tell you, but then I’d have to . . .”

Thank you Abbas Raza for your candor and the fine blog reading. I wish 3 Quarks Daily continued success and the best of readerships.

- Giselle Borzov