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survivingart · 5 years

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PRICING YOUR ART THE RIGHT WAY Part II — Value and Worth

Oscar Wilde once wrote: “A cynic is a man who knows the price of everything but the value of nothing.”

A true artist therefore should be the exact opposite, but not due to ignorance towards the ever-present concept of money; the real truth of the matter is that putting a price tag on an embodiment of love, hate, reminiscence or longing (and all the other messages that art can communicate) just isn’t as easy as adding up ones material and overhead costs and slapping a 20% markup on the sum.

At least not to those that really understand the depths of their own work, because they know that while symbolism allows us to represent temptation by painting apples, temptation itself cannot be sold in the same way as apples.

Because unlike this common tree fruit, temptation cannot be grown, packaged and distributed (even though the media will tell you otherwise). True temptation, unlike her watered-down cousin, lack of self-control, does not come in chocolate or vanilla flavours, it does not make you giggle and say: “Oh, I’m bad, but I’ll have another piece.”

True temptation destroys kingdoms, not waistlines — something corporations still haven’t figured out how to manufacture on an assembly line (or perhaps just decided not to do). But it’s exactly what the best of us are doing, and people like us have been doing since before the Dutch invented oil paints.

We create altars to truth, to the essence of what makes us human, and just as there is no universal truth to speak of, there are no all-in-one solutions of valuing it. But there are intimate, personal ways with which verities are created and in today’s blunder I would like to explore them and try to shine a bit of light upon the convolution that is added value in art.

As its name implies, it is a form of worth that is added, not inherent to the object, and because our time is defined by value as no other time ever was, all of us know that added value is present in all human creation, not just in art.

From bread loaves to trousers; because of the abundance of stuff that is floating around us, the value proposition or the amount and type of added value that any one product has, has become the defining factor by which people decide to either spend their hard-earned money or keep it in the bank.

Back in the day — by which I mean mid nineteenth century Europe and before — this wasn’t the norm. When Zara and H&M didn’t exist and a clean pair of un-tattered cotton trousers was more of a luxury item than a commodity for many people, you could make trousers for everyone because added value hadn’t been invented yet.

Of course you had to measure your customers, so that they’d actually fit the person, but the question of: “Do you maybe have these in salmon red?” had absolutely no chance of existing. Not because the idea of red trousers was too abstract for people to get back then, but because the demand for “trousers” was far from being met.

There were no electric sewing machines and fabric was hard to come by. It was only after many technological advancements and the continued outsourcing of child labour into places, where labour laws could not reach, that the idea of “trousers” became a commodity. And by doing so, the ideas of “red trousers” and “blue trousers” and soon “light khaki skinny-fit jeans” replaced “trousers” as the only available option.

Every time a quicker, cheaper, or better way of producing something (the same goes for service) is invented, the thing being produced slips a bit more into the oblivion of commodities — making it possible for more and more people to be able to afford it and consequently producing a need for more sophisticated versions of that particular product for those who already had the means of buying it in the first place.

And while there are no real technological advances in painting (at least not compared to bio tech or computers) the basic ideas of supply and demand are the same.

Art in its core is the polar opposite of what the idea of commodification is to trousers — though print-on-demand services and the overflow of uneducated artists painting pretty flower pictures have taken their toll on the market.

Because, while any other form of creation is roughly limited by the means of production on one side and the specific tastes and capital of the consumers on the other, paintings don’t behave like trousers or laptops. Because no work of art is the same as the other, scarcity is next to infinite (well, it’s precisely one, if we’re not counting editions).

This is the first and most important added value that a work of art has — scarcity. While philosophically one could even argue that it might actually be the only human creation that has inherent added value (I’m not, because I don’t believe this to be true), scarcity defines art unlike any other trait it might possess.

In any art economics book (and there sadly still aren’t that many), you can find at least one long paragraph that glorifies art as the ultimate product; one can have a bunch of villas, a dozen yachts and hundreds of beautiful old cars, but lose all interest and excitement about them eventually, because it’s not that hard to add one more into the collection.

Vintage wine, like all the “good” things in the world, tastes the best when we first try it, then it slowly but surely slips into the oblivion of commodity. The only real thrill then is to own a Salvator Mundi, Picasso’s Boy with pipe or Pollock’s No. 5, because there exists (and ever will exist) only one of each in the world. The one we have. The one others cannot possess.

But scarcity has to arise from somewhere, because nobody just wakes up with a sudden urge to buy our art. Scarcity needs an ecosystem in which it can exist — it needs demand. But to really understand demand, we have to understand need first, and there’s no better place to go than the nineteen forties, 1943 to be exact, when most of the western world was at war and people’s demands for almost everything were far from being met.

While the zeitgeist of the fifties created many questionable things, it had also sown the seeds for one of the most important scientific papers of our times, titled: “A Theory of Human Motivation”.

Maslow’s paper would become the bedrock of the social sciences for many decades to come, because it stated something groundbreaking; namely that all people share a common hierarchy of needs that follow certain rules and influence our lives as never thought of before.

He found that people do not and cannot experience certain needs — located higher up in the hierarchy — without first satisfying the more basic ones, like hunger, sex and security. Thus he concluded, that without first giving priority to the basic securities of life, like food, water and shelter, we humans are unable to even feel the urge to want something more complex; the need to have a family or the need to be respected in the eyes of our peers for example.

The trick is that demand for art, unlike trousers or bread, isn’t as popular amongst the masses, and we can find a clue as to why in Maslow’s theory: unlike most of our physical needs, that could be described as being a reaction to a certain deficiency — needing sustenance, love, affection, camaraderie, etc. — the need for collecting art comes from abundance and the need to grow.

Be it as a person, a society, a business or a local community; art gives us the tools to express ourselves and to connect, create a common identity and express our power. And if we see it as such, it gives us a much easier time understanding why the majority of people don’t collect art or just don’t give art the same importance in their lives as we do.

They just don’t feel the need for it.

Imagine you’re working two jobs and supporting a family of four; the chaos of having to put food on the table, paying the electricity bill and god forbid a mortgage on the house with less than 100€ in the bank to last you for another two weeks of grocery shopping, while your child is telling you she will be needing a new textbook for next week’s class that costs 50€.

No sane person under such conditions will ever think about how the empty wall space in the kitchen could use a nice still-life with a bunch of flowers or maybe an impressionist seascape in the colours of the living room couch.

Ever.

But on the other side of this equation are the people who are privileged enough to live in abundance; those who strive for power, fame, beauty or morality. Here, in a place of abundance the demand for art has a chance to sprout, but because there’s millions of artists around the world (1,2 million just in the US), it takes a bit more than a vague demographic analysis to find ones fertile soil.

We need a niche. Without it, we’re no more valuable than a no-brand drill bit at the local hardware store; forgettable, replaceable and most likely dull.

Think about it. There are many different companies that sell drills and accessories, all competing for the same customers. Some differences do exist, of course; you have different sizes, varying quality of the bits, their intended purpose — to drill into wood or metal or stone etc. — but apart from the obvious, there is one that is equally important, but resides on the customer side and is quite often overlooked.

Perception.

What I mean by this is that when a person goes to their local hardware store and buys drill bits, do they really go there with the sole intention to own drill bits or do they buy them only because it lets them make a hole in their wall to hang a painting of their dad?

Even then; did they buy drill bits and the painting for the sole reason of owning it, or did they maybe see in the portrait of their father an object that would remind them of what a wonderful person he is? Maybe he recently passed away and the painting means a lot to them? As does the process of commissioning it, receiving it, unpacking, framing, … and especially hanging it.

And in a world full of drill bits, more or less similar in size, quality and defined usage, would a drill company that focuses on evoking a certain emotion in their customer like pride, or a feeling of usefulness or maybe even self-actualisation, not only have an edge over their competition, but provide a lot of value to anyone with such a need?

Imagine your dad was somebody that made you feel like you needed to be useful in your life, like it was your duty as a person to do good and create great things with your hands. To pride yourself on a simple job well done.

What if the company that makes drill bits tried to enhance this experience with their products? They could invent a great advertisement campaign to place their products in such a demand niche, reinvent the packaging so that is helps enforce this feeling, maybe as simple as a slogan that says: “Nothing like a job well done.”

Maybe they could put a small chip inside their drill bit boxes (and call them Drill Beats) and make them play Ain’t No Mountain High Enough by Tammi Terrell & Marvin Gaye every time you open them? The goal would be to help you actualise your wish for feeling proud, helpful, self-reliant and in charge when you are preparing the wall to hang your painting, and a good tune goes a long way for a lot of us.

Would you not buy these bits over the competition if this was this exact experience that you are searching for? You might just pay a bit more, maybe 10% or 20% because you would see the added value that they embody.

Or, you might laugh at the sight of them and take the cheapest ones — preferably returning them after you don’t need them anymore and persuade the cashier or manager that you never opened them and just bought the wrong kind.

The difference is, that there would be a lot less people willing to buy Drill Beats, of course, because they would only sell to those that identify with the added value that they provide. But at the same time such people would probably cherish the added value immensely and may even talk about their newly-found novelty drill bits with their friends. All in all, they would be deemed more valuable than the other, generic bits, if the right people got their hands on them.

The cheaper ones on the other hand would still be bought by folks that need a hole and don’t mind the quick and dirty way, if they can save a few cents because of it. The difference wouldn’t even be connected with the functionality of either drill bit — both make holes and nothing else.

All that would be different would be the customers perception of them, their ability to connect with the core need that made them go into the hardware store in the first place. And with drill bits, it’s usually never to buy drill bits.

People don’t buy drill bits, they buy the ability to create holes. But even then, they don’t need holes, they might need to hang a painting of a loved one, to pay respect, to remember, not to forget … to feel proud that they did it themselves.

The real question for us then, is what do people really need when they buy our art?

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#artist life #contemporary art #surviving art #make art everyday #blog

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webpostingpro-blog · 7 years

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New Post has been published on Webpostingpro

New Post has been published on https://webpostingpro.com/women-in-finance-discuss-the-gender-pay-and-promotion-gap/

Women in finance discuss the gender pay and promotion gap

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Portrayal of War and Women in Bernard Shaw’s Arms and the Man

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rusticrevivals · 7 years

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preface: I know this week’s blog was supposed to be about the seed tables and the planting in our basement. Richard has the tables ready to go, but due to the massive cold snap (minus 20 all this week again!) we haven’t been able to get the earth out of some of the bigger planters that we were planning to mix in with the potting soil downstairs, and also the seeds haven’t arrived yet. So- hopefully next week? Besides, I haven’t done an Artist in the Attic feature in a long while!

The farmhouse at Blue Belldon Farm is full of artwork because we all love it. My collection of pottery, Mom’s and her aunt’s weavings, and mostly, paintings, etchings and sketches with deep sentimental meaning to at least one of us. Richard himself was immersed in art in his younger years, and so quite a bit of his own early work graces our walls (as well of that of his fathers’).

Richard’s sketch of his German grandfather hangs in a montage on our bedroom wall, and two oil paintings he did of his time in rural Saskatchewan hang downstairs in his office:

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His artistic talents were passed on to his youngest son, Nigel, who has honed them into a lucrative profession as a rather well-known tattoo and portrait artist in Toronto. Richard is proud to announce that Nigel is booked a year in advance, and has even had commissions from folk as far away as England and Japan. I especially love the romance (not often evoked by Nigel, believe me!) of the first one, and the amazing reality of the Elizabeth Taylor and Richard Burton one.

Artistic talent may be often inherited or at least somewhat naturally instinctive, but art APPRECIATION should be cultivated by those who truly adore it. My love of art really began with my Grade 5 art teacher, who was then Miss McBeath. She was a neat ‘hippi’ type of self-confident young woman with long hair to her waist and wearing long peasant skirts (which I still prefer wearing myself to this day) with a slightly sarcastic and quick wit (which I’d seemed to have been born with but which was, shall we say, NOT encouraged around my house!) and with a talent for passing on her passion of all things artistic, creative, and most important to me – INDIVIDUAL. It didn’t matter HOW good you were, she said, as long as you tried and you loved what you were trying… I also found out about her that she, like me, had been a tomboy who struggled with her weight, and we also bonded over the fact that I did NOT find it amusing that my class had to give up art to go and take a semester of Home Ec., as it was then called. (Ironic, then that so much of this blog is dedicated to recipes and kitchen how-tos!)

The following year Jane married my Grade 6 social studies teacher, Peter Wright, and we found more in common – they drove the exact same V.W. van as my parents, Peter and my Dad were obsessive tennis players/followers, and both Wrights accepted me as a strong-willed tomboy with a sarcastic sense of humour and respectfully called me by my requested nick-name, “Chip” (which few others were wont to do). Our families have since been life-long friends.

Originally, Jane was more a textile artist and found joy in the creation of pottery, batik, knitting, quilting, rug hooking and woodworking. She definitely was one of the last, true “hippis”, in my opinion, and could very well have settled into a live of self-sufficiency as we are trying to do here, with her many talents. In fact, she and Peter DID take their 3 children and live in the French mountains for a year of self-exploration!

However, this amazing woman has, in recent years, found her medium/niche in watercolour, and, as former president of the bi-lingual “Artistes Hudson Artists”, a group of more than 80 talented artists in the artist colony of Hudson, Quebec, she has also publicly defended, in various media, ART and the right to individualism. From one of her articles:

“Why should you buy original art? A good question, when you can buy pleasing, inexpensive, mass-produced things for your walls. The answer is that all art is a form of self-expression and communicates the artist’s message. How you interpret that message is intensely personal and therefore unique. If a piece of art “speaks to you” in some way, it will give you a jolt of delight every time you look at it or touch it. Original art should always start a conversation whether it is with yourself or someone else; conversations teach you things and enrich your life. Artists are compelled to produce art; buying original art produced in your community supports local artists and by extension the local economy.”

We have several favourites of Jane’s at Blue Belldon Farm, all originals, because that’s all Jane does – including even her beautiful cards!

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I LOVE the way the sun streams through the trees in that first one, which is framed on our living room bookshelves (you may have to click on each to blow them up to see all detail). And the last one looks very much like our huge vegetable garden, with its mix of flowers in it to attract pollen-spreaders!

But the one which I think looks the most like a scene from Blue Belldon Farm (which is on Jane’s website: http://www.janewright.ca/ ) is this one:

I can just imagine standing at the side of the barn looking out to the back fields. Love it!

One of my favourite quotes from Jane reminds me very much of this farm, too:

“The use of colour and texture to express my awe and wonder at the beauty around me fills me with great joy. Spending time on the shores of Lake Huron and following my grandfather around as a child as he cared lovingly for his animals, orchard and gardens instilled in me a profound respect for the order, beauty, cruelty and power of the natural world and those that inhabit it. “

Here are some more of Jane’s landscapes that illustrate the above:

Jane even painted an original coaster for each person who attended their eldest son’s (my god-son) wedding a few years ago. Although I couldn’t make the wedding in Hawaii, Jane was good enough to give me this souvenir, which also sits on our bookshelves. A really original idea, if any of you have some artistic talent and a family wedding coming up~!

I find it amusing that the ‘yellow room’, upstairs in Mom’s suite, (where we think poor Ida had all 5 of her children who were the first ones born here) holds one of my worst-ever paintings (circa Grade 9, playing abstract with acrylics) on the wall, but right across from it is a gorgeous watercolour still life of Jane’s!

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The Wrights helped us very much all three years of the running the Carlisle Country Craft and Old-fashioned Market Mercantile, not just because they are supportive of friends, but because they both love to promote the local arts as much as possible. Here’s a candid shot I love by Yvonne Parsons Photography (Artist in the Attic #1) of Mom, in pioneer costume courtesy of Joan Eagle, and Jane wearing one of Mom’s woven shawls:

As an extension of Jane’s connection with the CCC&OMM show, I also asked her to offer her cards in our Rural Creators’ Collective shop in Carlisle. Here are a few of the displays I made with these ALL ECO-FRIENDLY, RURAL-CELEBRATORY artisans.

Jane’s card is directly above in the bottom left, with other cards by photographer Yvonne Parsons, and lino-cut artist L’immaginaria’ Lisa Martini-Dunk as well as native works by Roni Walker of Metis Caravan, a rag plate mat by Ragged Revivals, an artisan original doll by Teena Muiko’s Fanciful Dolls and a few of my own, Rustic Revivals’ pieces as well.

Here is a close-up of a different display I loved in the shop:

In the above, Jane’s stunning sunset card is in the crate, and is surrounded by a quilt and business-card holders by Miriam Bauman’s MiniMade, intaglio and lino-cut prints by the above-named L’immaginaria, a framed crocheted doilie by Roni Walker’s Rumpel’s Wheel, a chickadee watercolour by Marla, a recycled map by Dillies Dahlias, and a few items in the forefront, as well as a rag doll on top of the crate by my own Rustic Revivals. I loved having Jane’s cards in our shop, and they are unique as, as I mentioned previously, each one is a unique original. You can still purchase one of Jane’s originals by contacting her through her website: http://www.janewright.ca/contact.html

In the same yellow room in Mom’s upstairs suite is also a small framed card by another watercolour artist and friend of the family, Marg Patterson, from Tillsonburg, whom I’ll be featuring in another Artist in the Attic posting down the road. She also does LOVELY work, and donates her proceeds to the Alzheimers Society! Mom has this one normally on the window ledge in that room, actually facing out to our own Birch Grove.

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And thus you have it – the Blue Belldon crowd LOVE their art-work. Other than these artists we consider family, our walls our also ‘littered’ with art-work from our travels around the world, with representations of some of the places we’ve loved best. Mom has carvings from Africa and Slovenia, I have paintings of my log cabin and stone cottage from Montana and Scotland, there are many water colours of the Bronte’s West Yorkshire, where Richard and I both have many happy memories, and I have several antique ‘horse’ prints as well as two large ones of James Lumbers’- one from his ghostly series, “City Limits” (a rural piece with the skyscrapers, so sadly but truly, invading in the far distance)

and another of his – a native girl studying from a text book, which will always remind me of my time teaching on the rez. He’s a Canadian, as is of course the nature-realist Robert Bateman, with whom my grandmother taught for a time in Burlington, Ontario. We have a few of his smaller prints on the wall downstairs, and Mom has a large one of his kingfisher (bought for Grandma, originally) above her couch upstairs.

As well as the above kingfisher of Bateman’s, Mom has quite a few of her own mother’s china-painting hanging on her walls. Grandma was another family artist that had great talent in all subject matter, but especially enjoyed doing florals. One of my favourites, however, is the platter, hanging above Mom’s ‘stove’, that depicts the Hawkins family farm, where her mother went as a young bride.

Yup, we ruralites sure appreciate our artists, and the memories their works evoke in us! I hope you have the same throughout your own home, and that you’re not, as Jane suggests above, buying ‘pleasing, inexpensive, mass-produced’ Ikea or Wal-mart ka-ka (you’ll note Jane’s quote stopped before this last bit).

If you fill your home with art that ‘speaks to you’, it will, as Jane says:

give you a jolt of delight every time you look at it or touch it

And Amen to THAT!

Artist in the Attic # 4: Jane Wright and… preface: I know this week's blog was supposed to be about the seed tables and the planting in our basement.

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webpostingpro-blog · 7 years

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New Post has been published on Webpostingpro

New Post has been published on https://webpostingpro.com/women-in-finance-discuss-the-gender-pay-and-promotion-gap/

Women in finance discuss the gender pay and promotion gap

Tell us about your organization’s efforts to enhance variety inside the remarks under, or privately

Portrayal of War and Women in Bernard Shaw’s Arms and the Man

As a mercenary soldier, Bluntschili is portrayed comically.

Is Export Trade Finance Important Today

Critical Factors To Remember When Choosing The Excellent Financing Choice

Google finance

A number of orders – In case you are receiving masses of orders, your running capital won’t be sufficient to fulfill such elevated demand.

Getting Expert Help

Internet Promotion – Advantages and Disadvantages

Inside the quest for cheap advertising options,

Price Powerful and Enduring advertising and marketing strategies

Marketplace Penetration

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