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Jesinoski Arts' photostream on Flickr. Visit www.jesart.com to view and purchase artworks.

NEW DOGS AND OLD TRICKS

To Reproduce or Not To Reproduce, That is the Question

I’ve often heard the debate recently about the relative merit of producing giclee prints for sale.  Opinions vary broadly but, in general I see three perspectives in this argument.  One, you have the ideal that to be truly respected by the higher-end collectors you must not make prints because it cheapens your name and product.  Two, making prints allows you to reach broader audiences, provide art to those who may not otherwise be able to afford it, and, heaven forbid, make some money.  Three, this is my own perspective and involves the idea that the art we see is simply a by-product of the demands and cultural tides that pervade our times.  The first two perspectives are both relevant and neither trumps the other.  In many ways they are born out of vastly differing cultures both within, and out of, the “art world."  The latter is simply an observation of the times and how we artists are, for better or worse, a part of it.  

Identity-Live Painting by Mark Jesinoski www.jesart.com

Don’t Do It

The ‘don’t do its’ seem to have some common factors.  They come from an old-school tradition, they come from money, they value the idea of one-of-a-kind, and/or their opinions are guided by a gallery system that is largely out of touch with the world of us common folk. 

There is a component to this perspective that I strongly agree with.  I think it is perfectly relevant that making only one of a certain thing makes it more exclusive and more relevant.  Simply put, the less of something there is the more we covet it as a collector's item and the more demand there is for the supply.  It’s good for novelty and good for business. 

The difficulty with this perspective comes in a few forms:

 For one, you have to know people who are willing to pay you the price of something so exclusive.  Many of us poor artists simply do not have connections with this type of culture.  Not to say one can’t nurture this, just saying your buyers are few and far between and you have to accept that you are not going to be able to sustain yourself without some form of support; a part-time job, a benefactor, a trust-fund perhaps.  In addition, these types of buyers are also not likely to buy from you directly, but through a broker or gallery.  This means becoming, over time, relevant to the brokers and galleries.  This also means long and exhaustive periods of relative poverty and diligence before you become recognized by such people.  This is an honorable, but often futile, path.  Sort of like going to Hollywood and thinking you’re the next Brad Pitt.  If you choose it you have to be deeply committed, have some connection with this type of culture, be extremely good, or some combination therein; many are born into it. 

In short, this is an honorable path but accept it for what it is; a very steep and very challenging climb, and you may never reach the top.  But if it fits, then go for it.  The glory is in the climb, not the summit. 

Print, Print, Print

The pros and cons of printing are many.  I will outline a few here. 

On the positive side printing allows you to reach broader audiences by making your work more affordable and prevalent.  More work, equals more contact with people, equals getting your message out and/or making your art career more sustainable.  For the individual who is more about making a statement, like Shephard Fairy used to be, or the artist who wants to have a sustainable career (while they are still alive) this is a good route. 

On the flip side making prints is expensive, there are no guarantees, and you may exclude yourself from the aforementioned group of collectors. 

Exclusion:

I have known artists who were on the brink of a big sale only to lose it once the buyer learned the image would be available to broader audiences via reproductions.  In some way there is a bit of an identity issue here.  There are artists who may produce the type of work that attracts the elitist few (and perhaps should therefore follow this path), but due to a number of factors they sabotage themselves and become sort of lost between worlds; the big collectors don’t want them and their work is too specific for broad appeal.  Sabotage usually takes the form of ego injury, shortsightedness, or poor self-management.  You may be doing everything right on the production side, but everything wrong in the, relating-to-the-world side.  For this type of artist I would advise finding a good rep. to find, and communicate to, your audiences for you. 

Overhead:

Making prints is expensive.  Early in my art career I learned the irony of selling and building my business was that I could produce and sell an original with much less energy and investment than selling a reproduction.  I wanted to make the prints, so I could sell them for the price I was selling my originals, but I simply could not afford to.  I made the mistake early on in believing that if I made prints the buyers would come.  I did and they didn’t.  I still have extra prints of some of my earlier works.  In my inexperienced narcissism I believed I was ready for this.  I was not and I temporarily disabled my progress. My advice, don’t make prints until people are consistently buying your originals, and only make prints in accordance with your demand.  The great thing about modern technology is we can print on demand; this reduces overhead costs significantly.   I would recommend, however, sacrificing a few meals so you can absorb the cost of imaging.  Once you sell an original it’s gone and if you didn’t get the high-res image, you won’t be able to make prints when you become the next big thing.  Think ahead. 

Balance:

Here’s my argument and here’s my point.  We live in a world with lots of buildings, lots of wall space, and therefor a higher demand for art than anytime in history.  While we whine about the economy and lack of collectorship buildings are popping up like tulips in springtime.  The opportunities are a-plenty and there’s no better time than the present to get a whole bunch of your work out there for people to appreciate.  But, with this type of demand it is ridiculous to assume that these types of projects could afford only originals.  We do live in tough economic times and contractor budgets are tight.  Tight budgets equal décor of the reproduced type. 

Balancing Act by Mark Jesinoski www.jesart.com

Although I recognize there are certain trends in the artistic choices of your run-of-the-mill business or hotel, I strongly believe there are places out there for every type of art.  Your job is to stop waiting for everyone to come to you, get out there, pound some pavement, and find a home for your work.  Work with a designer, contact some local contractors, make people aware of your work and your availability. 

AND, while you're at it make some pieces that are a specialized kind of your work.  Make them one-of-a-kind and make them with all the passion and savvy you can muster.  I personally reserve certain of my pieces to remain singular and without reproduction.  I also work closely with my collectors to create unique commissioned pieces, which will always and forever remain their exclusive piece. 

BUT, probably most important of all folks.  Think about who you are, what you want to say through your art and your career, and let that be your guide.  Accept the byproducts that come as a result.   

Take care out there, 

ART SPEAKS NOW

Art in Culture: San Diego

Mindful Malaise- by Mark Jesinoski www.jesart.com

There is some truth to the idea that to get people to pay attention to art in San Diego, you basically have to throw a party.  In the longest Facebook comment string I have ever seen, several people involved in the SD art scene took great offense to a City Beat "Sight on Scene" blurb that (in addition to other things) basically insinuated that the San Diego art scene is watered down with parties and feel-good events.  Although the blurb itself was irresponsible journalism, the point I want to focus on here was the defensiveness that emerged in reaction to the allusion that, to get people to pay attention to art in San Diego you must add the key ingredients of a DJ and a case of wine.  Based on private conversations I have had with my artist friends there seems to be some truth to this idea. 

Yes the art scene’s growing, yes there’s a buzz in the air, all things I hear at art shows, in newsletters, etc.  But what there is a drastic shortage of are people who go to art shows to not just see art as a backdrop for a social gathering, but to observe it, critique it, support it, and recognize its cultural and sociological relevance.  It bears some attention when the enthusiasm of every single artist I know in San Diego seems lightly spread on the crust of cynicism that has grown out of our experiences as artists in San Diego.  I should note that perhaps my perception is such because most of my friends are “emerging artists” as it were, and thus have not yet emerged from the thick soup of B.S. one negotiates to become, at least financially, successful.  But, this caveat aside, there seems to be some truth to the idea that to get people to pay attention in San Diego, the art takes the back seat to the party. 

Being one who picks up the paint brush from time to time, and having done over two-hundred shows of various types over the past few years, I have pondered the idea of how art relates to the community around it.  Art never exists in a vacuum, and therefore I believe there is much to be said (for better or worse) about the relevance or irrelevance of art in the context of San Diego. 

As an attempt to have a more in-depth discussion on this topic.  I have asked several of my artist friends to share their uncensored opinions about the state of the arts community in San Diego.  Below is my attempt to offer an opinion on the matter.  


A perspective with Personality

Perhaps in San Diego art becomes a backdrop because we live in a city of extroverts who are more hungry for validation and social stimulation than they are for the art itself.  This is not bad or good, it simply is a truth of our city...And maybe that’s the way of it. As much as we artists want to be loved for what we do, we have to recognize at some point that our art in THIS social context may be reduced to a medium for bringing people together. 

This brings up an important observation about the role art takes in culture across time and context. Art over time is not necessarily the primary driving force, but it bobs on the waves of cultural currents.  Pollock was an instrument for the expression of his time.  Dali was an instrument for the expression of his time.  Picasso was an instrument for the expression of his time.  Each had their personal content, their style, their innovative approach.  But none of them would be known to us had they not somehow interacted with the needs of their time and place.  This in no way diminishes them, or us, it is simply a truth of the human and artistic experience.  

Personality Sprinkled with Politics

Another perspective is a socio-political one.  San Diego is overwhelmingly conservative; not just in politics but in personalities.  And, to offer a blanket generalization, conservative minded folks tend to see art as more or less, a decoration, a backdrop, an accessory, something that goes well with the drapes.  Conversely, take a culture like L.A.  The culture of Los Angeles is largely "industry" people and therefore comprised of a more liberal socio-political structure.  Now, politics aside, the fact is that liberal-minded people tend to value art from a much more personal and value-based perspective.  Art in this context is not just about how well it goes with the decor, but more about making a statement.  In short, art in this context is valued as a vital component of culture. 

Of course there are many ways to interpret the state of things in San Diego.  I would love to hear your opinions.  

The Best to You, Art Speaks Now