6th in a Series on The Solo Show - THE HOW, Part 1 (Killing it on Social Media)

By Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the sixth in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what, who and how.

THE HOW, Part 1 - Killing it on Social Media

Let's just put it right out there - by the time your opening reception rolls around, you should be absolutely sick of yourself. Sick of hearing yourself say the words "my solo show," sick of talking about it, mailing, emailing, texting and posting about it. Because only then will you know that you have done everything possible to get bodies to your show; both the opening and - for those who can't make your opening - the show during its run. It is imperative that by the date of your opening, there is no one in (or out of) your orbit who can truly say they didn't know you were having a solo show. This is accomplished on several fronts, and with a timeline. One of the most effective fronts is Social Media.

Below is a marketing timeline. At each of these points you should hit up the following, at a minimum: Facebook, Twitter, Instagram and your blog.

1. When you are accepted by a venue for a solo show: Now is the time to announce your exciting news. Be sure you have the TITLE established before you post and email. And even better, have at least one work finished and photographed. It should be mentioned here that it is very important to have your pieces professionally photographed as you go along, so you will have beautiful things to post. The last thing you want is to have out of focus photos with bad color and lighting. You want to have the best representation of yourself, so invest in hiring a professional photographer experienced in photographing art. A bonus is that you can use these images later to enter your work in juried shows.

Your Facebook, Twitter and Instagram posts should be short but should convey your excitement. Start with "Exciting news!!" Then say that you have been accepted for a solo show of (medium) at (venue) for (month/year) and then the title. Attach a photo of a piece you plan to put in the show. You may want to create a hashtag with the title of your show. And with Twitter and Instagram, be sure to use hashtags such as #soloshow #soloartshow #artshow and hashtag your medium and subject matter (for more on tweeting, read this blog post:  https://www.lightspacetime.com/advantages-for-artists-using-twitter-art-hashtags/)

If you have an art blog, now is the time to blog about your exciting news! Expand on how you developed your concept and what your contacts can expect to see when they come to the show.

2. As you are working on your pieces: Periodically give teasers on what you are working on; if you don't want to show the whole painting (some people like to keep the work a "surprise" for the opening), you can show just a portion of the painting, as in this Instagram post:

The most important thing is to be constantly posting so that your audience will be reminded of the upcoming show. Your blog posts should touch on subjects such as how the work is progressing, humorous anecdotes about the process, planning for your reception -- anything that keeps your upcoming solo show in peoples' minds and - most importantly - intrigues them to want to come to the show!

3. In the last few weeks leading up to the show: Here is when you want to do your big push on social media, posting constantly. One important aspect of your show is obviously going to be your postcard (a future post will address the postcard.) When your postcards arrive, immediately post a photo of your hand holding one - this is a great way to draw attention to the upcoming show. The caption can be "It's actually happening!" or "Look what just arrived!!" In addition, as the date of the opening draws near, post photos of yourself at work, and it's always a good idea to catch the viewers' attention by adding text to the photograph, such as below - a quick way to remind your contacts of the date of the opening. This Facebook post said "Tick Tock - solo show fast approaching!" Don't have photoshop? No problem. The free online tool PicMonkey is very easy to use and you can do a lot of the basics of photoshopping.

4. The day you hang and the day of the reception: When you are hanging your show, have someone take photographs of the process or - better yet - take a video of you hanging the show. This really ramps up interest in your show. These photos and videos can be posted on all forms of social media. The day of, post a photo of any signage at or near your show. Did someone send you congratulatory flowers? Post a photo with a thank you. If you are able, during your reception, live tweet and instagram photos of the event.

5.  After the show opens: Be sure to post photos of works that have sold - this will ramp up interest in your show and remind people that it is still going on. And by all means post photos of all the people at your reception and tag them - so that these photos show up on their social media platforms and their contacts can see them!

6. When the show comes down: Just because your show is coming down does not mean you can't post about it - write a blog post about the experience; post photos of all the works that sold; indicate you are available for commissions.

Hopefully you will find that folks will mention when they see you that they are excited about your show and have been following your progress on social media! To reach those who are not on social media, stay tuned for the next post in this series.

For more information about having a solo show at Gallery Underground, please visit our website: http://www.galleryunderground.org/about/show-opportunities/. 

Next in the series: THE HOW, Part 2 - Reaching Those Elusive Non-Social Media Types

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

Fifth in a Series on the Solo Show: The WHO (It's not WHAT you know, but...)

By Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the fifth in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what, who and how.

THE WHO

You're getting close. You know why you are mounting this solo show, you know what gallery or venue is hosting it, you know when it's being installed, you have a killer concept, and you're rapidly finishing up the last of the works. The finish line is in sight. But now you're waking up in a cold sweat: "What if NO ONE comes to my opening?" The opening reception is the single most important aspect of your show. It is when a (hopefully large) group of people will show up to support you. Many of these will be friends, family and co-workers. If your first thought is that those are NOT your ideal buyers - think again. They are your TARGET AUDIENCE.

Those who know you - and like you - best will be the most familiar with what you are working on. They will have seen your Facebook posts with photos of works in progress (more on marketing in the next blog post). They will have gotten a breathless "solo show" response every time they've small-talked with you at a party and asked "Hey, what's new in your life?" They will heed your call to PLEASE save this date. Because they like you, respect you, admire your work and - this is KEY - they WANT TO SUPPORT YOU. They will be your most prolific buyers.

This brings up an uncomfortable reality to the introverted among us. Ugh, I have to talk about/promote/advertise myself to my friends, family and co-workers? Yes. Yes, you do. Many artists balk at this, believing they are somehow taking advantage of their close contacts. However, let me say it again: your friends, family and coworkers like you, respect you, admire your work and want to support you. And they WILL buy from you. An art purchase, much like the purchase of a house, is an emotional purchase. People buy art that speaks to them, that they can imagine looking at every day on the wall of their home - but they also like knowing that they supported a talented artist that they have a connection to. Many art collectors form close relationships with artists they have never met, and as this relationship develops, they buy from them again and again. It is this personal connection to the artist, as well as their love of the artist's work, that brings them back for more.

You may not realize it, but there are probably many people in your circle of friends, family and coworkers who have seen your work here and there on social media, in your home, or at the occasional art show - they liked the art, they like you, and they are thinking, some day I'm going to see the perfect piece from this artist and buy it. Suddenly they are standing at your reception, in a venue with 20 or so of your works on the wall. The pieces all go together and make a statement. And remember, this is your solo show, and it is your best work. Pieces you have been working on for a year or more, that you feel great about. Those friends and family who have been wanting one of your pieces are very likely to see that piece that they love in this show and purchase it.

If you have a range of prices and sizes on your work (and I highly recommend this), there may be those who buy a small, less-expensive piece solely because they do want to support you; they are not willing to shell out a lot for a large piece, but they will purchase a small piece as a tribute to you and your show. And that's ok. You need not feel guilty that "oh, they felt they HAD to buy something." There is nothing wrong with loved ones showing - well, their love for you by supporting your work. BUT - there will also be those in your circle of friends and family who purchase major works. And, make no mistake - no one is going to drop a LOT of money on a LARGE piece just to support you. They are doing it because they LOVE you and the work. They are thrilled to be getting this major piece of art, and thrilled that they are supporting you at the same time. It's a win-win for them. And for you.

So as far as "the who" in the equation of who you want to invite (and badger, remind, beg) to come to your reception, it's those you are closest to first. Rounding out your invitation list will be anyone (and everyone) who has ever purchased a work from you. Mail them a postcard, email them, call them - whatever contact info you have for them. This is a ready-made audience of people who you know already love your work, because they already own it (see: buyers forming a personal connection to artists, above). In addition, invite strangers. Take a stack of your postcards and put them everywhere you can think of. Ask the people at your daily coffee spot stop if they'll put some out; ask your gym; your spouse's coworkers; your kids' teachers; stick postcards in the mailboxes of all your neighbors (even the ones 8 streets over who don't know you - put a note on it telling them you're a neighbor). The sky's the limit. You have an advantage here - you're not selling vacuum cleaners or knives. You're hosting a cultural event - one with free wine (did I mention how important the wine is? See an upcoming blog post on receptions). Remember, you are hosting a cool party that just happens to - oh by the way - feature beautiful art - and everyone loves art!

But you knew that. 

For more information about having a solo show at Gallery Underground, please visit our website: http://www.galleryunderground.org/about/show-opportunities/. 

Next in the series: THE HOW, Part 1 - Killing it on Social Media

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

Fourth in a Series on the Solo Show: The WHAT (Got Concept?)

by Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the fourth in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what, who and how.

THE WHAT

One of the most important aspects of developing a solo show is coming up with a theme for your show. This will drive the entire process: your title, the pieces you choose, your press, your postcard and everything else surrounding your show - and most importantly: your chances of being accepted. Even if you have a large inventory of works with which to mount a show, if you do not have a cohesive theme that ties them together, chances are you will not be accepted via jury for an exhibition.

CHOOSING YOUR THEME

Talented artists are sometimes rejected when they apply for solo shows not because their work isn't good, but because they either didn't have - or did not articulate well - an idea that tied their work together. As mentioned in a previous blog on the "Why," it is important to approach a solo show with passion. If you are just picking random pieces out of storage or off of your studio wall and trying to force them into a theme, it will come through in your application. You want the jurors to see that you have a clear focus that you are creating works around, something that has meaning for you. Your theme can be pretty much anything, but it should have a clear point of view. If you have done a series of works on, say, Tuscany - you will need to come up with something interesting about that place that ties the work together, and for which you can come up with a catchy name for the show, You might want to think about a certain aspect of that area, such as all paintings of vineyards, landscapes of towns, or paintings of marketplaces. Even if your pieces do not all have the same subject matter, they need to look cohesive when hung, so a particular theme is important so that the show does not look disjointed. 


THE TITLE OF YOUR SHOW

The title you choose will be the FIRST thing the jurors see, and you want to draw them in with it. Just calling your paintings of Italy "Italian Landscapes" isn't going to excite them. If, as mentioned above, your paintings of Tuscany that have different subject matter, you could present your work as a "journey" and call it "Viaggio: Traveling Through Tuscany." Viaggio is the Italian word for journey and has a nice ring to it, and "Traveling" and "Tuscany" have nice alliteration; the title also tells the viewer that they are going to be seeing different aspects of the country.

SELLING YOURSELF AS A SOLO ARTIST

Now that you have your theme and title, you need to describe it well, to catch the interest of the jurors, who may actually read your description before viewing your work. You want them to be intrigued. Do not make your description too long, but be sure it is well thought-out. For instance:

"Viaggio: Traveling to Tuscany" 

"A vibrant collection of impressionistic oils capturing the essence of Tuscany; its people, cuisine and customs; its ancient beauty, rustic towns and brilliant flora and fauna. Painted over a period of 16 months, these paintings capture, in loose style with glowing pastel colors, the essence of a country that has captured the imagination of people for centuries..."

You can build on it from there, but you want to describe your thought process in wanting to make these paintings, your style, and your subject matter. Again, if YOU are excited by these paintings, this will come through in your description.

CHOOSING WORKS TO SUBMIT

Even if you have several works you think you want to build a show around, be sure you have a vision for how these pieces work together, and plan on creating new works for the show. You may already have pieces that are are great and work with your theme, but you'll want to give yourself the option of adding new, fresher pieces that have been created just for this show. You will also feel better knowing you have more than enough works for the show and can eliminate ones you feel are not as strong. Do not apply for a solo show until you have 4-5 works that are very strong and that you yourself feel strongly about; these are what are going to get you accepted - or rejected - as a solo artist, so they need to be your best work. And by all means, read your description - aloud - and then look at the pieces you are about to submit. Do they represent your concept? Or will the jurors be scratching their heads wondering how these pieces relate to what they have just read about your potential show? Even if you have a terrific piece that you love - if it doesn't fit the theme, do not include it. You have the option of working it in later, but if it doesn't work well with your description - and the other pieces you are submitting - you would be wiser to not use it in your application process.

You have now done the hard part, and are ready to throw your artist's hat in the ring and apply for a solo show - good luck!

For more information about having a solo show at Gallery Underground, please visit our website:http://www.galleryunderground.org/about/show-opportunities/. 

Next in the Series:  The WHO: Finding and Capturing Your Audience

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

Weaving Memories - the Art of Mary-Jeanne Reid Martz

Artist Mary-Jeanne Reid Martz

"I believe that painting is creating a spell—a mood—not recreating a scene or object," says artist Mary-Jeanne Reid Martz, who is known for her vibrant oil paintings, as well as watercolors. Many of these paintings are landscapes based on her extensive travels.

"I filter scenes or compositions through my experiences and emotions," she continues. "A finished painting is meant to be evocative, not necessarily narrative, of something I am seeing, and/or have seen or experienced.  The play of light, value, contrast, and perspective are critical, but remain mine to manipulate and capture within my own vision.  My objective is to make every work a piece of myself."

Fall on Lake Como, oil by Mary-Jeanne Reid Martz

Having been brought up in Florida, Martz was struck by the different light she found when first visiting the Smoky Mountains of North Carolina. Different types of light provided distinct moods and emotions, and she loved to watch the changes in light and clouds moving in the sky. "Increasingly, I have added more sky and clouds to my landscape paintings," she says.

Afterglow, oil by Mary-Jeanne Reid Martz

Since her early 20’s, Martz has traveled extensively, first to New Zealand, then around the world by ship, and later to adventures in Latin America, the Caribbean, and Europe. 

"Certain scenes have provided me with a directory of light, mood, and atmosphere.  The challenge has been to weave memories of all those places with the present." 

Pacific Waves, oil by Mary-Jeanne Reid Martz

"Thomas Jefferson said he could not live without books," says Martz. "I cannot live without painting."

Martz's work can be found every month at Gallery Underground, as well as in various shows mounted by the Arts Club of Washington, the Art League of Alexandria, and the McLean Art Society. 

--Sandi Parker, Gallery Underground Co-Director

Third in a Series on the Solo Show: THE WHEN (Because Timing Really Is Everything)

By Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the third in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what, who and how.

THE WHEN

Timing does matter - to both lower your stress level and prevent a last-minute "Ack! I'm not ready! I need more time to complete my works/do publicity/plan my reception...." freakout,  AND to maximize traffic to both your show, and the all-important reception, where much of your sales is likely to occur. With some (prestigious/competitive) venues, you may not have a choice as to the month of your show, but you should be able to control the year at least.  It is vitally important that you allow yourself time to get all your works complete before your show, so you'll want to research your venue's policies and deadlines to be sure you have enough time. Even if you think you have a body of work ready to go before you even get accepted for a solo show, you may find that you want fresher, and/or better, works, and you'll need planning time for the publicity and the reception (more on that in an upcoming post on "The How"). So, by all means, don't schedule your show 2 months after getting accepted!

Assuming you do have some control over what month to hold your solo show: taking a look at the calendar, there are some months that are better than others - both from a traffic standpoint, and a reception standpoint. Let's go month by month and look at the pros and cons:

January - Pros: no competition from other events; holidays are over so people are looking for things to do; NOT a time when people vacation. Cons: reception could probably NOT be at the beginning of the month (more on the reception timing, below) because of possible conflict with New Years; if you live in an area that gets a lot of snow, this could be a factor in people getting to your venue. Conclusion: Good

February - Pros: No competition from other events (Valentines Day is mid-month); a month when people are look for things to do; Cons: Possible weather issues if in snowy area. Conclusion: Good.

March - Pros: No competition from other events (St. Patricks Day is mid-month); a month when people are looking for things to do; threat of snowy weather has usually passed, Cons: None. Conclusion: Optimal.

April - Pros: No competition from other events; weather good; usually not too much going on. Cons: None. Conclusion: Optimal

May - Pros: weather good. Cons: Competition with graduations and weddings when people are out of town/already scheduled. Conclusion: Fair

June - Pros: weather good. Cons: Competition with graduations, weddings, and youth sports tourneys; weather is SO good that people prefer to be outside rather than inside. Conclusion: Fair

July - Pros: weather good; people not on vacation may be bored and looking for something to do. Cons: reception could probably NOT be at the beginning of the month because of possible conflict with July 4th; people are on vacation. Conclusion: Fair

August - Pros: weather good; no competition with holidays; people in town may be bored and looking for something to do, depending on where you live, it could be so hot that people want to be inside in air conditioning. Cons: Biggest vacation month of the year. Conclusion: Fair


September - Pros: weather good; people back from vacation and looking for things to attend. Cons: big wedding month;  reception could probably NOT be at the beginning of the month because of possible conflict with Labor Day. Conclusion: Good

October - Pros: weather good, but starting to get chilly so people like to be inside; no competition with other events (Halloween at the end of the month); Cons: None. Conclusion: Optimal

November - Pros: weather getting chilly so people like to be inside, but not a huge snow threat (depending on where you live); sometimes people do holiday shopping in November. Cons:  People usually take 4 days for Thanksgiving which would cut down on your traffic. Conclusion: Good

December - Pros:  Possible holiday shopping; Cons: weather can be bad; lots of competition from holiday parties; people generally take  a week off at the end of the month which would cut down on traffic. Conclusion: Fair.

One more note about the timing of your show/reception. Ideally, you want your show to run from the beginning of the month to the end. Psychologically, it is easier to for people to remember that they can see your show during the month of May than trying to remember "May 14 - June 9."  or "April 28 - May 30." Even if you hang your show on April 28, you should put the dates of your show as May 1-31. It's cleaner and again, easier to remember. Your reception should be scheduled as close to your opening is possible, hence the word "opening" - it doesn't generate as much buzz and excitement to attend a reception when the show has been open for 2 weeks. And keep the reception short. If it goes on for 4 hours, no matter when people arrive, it may look as though there are only a few people attending when they are coming and going. 2 hours is a good amount of time - that way you will get a critical mass an hour into it - and a crowd is always a good thing - it creates the impression that people are at a "must see" event!

For more information about having a solo show at Gallery Underground, please visit our website:http://www.galleryunderground.org/about/show-opportunities/. 

Next in the series: "The What" - Developing your Theme.

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

Emotions and Imagination: The works of Anya Getter

Gallery Underground artist Anya Getter

"My art is a way for me to inject my inner world of emotions and imagination into the physical realm of our everyday lives," says Gallery Underground artist Anya Getter. Getter is known for whimsical mixed-media pieces and most recently, a fusion of mosaic and painting, and her work has always been extremely popular with gallery patrons.

Getter was born and raised in Moscow, Russia.  She immigrated to the United States in 1991, and having majored in Computer Science and Information Technology, found a job as a Software Engineer with Fairfax County Public Schools.

Ever since she was a small child, Getter was drawn to painting, sculpture,  knitting, sewing and many other forms of arts and crafts.  Working in the IT field never allowed her talents to blossom, but she always looked for an outlet for her creative energy.

Woman in Red  by Anya Getter (acrylic)

After her twins were born in 2000, Getter first ventured into the world of formal self-expression by decorating kids’ jeans and overalls with colorful  and whimsical appliqués that became an instant hit among mothers looking for one-of-a-kind outfits for their toddlers. With the help of EBay, her work was selling all over the world.   As her children were getting older, Getter's interests also changed. She experimented with various media, and eventually arrived at collage/mixed media art as a perfect match for her artistic vision.  Most of her art comes from her feelings and experiences, and is inspired by quotes or sayings that hold a special meaning to her.  Each painting has many layers to it, and you discover new details each time you look at it.

"I am drawn to bright colors, patterns and various textures, which I love to mix and match on my canvas to reflect a particular mood or a feeling," she says of her work. "I usually draw my inspiration from words – be that a beautiful poem, a meaningful quote, or a popular saying [see "Trust Your Journey," below] "That’s why you will likely find a lot of writing in my work.  Each piece is done in layers, which I believe better reflects the complexity and depth of our emotions, thoughts or experiences."

Trust Your Journey by Anya Getter (acrylic/mixed media)

 Getter is grateful to the many fans of her work for inspiring her art and sharing their insights with her, which in turn enrich her world and find their way back onto the canvas.  "I have heard many people say that every time they look at my painting they discover something new that may have been hidden from them before," she says.  Her paintings almost seem to change with the viewer as his or her feelings and emotions change and fluctuate throughout their daily lives.

Is Your Mama a Llama? by Anya Getter (acrylic)

Getter is particularly known for her fun animal pieces, portraying everything from zoo animals to pets in her work. These pieces always seem to strike a chord with gallery pieces who love the humor and whimsy in them. Titles such as "Is Your Mama a Llama" (shown here), "Owl you Need is Love" (an owl painting) and "Alpacalypse Now!" (a piece with alpacas) are examples of her humorous animal titles.  

Mosaics, sometimes mixed with painting, is a more recent medium for Getter. These works are similar in subject matter to her paintings, many featuring women with amazing hair. In addition to glass, Getter uses broken pottery and other found objects in her work.

Ride the Wave by Anya Getter (mosaic/acrylic)

Getter's work is as varied as her imagination and emotions - Gallery Underground is lucky to be representing her.

--Sandi Parker, Gallery Underground Co-Director

Second in a Series on the Solo Show: THE WHERE (Location, Location, Location)

By Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the second in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what, who and how.

THE WHERE

Yay! You've decided to apply for a solo show, for all the right reasons (see the first post in this series). The next consideration, perhaps before you even think about what your show will be, is whether it is possible - and what may be a determining factor there is whether there is actually a venue available to you. Galleries are probably the most desirable places to mount a solo show - a bit about that in a minute - but first, you may want to consider some other venues, since galleries - even co-op galleries - can be tough nuts to crack as far as being accepted. 

Local businesses may clear out an office for your show

OFFICE BUILDINGS

Especially those which may be storefront-type offices such as real estate agencies, doctors' offices and banks - often love the added traffic they get for their businesses when they host a cultural even such as an art show. They're hoping your contacts might become their contacts. Look for local businesses, not large corporations, who usually don't have the autonomy to make these kinds of decisions. Also look for businesses that have nice lobbies or atriums where there will be traffic and space to hold a reception.  The downside to this type of venue is that the venue probably will only do minimal publicity, if any, and the people who come in all month may not notice the art - and/or that it's for sale - if they are rushing in for an appointment. However, it is highly possible that you will gain new patrons who frequent this office and suddenly notice that there is awesome artwork up!

LIBRARIES

Most libraries regularly display community art, and with steady local traffic and and out, there will be lots of eyeballs on your work. Depending on where you live, there may be multiple branches you can check out, and most will let you put your work up for a month. Usually the library will have someone on staff who is in charge of the installations, so find that person and make your pitch. Quite often you'll have an advantage if the subject of your art is local landmarks. Downsides?Here again you will most likely need to do a lot of publicity on your own, and libraries usually don't do receptions; if they do they will not allow alcohol.

Cafes are ideal settings for art shows

CAFES AND RESTAURANTS

Cafes and restaurants are highly desirable places to hang solo shows, for multiple reasons. First of all, there is steady traffic all day; and unlike in offices and libraries, people aren't buzzing in and out quickly to complete their business with only a passing glance at the walls. Here, people are in a relaxed social setting, taking their time while they eat and drink, sometimes with your art hanging right over their heads. Sales are quite often high at coffee shops and cafes. Coffee shops and cafes are preferable to restaurants because the lighting tends to be brighter (restaurants have low, ambient lighting), and people tend to frequent them all day rather than just for lunch or dinner; also, local cafes tend to attract women who are meeting about the PTA school fair, or catching up with their friends, having time to peruse the art. A huge plus here is that the venue will always allow you to have the reception (a great way to get new people into their establishment) and will (for a cost, obviously), provide the food and drink, taking that off your list of to-dos. The only downside here is that you may be limited as to the timing of your reception, since they usually won't want you to do it during regular business hours. And again, the publicity will be on you.

Gallery receptions, like this one at Gallery Underground,
attract lots of art lovers to your opening

GALLERIES

Galleries, as most artists will agree, are the ideal setting for your solo show: Whether a high end city gallery or a local co-op, there is an authenticity attached to a show in a gallery. Probably the next biggest upside to a show in a gallery is that the patrons are there for only one thing, whether it's at your opening reception or on a Tuesday afternoon: they are there to see art. So the mindset of the patrons is optimal from the start. Another huge plus is that the gallery will do a lot of publicity for your show; they will hand out postcards to everyone who walks in during the month prior to your show, have flyers on the door, do a press release to multiple outlets, and some may even place ads. Most galleries hold their receptions on the same day every month, and have customers who attend every month - even if they're only there for the free wine, at least you know you will have a core group of bodies at your opening (which, let's face it, is one of the biggest worry artists have - "what if no one shows up?"). In the case of co-op galleries, you may also get a core group of artists at your opening, many of whom will be volunteering. All of these things take the stress off you so that you can concentrate on making your art. Downsides? As mentioned, galleries can be tough nuts to crack. You will almost certainly need to apply by jury, with all the teeth-gnashing and possible rejection that comes with that. However, if you get in, it will be an incredible experience for you, both personally and professionally.

For more information about having a solo show at Gallery Underground, please visit our website:http://www.galleryunderground.org/about/show-opportunities/. 

Next in the series: THE WHEN - Timing is Everything

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

First in a Series on the Solo Show - THE WHY (It Matters)

By Sandi Parker

Many of us have done it, most of us have considered it, some of us have just dreamt about it: mounting a solo show. This is the first in a series of posts about the nuts, bolts, dos, don'ts, lessons learned, opportunities missed, psychological trauma and euphoria of mounting a solo show; the why, where, when, what and how.

THE WHY

There are many reasons an artist chooses to mount a solo show of their work, and many of them are not good reasons. Making money just might be the worst reason. If you are considering a solo show because you're behind on the the utility bill and want to make some quick cash, the process will not be an enjoyable one. You are automatically putting stress on yourself - a stress that will hinder your creative process as you produce work for "quick sale" rather than for the sheer joy and creativity you would normally bring to it.

All artists have learned throughout their careers that predicting what will sell is a near impossibility. Just when you think you have the art buying public figured out (you've sold 6 of those gorgeous seascapes, or 4 in a row of those cubist masterpieces), suddenly you have a studio full of paintings that aren't moving. You'll never figure out why - it could be that you are cranking these paintings out to sell and they aren't your best work, or that the same buyers are visiting your venues and you've saturated that market. More than likely though, it's a mystery.

So deciding to mount a solo show and assuming - or even hoping - that every piece in the show sells, or half, or a third sells - is setting yourself up for possible disappointment. This is where the psychological trauma comes in; setting goals that might not be possible to meet.

Another reason in the "don't doom yourself to disappointment" category is going into a solo show with the goal of obtaining press attention. The "art press" - if there even is such a thing in this online age - is notoriously fickle. Getting press for your show is based less on your talent and more on a writer or blogger filling space, timing, deadlines, your being in the right place at the right time, knowing the right person, and myriad other factors largely out of your control.

So why do it? The success of your show doesn't have to be measured in dollars or press. The number one reason you should mount a solo show is - in a word - passion. You are excited about your current body of work; you want to have all your pieces done around a certain theme shown together to familiarize friends, relations, patrons, contacts - and those who have never seen your work - with what your are currently doing. You want to share your enthusiasm for it.  If this is the attitude you go into a solo show with, then you will not feel you have failed, whether you sell pieces or not. This attitude will translate to the work you produce for your show; your excitement and pride in your current body of work will show in the creativity and energy you bring to the work. You'll spend more time at your reception eagerly talking to guests about your process than mentally counting pennies and the stress involved with that.  Sales and commissions may well result - but they will be the icing on the cake.

For more information about having a solo show at Gallery Underground, please visit our website: http://www.galleryunderground.org/about/show-opportunities/.

Next in the series: THE WHERE - location, location, location

Sandi Parker is an artist who works in both traditional oils and abstract acrylics. She is the Co-Director of Gallery Underground and has mounted 3 successful solo shows: in 2007, 2010 and 2016.

From Philosophy to Alkyds: The Stunning Work of George Bowles

Artist George Bowles

George Bowles is known for his highly realistic and meticulously detailed portraits, landscapes and still lifes, in alkyd. His work has a museum quality to it, bringing to mind the classical art of the 18th century. Viewers are frequently stunned at the photorealistic quality of the work, which is painstakingly done over time.

First of all, what is alkyd? 

According to Bowles, who swears by this medium, alkyd resins are composed of complex fatty acids and alcohols which are derived from natural plant origins. These ingredients are heated and combined with oils that are resistant to yellowing to form an extremely stable synthetic material referred to as an oil-modified alkyd resin. Once the oil is combined, it is no longer a free oil, but a completely bonded oil which will not separate from the resin. An alkyd resin is highly adhesive; pale and transparent; soluble, when wet in turpentine or mineral spirits; tough, flexible, and resistant to solvents when dry. Additionally, alkyd resin dries more rapidly than the linseed oil that is used as a binder for most oil colours, but more slowly than the plastic resin that is used as a binder in acrylic colours. Alkyd colours are less prone to darkening, embrittlement, and cracking with age than traditional oil colours. Given the timeless quality of Bowles's work, it is easy to understand his desire to use a medium that does not yellow, or otherwise disintegrate over time.

Roses in a Glass Pitcher by George Bowles (alkyd)

An Iowa native, Bowles trained first as a philosopher, receiving a BA from the University of Denver in 1966, and a PhD from Stanford in 1970; he taught philosophy for over twenty years, publishing several articles on logic.  Having drawn and painted from childhood, and having done several commissioned portraits, animal paintings and landscapes, he has been painting at least since 1958.  After his academic career, he went in 1996 to the Bougie Studio in Minneapolis to get a rigorous four-year art education modeled on the French ateliers of the 19th century. 

Antonios, portrait by George Bowles (alkyd)

In a typical understatement, Bowles says of his work: “I aspire to create well-composed and, when possible, beautiful paintings." Most would agree, mission accomplished!

Light and Shade in Arlington Forest by George Bowles (alkyd)