Back of beyond

Like it or not, we're all in this web together. This particular web was at Wahconah Falls in the Berkshires, where I plan to stop to paint on my way to Maine in two weeks.

Non-New Yorkers always seem skeptical when we tell them there are vast tracts of our state that are uninhabited. Hamilton County, for example, sprawls over more than 1800 square miles of land, but its population is fewer than 5,000. That gives it a population density equal to North Dakota.

Since I leave—shortly—for the duration of the summer, I took a short trip this past weekend. I’ll be off-grid for much of the time I’m in Maine. I needed a better sense of what was negotiable with these old bones and what I can’t live without. I haven’t done any back-of-beyond camping in more than a decade.

My 2005 Prius--which went over 200,000 miles on Friday--has a perfect smartphone holder in the door. Amazing, since there were no smartphones when it was built.

Yes, I can still sleep in a tent and get up the next morning and be (relatively) limber, providing I have some kind of air mattress. Yes, it’s still a lot of work to camp, what with pitching a tent, hauling water and food and rolling and rerolling bedding. And although I used to like to cook over a campfire, I find it a pain these days.

Since I almost never paint from photos anyway, there is a declining advantage in hauling around my Panasonic DMC-LX5. If I'm just testing viewpoints for a painting--as here--I might as well use my pocket-sized computing device, a/k/a 'phone'.

What has changed since I last went back of beyond is the nation’s cell phone network. I was on the top of a hill with no running water, no electricity, no septic, no artificial lighting of any kind—and an absolutely stellar 4G signal.

I’m thinking that will change how I interact with you while I’m on the road. Daily blogging without wi-fi or electricity may be difficult (although there are open wi-fi networks everywhere) but Instagram and Facebook are available everywhere. Does that mean my camera, with its beautiful, fast Leica lens, is obsolete in favor of my cell phone? Perhaps.

Of course, going off-the-grid with a party of youngsters is a little different from going with a party of painters. Mainly, the toys are noisier. (What we have here is a convoy.)

I have two openings left for my 2014 workshop in Belfast, ME. Information is available here.

This Christmas Beat the Crowds - Shop Online

Online Christmas Shopping to Easy the Stress of the Holidays!

You adore the holiday season. Everything to do with Christmas excites you. You love getting out all your favorite recipes and cooking up a storm. Putting up the Christmas tree and placing all those Christmas decorations that you have collected over the years is a joy. You love having secrets from your loved ones and being able to surprise them with special things. The big, big negative event of the season is having to shop in crowded busy shopping malls and other retail outlets.

You have a busy schedule and you can't find time to push through all the Christmas shoppers to find the right color or the much wished for toy or the exact CD on your list. Online shopping helps you tackle the requests you have without having to brave the crowds. It allows you to quietly research availability and price.

More and more everyone is turning to the Internet to help them save time and money. In front of your computer screen you can serenely browse the huge selection of items. Online shopping is so convenient and can provide you with a source for everything you want to buy.

Before you start to shop you can decide on how much you are willing to spend on each item. You can draw up a list and stick to it. Since you are so focused there will be no impulse shopping. No temptations from store windows and discount signs. Online you are able to find gifts for every taste and every age. Most often these can all be found at the same online store.

Another joy of shopping online is that all your selections will be delivered right to your door. All the anxiety of Christmas shopping will be removed as you relax with a cup of coffee or hot chocolate to browse and select.

You can find clothes and matching accessories in an online Christmas store. You can buy shoes; car gadgets and items that teens swear are "must have" for their lives. There are collectibles, jewelry, electronics, toys, and stereo equipment for sale at online stores.

Everything for everyone is available at an online store. Because this is such an easy convenient method of shopping every year the numbers of online shoppers is increasing substantially.

If you have canvassed your family's Santa lists then you know exactly what everyone is hoping to receive this year. There are many online sites that will point you to the hottest, best selling, most wished for gifts, and toys.

Gift cards for older children and young adults are readily available. You can buy these from online book or music stores. The savings, the quick delivery, and the great return policies have allowed these online stores to grow and grow.

I may make rotten frames, but I have a perfect nose

My perfect nose. Eat your heart out, Georgia O'Keeffe.

So, it was another bad day, which I won’t go into, because I’m sick of cataloging failure. But when I finished twelve hours on my feet, I consoled myself with reading the Daily Mail, which has to be both the most ridiculous and most entertaining ‘news’ website out there. And the Daily Mail tells me that the perfect, sexiest nose is tilted at 106°.

So I take a selfie and, lo and behold, my nose is perfect. Never mind the wrinkles, the grey hair, the aching feet and legs… according to the Daily Mail, I am hot.

That certainly makes up for a bad day at work, doesn’t it? 

A few other dames with perfect noses.

I have two openings left for my 2014 workshop in Belfast, ME. Information is available here.

This hasn’t been one of my better days

Usually making frames is my happy place. Not yesterday. This beautiful and perfect gilded frame? I mis-measured the painting.

In my father’s later years, he was a sad guy. Every evening he would say, “This hasn’t been one of my better days.” My husband and I both tend to run on an even keel, but when one of us has had a bad day, we find ourselves telling the other, “this hasn’t been one of my better days.” That’s both a private joke and a reminder that we are, in the bigger picture, blessed in ways my father couldn’t imagine.

Having said that, yesterday was not one of my better days. It started with the tedious business of cleaning and wrapping paintings to go to RIT-NTID’s Dyer Art Center. (I clean every painting with Winsor & Newton’s Artists’ Picture Cleaner before it’s shown.) From there I went into my shop to make frames.

Wrapping and tagging paintings is part of the glamour work of an artist. Mostly for local moving, you worry about the corners.

I love making frames almost as much as I love painting, but yesterday I mangled everything I touched. I made a perfect frame out of some luscious gilded stock, only to realize I’d mis-measured the painting. I had some lovely gunmetal frame stock I’d used for previous figure shows, and I cut a frame for my 36X60 nude and glued it, only to discover that I didn’t have a clamp large enough for it. I ran to the hardware store, which was out of the screws I needed, and ran home with mending brackets, with which I supported and reglued it. Frankly, it looks pretty bad.

Why am I messing up left and right? I want to go to Massachusetts to see my daughter this weekend and if I’m not done prepping for this show, I have to stay home. When I mix family and work, the ante rises fast. I don’t have a solution to this problem, nor would I want to. We should care more about our family than our work.

Then there are those lucky few paintings which have their own fitted packing crates. Those are usually paintings that travel a bit.

Meanwhile, my husband (he’s a programmer) went back to his office at 8:30 PM because he has a project that isn’t working and he also wants to go visit our kid. Some times, you just have to keep your head down and weather the storm.

I have two openings left for my 2014 workshop in Belfast, ME. Information is available here.

You can paint anything if you can paint greens

View from Catherine's gazebo, by Anna McDermott. (The color of these paintings is somewhat overblown because it was almost dark when I snapped these shots.)

There are places with gazebos in Rochester, but when there’s electrical activity on the horizon it helps if they’re not too far from a parking lot. Yesterday was a humid, dark day with thunderstorms forecasted for 5 PM. I went over my list of options with my student and pal, Catherine, ending up with the Fairport Library gazebo.

The actual scene she was painting. The greens of summer can be acidic and unvaried in New York.

“No, not that again!” she responded, and I had to agree. Although it overlooks the canal, it’s got boring sightlines.

View from Catherine's gazebo, by Sandy Quang.

So we met in her gazebo, which overlooks a 10-acre pond. The trouble is, there’s a rain forest between the gazebo and the pond and no amount of chopping seems to keep the sightlines open.

The actual scene she was painting. 

All of which I knew before I got there, but I still love the view, since you’re looking across a thicket of sumacs to a far hillside. Of course, it’s all green, but greens are an excellent challenge. If you can sort out a painting from a thicket of scrubby trees, you can paint anything.

In the Forest of Fontainebleau took Camille Corot five years to complete (1860-65). I gave my students three hours.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

The first day of summer

Poplar Grove Along the Shore, 9X12, oil on canvasboard, $395, by Carol L. Douglas.

The first day of summer found us huddled up against a cold wind off Lake Ontario, none of us sufficiently insulated against the cold. I’d recommended that my intrepid band of painters—sadly depleted now that the semester is ending—stay out of the direct sun so as to avoid overheating. Foolish me! I should have recommended we wear parkas instead.

It was a mistake to wear shorts. It was a mistake to not wear a parka.

The Great Lakes achieved record ice cover this past winter and we’re still feeling it. The water temperature off Rochester is 58° F, and the winds off the lake pick that up and throw it at us. So even when it was in the high seventies at my house—about five miles from the lake—it was in the low sixties in the shade near the lake.

In Rochester, it's not too freaky to go to the beach wearing a parka and a bathing suit.

My students borrowed my car and drove to Don and Bob's for hot drinks and fried food. It didn’t help that Anna then promptly dunked her brush in her tea (it happens), but the onion rings apparently sustained her.

Sandy painting in the poplar grove.

Eventually, we all went home and took hot baths, but it was worth it. A great day of painting!

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

Shopping Online - The Benefits

The internet ushered in new ways by which we go about accomplishing some, if not most, of our daily tasks. Nowhere is this more true than in the way we shop. No longer is it a necessity, in many cases, to drive to the store, deal with traffic, or stand in long lines, we now can do most of our shopping 24 hours a day 7 days a week by simply reaching for our computer and performing a few clicks of the mouse. In fact, we can even do this on a phone now and bypass the computer altogether.

Times have certainly changed. Virtually every vendor and service provider has an online presence by which to conduct business. Online shopping sites often offer discounts, to the delight of shoppers, for purchases made online due to lesser overhead costs which allow for lower prices. And this is just the beginning, the world wide web has only been around a very short time, and as it continues to evolve, online shopping will only become more and more the norm.

One of the many benefits of shopping online is convenience. People are busy, more times than not, having to be present at a store during business hours is not an option. Online shops are always open for business, and allow for a quick and unencumbered shopping experience that is simply not found in a brick and mortar store.

Shopping online also offers the flexibility of looking around for the best deals. Having to go from one place to the next in search of a better price requires time and effort, but not online. Stores are at your fingertips and can all be visited in minutes. Searching for items in a store is also a lot quicker online. There's no walking, and pushing of carts, up and down aisles to find your item or product.

However, in terms of fraud and protection of sensitive private information, the internet is the equivalent of the Wild West. Unless a website is secure, private information including credit information, name and address could be collected by a malicious party system intent on using such information in a fraudulent manner. So, it is extremely important that you only go through with a transaction inside of a website that is secure and employs encryption which ensures your information stays within the confines of its checkout page.

The world is taking to online stores in droves. Nowhere is this more evident than in the UK. The country is in the forefront of the online shopping wave in Europe. A study conducted recently showed that the overwhelming majority of Britons, with online access, head to the internet for their shopping needs.

How I'm spending my summer vacation

My show, God+Man, is at Bethel’s AVIV Gallery, 321 East Avenue, Rochester, until the end of June. This is a reprise of a show created for the Davison Gallery at Roberts Wesleyan, and it’s easy to visit: just enter through the rear Anson Place doors across from the Body Shop.

Our student show runs to the end of the month at the VB Brewery, 6606 Route 96 in Victor. (It’s still possible to bid on one of the abstractions there to benefit the Open Door Mission. The brewery is open Wednesday-Sunday.

On July 11, Stu Chait and I open “Intersections: Form, Space, Time & Color” at Dyer Arts Center at Rochester Institute of Technology’s National Technical Institute for the Deaf. The show runs July 7–30. This includes more than sixty paintings. From me, that’s both my studio nudes and plein air paintings; from Stu, that’s mostly abstraction, although he does include a few plein air pieces from back when we first met.

From there I go to Maine, where I’m participating in Castine Plein Air from July 24-26. This event draws 40 juried artists from around the northeast to the historic city of Castine, home of the Maine Maritime Academy.

Next on the docket is Camden Plein Air, hosted by the Camden Falls Gallery. The painting dates are July 31-August 8, and the work will be hung in the gallery during the month of August.

Then my workshopruns from August 10 to 15 in Belfast, ME. There’s still room, but not very much, since I’m only teaching one of them this summer.

Then—after catching my breath for a day or two—I drive to Saranac Lake, New York, to participate in the Adirondack Plein Air Festivalfrom August 21-24. My friend and student Carol Thiel has been telling me about this for a while now, but what really clinched the deal was realizing that many of my Lower Hudson Valley PAP pals would be there.

I’ll be home for Labor Day!

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

It's all about Michelle

Michelle will be happy that she finally has a face in this painting. (From my upcoming show with Stu Chait at RIT-Dyer.)

The other day I wroteabout photographer Terry Richardson and allegations that he abused his models. I said, “Artists and their models can be friends; sometimes they're even lovers. But every artist-model relationship also involves an implied balance-of-power calculation.”

I’ve worked with a lot of models over the years, and I think my relationships with them have been professional and courteous. Over the years, several of them have become my friends, including Kate Comegys, Gail Kellogg Hope and Michelle Long.

Michelle as a sort of Madame X character. (From my upcoming show with Stu Chait at RIT-Dyer.)

Michelle is as close to an international model as Rochester has. She collaborated on a project with Keith Howard called “Eve’s Garden: The Lost Creation.” I wish I’d thought of this idea, because it revolved around the idea of printmaker Howard sending his painting work offshore to China. The result was visually pleasing and perfectly in tune with the zeitgeist.

Usually my skin-tones are modulated with grey, but I want the illusion of florescent light, so I'm using blue. Note there is no true red on my palette right now.

I’m finishing a painting of Michelle for my upcoming duo show with Stu Chait at RIT-Dyer. True to form, Michelle won't be there; she is leaving to work in Uganda. If you want to support her at the Ugandan Water Project, go here.

This painting has been sitting unfinished for a long time, because I was mad at it. It taught me the limits of drafting huge paintings in my 18X18 studio. I ended up having to redraft her head and shoulders to correct the severe foreshortening.

Yep, those are my skintones. Along with my modulating colors, they gave me the faces above.

Occasionally someone asks me how to mix skin tones for different races. I think that’s a funny question, because I use exactly the same paints for everyone; only the proportions change. For that matter, I’m using the same paints I use to paint foliage.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

What you do when nobody’s looking

Ellwanger Berry Garden, 12X16, $650, by Carol L. Douglas.

Sure, I get to drive around and visit with fascinating people and go to interesting shows and occasionally pick up a brush and paint something, but I spend more time than I’d like on bookkeeping and that bugaboo of all sales: inventory control.

Stu Chait and I are putting the final details together for our upcoming show at RIT-NTID’s Dyer Arts Center, which opens July 11 from 4-7 PM. If you’re in town, you should really find a way to get there, since this is a sprawling show.

Manipulation in Red by Stu Chait.

Stu and I met at the Ellwanger Garden here in Rochester. We were the only painters there, so we stood at opposite ends of the garden and painted facing each other. I’ve long since sold that painting, but I painted another painting with him at the same place, which will be in this show.

It’s been years since I pulled out all my work to organize a show, but since the passage of time is part of our theme, I inventoried every piece of work I have in play right now. That is nearly a hundred pieces, which is less absurd when you consider that I have three separate bodies of work: landscape, figure, and faith-based. (Even with all those paintings, I am actually scant on work to meet specific summer commitments.)

The Servant, 36X40, $3000, oil on canvas, by Carol L. Douglas.

What surprised me even more is how many paintings are no longer in my inventory.  Next winter I’m going to go through my photo archives and sales records and try to piece together a comprehensive catalogue. I loathe that kind of task, but if I don’t do it soon, I’ll never get it done.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

High art, 2014-style

Submission, 24X20, by Carol L. Douglas. $1500.

We have two competing views of women here at the start of the 21^st century. Neither is healthy: woman as casual sex object vs. woman in a burqa. I painted Submission, above, at the beginning of the 2003 Iraq War. Sadly it hasn't gotten any better in the last eleven years.

Terry Richardson is an American fashion and portrait photographer whose clients and models include the glitterati of New York. He has repeatedly been accused of inappropriate sexual behavior. “Is Terry Richardson an Artist or a Predator” tells us that he’s both. However, he’s also a product of our culture.

  

Richardson’s assistant, Alex Bolotow, has been photographed fellating her boss many times, starting in her very early twenties. “There was something exciting about being involved in something that feels just really freeing,” she said, “like, ‘Oh, I’m totally expressing myself, and this is great.’ I remember being like, ‘I’m just glad to be alive in a time when this is happening.’”

Artists and their models can be friends; sometimes they're even lovers. But every artist-model relationship also involves an implied balance-of-power calculation. In the case of Richardson and his models, that varied depending on who was in front of the camera.

“Miley Cyrus wasn’t asked to grab a hard dick. H&M models weren’t asked to grab a hard dick. But these other girls, the 19-year-old girl from Whereverville, should be the one to say, ‘I don’t think this is a good idea’? These girls are told by agents how important he is, and then they show up and it’s a bait and switch. This guy and his friends are literally like, ‘Grab my boner.’ Is this girl going to say no? And go back to the village? That’s not a real choice. It’s a false choice,” said an agent (who chose to remain nameless).

Terry Richardson likes to photograph his models in the nude, by which I mean he is in the nude. Here he is with Kate Moss in a shot from Terryworld. Sadly, that's as innocuous a photo as I could find.

Richardson is an amazingly messed-up guy. He was the child of a broken marriage. His father was schizophrenic and drug-addled; his mother was brain-damaged. He’s taken his trauma and driven it brilliantly through a culture surfeited with sex. It’s what the public clamors for: used copies of his books sell in the thousands of dollars.

Is repugnance at his working methods a sign that our attitude has changed toward casual or even coercive sex? Not at all. Terry Richardson is just the sacrificial lamb for a culture that is still wallowing. Anathematize him, and he'll be replaced.

Yes, the burqa is abusive, but so too is our current western approach to sex and relationships.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

Folk wisdom says

Red sky over the Duchy says I'll have an opportunity to catch up on my studio work today.

Red sky at morning, sailors take warning;
Red sky at night, sailors' delight.

Dawn this morning featured a lovely rose-colored sky. Since I trust the ancient couplet, above, as much as (or more than) I trust the Weather Channel, I’ll be teaching in the studio tonight.

How old is that couplet? It’s quoted in Matthew 16:2-3, making it at least two thousand years old:

[Jesus] answered them, “When it is evening, you say, ‘It will be fair weather, for the sky is red.’ And in the morning, ‘It will be stormy today, for the sky is red and threatening.’ You know how to interpret the appearance of the sky, but you cannot interpret the signs of the times.

For those who don't read sky signs and don't trust their arthritis, there is NOAA's weather page, with its hourly graphs. They include sky cover, which makes them the plein air painter's best tool for predicting sunsets.

Joseph Mallord William Turner had a great interest in painting atmospherics. Here is his Sunrise, with a Boat between Headlands, c. 1835-40.

This wisdom works where there are strong westerlies, which happen in the middle latitudes (in which both Jerusalem and Rochester fall). Of course, I also use NOAA’s website; their hour-by-hour weather graph is the plein air painter’s best friend.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

Are You Maximizing ROI On Your Business Trade Show Displays? Three Key Metrics To Watch

Seasoned veterans of the marketing convention circuit understand that setting up a trade show stand or even simple table top displays at any promotional event can deliver an extensive assortment of benefits. From cold hard numbers revolving around face to face engagements at the function itself to less tangible data like an uptick in online traffic, these advertorial outlets can assist companies in every industry to reap a comprehensive array of positive results that can help justify the fees and expenses associated with these trade show displays.

Businesses Must Carefully Monitor ROI Of Trade Show Displays

While the itemized list of perks gained by engaging in trade show displays proves lengthy, it's still something that business leaders need to stay focused on throughout the year. Not exactly sure how to best determine around your company's return on investment from setting up exhibits and table top displays? You're not alone. Many entrepreneurs struggle with how to monitor the general success of these functions, particularly the more abstract results that are often achieved post-convention. However, maintaining a steady focus on some key metrics can help ensure that your company is consistently considering and analyzing critical success criteria.

Important Criteria To Monitor At The Close Of All Trade Show Displays

At the conclusion of marketing conventions, it's imperative for your staff to convene and compile a post-event analysis. When assembling the data, always consider the following:

Product Demonstrations: Sure, guests may stop by your table stop displays to quickly peruse your promotional literature or (more likely) to grab whatever free handout you're offering at your trade show stand. But how many visitors actually take the time to ask for a personal demonstration of what your product does? Before the opening of each event, create a way to calculate the total number of merchandise demos offered throughout the course of the function. A basic tally will certainly set a benchmark for future events, but being able to jot down quick notes like "one on one" or "group" will give your team an even better idea of how a specific convention went and how it matches up to previous venues.

Leads Generated: It's no secret that collecting leads is a major reason why a business sets up a trade show stand at all. Generated leads are also a key metric that offers tangible evidence of ROI. Rent or procure a machine that automates lead compilation to efficiently streamline the accumulation process and save both time and stress. Also, taking the total cost of the event and dividing it by the total number of leads gathered will deliver a basic cost per lead formula to monitor how this event measures up to previous functions.

Always remember that the only way to convert leads to sales is to follow up with them. Create a plan with the team to connect with each and every lead collected. Be sure to log all contact activity in the company database to monitor the end result/event ROI of each new name collected. How many turned into appointments? How many purchased from your organization?

Online Metrics: Monitoring online activity is a great way to analyze some of the post-event positives delivered from trade show displays. Get a general idea of website visitors that check out your company page in the days leading up to the marketing convention. Once the show has ended, measure any upticks in user traffic. Major boosts in clicks are generally a good indication of convention ROI. Also, always analyze other Internet resources such as social media marketing pages and carefully track increases in your business' online network immediately following the event as well to compile comprehensive analytics of overall results yielded.

How do you get to Carnegie Hall?

Barnyard at G and S Orchards, by Carol L. Douglas. 9X12, oil on canvas, $450, framed.

During Saturday’s class at G and S Orchards, my goal was to solidify the lesson from the prior week about painting into a monochromatic grisaille. This was something I used to do but had abandoned until I painted with Jamie WilliamsGrossman earlier this month. Then I remembered how much I enjoyed it.

Step one is a very rude value study. This gets simplified and refined with brush and rag.

One student went from his drawing right to masses of solid color. Nothing wrong with that, but I was a bit frustrated that he was totally ignoring my instructions. Eventually I realized he’d missed last week’s class because he had to sit for his SATs. But it was too late to show him on his canvas.

Step two is the addition of thin masses of color.

I quickly set up a demo for him. It was a small class so I was able to do rounds, come back and paint a bit on my canvas, call my student over to discuss what I’d done, and then repeat—over and over. I like being very busy and this was energizing. We did run over (about an hour and a half) because of this but nobody appeared to mind.

Here is Nina Koski's monochromatic painting. She was able to correct a composition problem very early on, rather than have it dogging her through the whole painting.

Meanwhile, Nina Koski had taken my instructions of last week very much to heart and was turning out quite a lovely painting of roses along the barnyard. I managed to get some intermediate photos of hers as well, so you can look at two different painters using the same technique.

Here Nina Koski is starting to add color.

Nina, by the way, painted a small plein air painting almost every day last week. She’s an exemplar of that old joke:

“Excuse me sir, but how do you get to Carnegie Hall?”

“Practice, practice, practice!”

And here is her finished painting. She's only been painting a few months!

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

Social media and selling

Boats, by little ol' me. Social media allows you to get your work out to a larger audience.

Last week I got into a spirited discussion with other painters about social media and marketing. As I frequently do, I cited one of my favorite painting students.

In his other life, Brad VanAuken is a brand consultant to Fortune 100 companies and the author of a texton the subject that’s going into its second printing. (In fact it’s his success in his chosen field that somewhat slows down his progress as a painter, since he’s always jetting around the globe instead of coming to class.)

Using photos of myself painting on location helps my audience understand what I do. Standing in creeks will someday also give me pneumonia or a broken ankle, but I try not to focus on that. (Photo courtesy of Mitchell Saler, a painter you'll be hearing about in the future.)

Brad is the person who made me understand an essential truth about social media: it works more like a mesh than an arrow. I can’t cite a particular connection between, say, a Pinterest post on Tuesday and the sale of a painting on Friday, but there is no question that—somehow—it works. I’m completely booked from now until September with invitational paint-outs, shows, and classes.

Sunset in Maine, by little ol' me. I try to be transparent, to let people see my failures as well as my successes, because I want people to understand that painting isn't a question of genius, but of plugging along.

One painter suggested that platforms like Tumblr and Twitter were a waste of time because their target demographic doesn’t buy paintings. This is untrue. I need look no farther than 22-year-old Anna, who not only owns her own home (which contains purchased art) but takes painting lessons from me to boot. And even if it were true, her age cohort is in some ways the arbiter of taste for the rest of us.

I have three openings left for my 2014 workshop in Belfast, ME. Information is available here.

Newest Money Making Schemes - Set Up Your Own Information Marketing Business

Planning to start a home based business could be hard so why don't you consider information marketing.

Starting your own information marketing business means the end to transportation expenses and hassles, answering to a boss, and working overtime. Aside from that, you will earn more than what you usually make, maybe even in a short period of time.

But before that, let us find out how to start an information marketing business. No pain, no gain, right?

Actually, it's a painless procedure. First, you have to find a particular field of interest that people will eagerly pay to have information based answers to their problems. From there, you can start creating a variety of products that provide information.

Yes, it's that simple and easy. You just provide the answers to the questions that people are regularly asking, and will unhesitatingly pay for these solutions, then you have just created your own information marketing business.

For instance, this could be people who are looking for a solution on how to handle their taxes. If you are knowledgeable about taxes or you have access to it right away, you can write a how-to, make an audio book, or a video, and then charge a fixed amount for people to be given the solution. If they are happy with the information you have given them then you'll generally find your self swamped with loyal customers.

But of course, taxes are only an example... there are tons to provide information or solutions for. If you dabble in a lot of activities, such as baking, playing the piano, you can develop a product helping beginners and enthusiasts hone their skills. The sky's the limit!

My White Trash Family

Rawlings Lowndes, 2013, by Kim Alsbrooks

I tend to take artist’s statements with a grain of salt, so when Kim Alsbrooks writes, “The White Trash Series was developed while living in the South out of frustration with some of the prevailing ideologies, in particular, class distinction,” the skeptic rises in me. But the work is more fun than the artist’s statement would have you believe.

Jane, 2014, by Kim Alsbrooks

After all, the artist is like a bowerbird, always collecting and repurposing junk. Who hasn’t seen flattened aluminum cans in the street and wondered how they could be useful? Like all metal painting surfaces, they’re inert and stable, so I guess they’d make a great painting surface.

Adriana on Fanta Orange, 2014, by Kim Alsbrooks

I really think her work is more about the juxtaposition of old and new than about Southern class distinctions. But as a base for landscapes, they would be awfully powerful. I see flattened cans all the time on my perambulations; maybe I’ll give this a try. After all, art is largely appropriation, right?

There are still a few openings in my 2014 workshop in Belfast, ME. Information is available here.

Off your game? Who cares?

Bathers with a Turtle (Baigneuses), 1907-08, Henri Matisse

This week some friends were discussing Thomas Kinkade, whose work is being dragged out into the public sphere through a retrospective, which in turn has engendered a flurry of new stories about his troubled life. (Predictably, none are positive.)

I was curious about why his landscapes said nothing about his personal struggles. “He did not paint what he wanted to paint; everything he painted was to sell,” said Brad Marshall.

Steamboat Leaving Boulogne, 1864, Édouard Manet

Then we moved on to bad moments by great painters. Karl Eric Leitzel mentioned how bad Matisse’s Bathers with a Turtle is, which in turn reminded me of Manet's Steamboat Leaving Boulogne and Sargent’s Spanish Dancer, in which either the head or the arms of the figure are inexplicably stuck on backwards.

Matisse, Manet and Sargent were brilliant painters; the rare duds in their oeuvre serve to point out just how brilliant they are. “When painters are that innovative and pushing painting in such new directions, they will be unsuccessful at times,” said Brad Marshall.

Spanish Dancer, 1879-82 (preparatory oil study for the main figure in El Jaleo), John Singer Sargent

And that is where I want to be: not painting what I know will sell, but painting outside myself.

This week, Pastor Bill Blakely suggested that if “I Am,” is the Lord’s name forever (Exodus 3:14), then all the “I am” statements we use to define and limit ourselves are in fact blasphemous. Thomas Kinkade was trapped by his “I am a great artist” statement; it was dissonant with the world’s opinion. Instead of painting setting him free, it made him miserable.

There are still a few openings in my 2014 workshop in Belfast, ME. Information is available here.

Just another beautiful day in Rochester

Highland Park by Brad VanAuken

For a few years now, I’ve had an ace-in-the-hole view at Highland Park—a long view through which the spire at Colgate Divinity is just visible. I took my class there this week only to find that the trees have grown so much that we were left with only a shrubby meadow. 

Highland Park by Sandy Quang

Still, it was a delightful shrubby meadow and early enough in the year that the greens were still somewhat differentiated. That meant this could be an exercise in seeing the different colors within green, and at that, they excelled.

Highland Park by Anna McDermott

Last week I started a painting with a sepia value study, a technique I used to use all the time and which I abandoned. I decided to try this out on my students, and they ran with it.

Highland Park by Nina Koski

I don’t really know why I abandoned this, because it allows you to make compositional assessments without distracting yourself with color.

And last but not least, Highland Park by little ol' me. No, you can't buy it; it was a procedural demo and I wiped it out before leaving the park.

There are still a few openings in my 2014 workshop in Belfast, ME. Information is available here.