Wendy Jones
Fine art is the head and the heart and the hand together

The Rebellious Curator

(posted on 1 Mar 2021)

1.Do you know how to communicate your message or vision in words?

 

2. Do you have 10-20 recent pieces of art ready to sell?

 

3. Are the pieces consistent in style?

 

4. Is your pricing nailed down?

 

These were the questions I asked myself and others before considering an art show. Now, I look at the same questions and wonder if this line of reasoning is still relevant. Galleries have evolved in the past few years, especially since the pandemic. Brick and mortar galleries are fewer and far between as so many artists are moving online. 

Does this change the way we look at solo exhibits or group exhibits?

Does this change the pricing of our work?

How else have things changed for artists? Especially for artists who's work is best viewed in-person, like installation and assemblage.  

 

The art world is changing. We may be turning a corner, and artists are being forced to look at promoting their work differently, or making different kinds of art. Is it time for artists to consider evolving their style and practice to adapt to the coming changes?

 

What are your thoughts? Do you think things are changing for artists? If so, how are you coping with the change, and how will you adapt?

 

Please send your thoughts to jones07@telus.net

 

(posted on 28 Feb 2021)

"Don't wish me happiness. I don't expect to be happy all the time, it's not possible. 

Instead, wish me courage and strength, and a sense of humor. I'll need those the most."

 

(Not sure who said this, but I like it. And I would add to that, wisdom)

(posted on 18 Feb 2021)

 

Thought I'd post a photo of the last of my cemetery paintings which I completed yesterday.

Titled 1 Thess. 4:16   o/c

(posted on 16 Feb 2021)

Changes in the gallery landscape and the over-saturation of abstract artists has prompted me to consider moving in a new direction.

I've noticed an exponential increase in abstract artists both online and in galleries, and contrary to stats, women abstract artists do currently dominate the artworld. It's not a bad thing, and I encourage women artists to make art when they have something to say, but there are too many right now, and it makes me yawn. Whenever there are trends, the quality of work descends, and it's time for me to go another way.

My focus will be on miniatures, dollhouses, dioramas, and re-thinking and re-purposing structures into assemblage. 

 

I may return to painting in a few years, but for now, I will be a closet painter. 

 

"Be the curator of your life. Slowly cut things out until you are left with what you love, what's necessary, and with what makes you happy." - Leo Babauta

 

Follow Kleinwerks Gallery on IG for latest miniature exhibits, and Kleinwerks on FB, for dollhouses, dioramas and new builds.

Coming soon, my new YT channel Lilactree Miniatures currently under construction.

(posted on 12 Feb 2021)

Attribution - (def.) The act of attributing something, especially the ascribing of literature and art to a particular author or artist. In simple terms, signing your work.

I currently posted an online exhibit for Kleinwerks Gallery (IG), where I purposely did not reveal that the work is mine. I have made a point of doing this for most of my own work that I post on Kleinwerks IG. (Note: If I am featuring other artists, I always cite their full name, contact info, and statement). However, for myself, I have chosen not to.

Why? Part of the reason is because I have always had difficulty tooting my own horn. The idea of creating work and sharing it with the world anonymously is very appealing to me. 

My other reasoning has to do with the current culture: we live in a very self-interested society. Social Media has made it easy to exhibit our every thought and point the viewer to ourselves. I wanted to explore the opposite idea - In contrast to the current trends, what if we did not attribute our work? What if the work had to be taken at face value, without knowing the artist's gender, race, socio-economic status, or education? What if a well-known artist did not reveal their signature? Would the viewers see their work differently? I wonder if knowing who the artist is has ever skewed the meaning of the work? There is the point that good artists usually have a recognizable style which can give it away quickly and that's a good thing too. 

These are interesting questions and I welcome dialogue on the subject. Feel free to email your thoughts to jones07@telus.net

 

Thank you for stopping by!

 

(posted on 11 Feb 2021)

Then, we have the ever-too-common, hyper-curated IG photos of female painters poised in front of their abstracts wearing paint-splattered overalls, next to a mug of organic loose-leaf tea sitting atop carefully positioned Pottery Barn furnishings. Does anyone take these people seriously? 

 

How does one wade through this ultra-deceptive society without banging their head against the wall, and yet, function in the Covid-on-line culture...does anyone else struggle with this, or is it just me?

 

I feel like it is just me.

 

 

 

(posted on 7 Feb 2021)

A quote by Kurt Schwitters: "I'm a painter and I nail my pictures. I'd like to be accepted into the Dada Club." This was a quote from his letter to Hans Richter c. 1916. No artist statement needed.

What is an artist statement? It is a written description of the artists work, it may even be considered a defense of their concept for the work, or their intention. 

Writing an artist statement is a relatively new phenomenon which began in the early 1990's and most artists prior to this time did not write them. I attended art school at UN-L from 1989 to 1993, and I can safely say that art students were not taught how to write artist statements, nor were we required to produce them for our work. I was an Art History Major, so I completed internships/work studies at several museums. There, I encountered original works by well-known abstract artists like Rothko and Frankenthaler who did not have statements for their work. We were expected to view their work and respond to them based on what we knew about the artist's history.

So why are artist statements now encouraged in art schools? 

Today, they are used to obtain grants, apply for residencies and art schools, and for submitting to galleries and shows. But does an artist have to prove that they fully understand their intention, or reveal the meaning of their work? 

I contend that people come out of art schools today, mostly knowing how to write about their work the same way as everyone else. That is not creative individuality, that's conformity. 

A little mystery goes a long way. Try not to make your every thought known to the world. Let your artwork do the talking and put your time and effort into the craft.

Let's face it, most people have little interest in reading a two page polemic consisting of hubris fluff and flashy artspeak. A title, and a brief description if necessary, is all that is needed.

I'm curious to know your thoughts, and I welcome dialogue. Please email jones07@telus.net if you have something to say about it.

 

 

(posted on 5 Feb 2021)

Working on a couple of assemblages with structures inside them. This one is a cardboard box which I placed inside an antique frame. This piece is about the increased homelessness I see in the Downtown Langley area located near my studio.

(posted on 31 Jan 2021)

"Pay attention to the things that you are naturally drawn to.

They are often connected to your path, passion, and purpose in life.

Have the courage to follow them." - Ruben Chavez

 

 

 

1. I learned first and foremost, that I do my best creative work in isolation.

 

2. I learned that fewer people in my life seems to work for me.

 

3. I learned to be careful who I let in, if at all.

 

4. I learned that my husband really is my best friend.

 

5. I learned that my cat is my next best friend.

 

6. I learned that I should strive to be more of a mystery rather than an open book.

 

7. I learned that bad art is actually good art.

 

8. I learned that social media is not necessarily good for my art practice.

 

9. I learned I should make whatever art I feel like making even if it seems lame to everyone else.

 

10. I learned that I am happier now than I was before the pandemic.

 

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