The fine art of getting noticed

If the world is ending in a few weeks, artists who hope to sell jam and jelly canvasses should hope that terrified believers in the imminent apocalypse are prospective buyers looking to hoard these foodstuffs in underground bunkers because unconvinced collectors will likely not hang the pantry contents on their walls. I will stick to the key of C for a while.

I think you need to define gimmick. I just saw a terrific series of programs on the Impressionists and Monet, in his quest for color, painted the same subjects over and over again in different light conditions. I’m sure the Establishment of the day considered that some kind of gimmick but then today we would consider the formulamatic [I invented that word but you can use it] paintings of his day as being kitschy and gimmicky. I think it’s all a matter of honesty. If you come up with a new and clever way of seeing things and putting this in your art then that’s not gimmicky. But if you seek to contrive something for the sake of being noticed then that is being gimmicky. Is there a synonym for gimmicky? I had a good talk with my wife the other evening about this very problem in my own work. I come up with these great ideas about how to depict this, that or the other thing and then when I see others that have done exactly the same thing I think, what a load of crud. I have to agree with her when she says I over think things and try to come up with ways to please others. I spend too much time thinking about what to say than how I’m saying it. Now don’t get me wrong, I’m sure there’s a lot of important things out there that need to be said, but some of the greatest art hasn’t been about what’s been said, but how the artist said it. The artist hasn’t tried to be clever or create their work with some kind of hook to it, they just do it the way they need to. Picasso did still lifes, Rembrandt did amazing portraits and thousands of years ago some unknown did a horse, deep within a cave. They weren’t trying to be gimmicky, they just had their own way of doing things. One of my favorite examples is Jackson Pollack. Tossed paint on the canvass because that’s what he thought he should do. Ten thousand wanna be’s then tossed paint because they thought it was a cool gimmick. Pollack did something unique, others tried to copy. It’s been said lots of times, just do it your own way, and others will appreciate it.

I absolutely loved this column. So entertaining, but a little frightening to think how far painters might stray from actually developing their talent, all in the name of getting attention. It’s true that it takes longer to get noticed if you are working on your craft, but when you finally do garner some attention, it’s genuine admiration, not just breath-holding amazement, or worse, barely-contained revulsion. Thanks for another insightful piece!

Quality schmolity. Originality always trumps quality. Some great African artists prove this point beautifully: Jackson Hlongwane and John Muafangejo, to mention two of my favourites. These artists had no formal training, no clue about art history, perspective and the other stuff you learn at art school. What they had was a fresh take, a passion, a mission, a relevance. I struggle to see the point of comparing quality and originality. Of course, quality is important where it comes to getting noticed, but only when the quality it is original, ie, when a new standard is being set. Eg: Michaelangelo. Issues of whether the original work is gimmicky or contrived or immature or just a flash in the pan, or whatever, are side issues. The bottom line is, if it has been done, it’s a has-been idea.

It helps to have some age on you when you address this subject. And it helps to have lived with fine art on the wall all your life. One of the qualities of a piece of art that you love to live with for many years is its timelessness. Of course there are many who decorate their house every few years and throw out the stuff that has become unfashionable and buy new trendy stuff that is “different.” I suggest that if you want to get a gimmick, make it something about how you display your art rather than making it part of the painting (or other work) itself. A distinctive way of framing, for instance, or a signature way of fastening it to the wall, or even a unique signature in maybe a unique place. But just as the clothing of yesteryear (bellbottoms, pompadours, pants on the floor) gets old and comical fast so does gimmicky bling on paintings. Of course if you can make enough money in a three year stretch by making paintings out of peanut butter and jelly to pay your way for the rest of your life, you have every right to do so. But what will you do for an encore? And what do you do about the thrift shop that has your p & j paintings in the back room being sold for the frames? Is that the stuff you build a lasting reputation on? I think not.

The point about gimmickry and sustainability is taken but I fail to see how it has anything to do with quality. One of my favourite pieces in life, has hung on the wall of a friend for at least 15 years and it never fails to delight me. It is a naive, poorly crafted, replica of a fictitious road sign, and was no doubt made at the roadside somewhere. It was supposed to say “gone fishing”, except that the artist was illiterate and didn’t know where to break the line, so it reads “gon efishing”. I never tire of it. (There is also something about the “efishing” which only a South African will appreciate). I don’t remember the name of the artist. I believe that subsequently the area has filled with other crafters imitating this artist and they do a brisk roadside trade. They don’t interest me as much.

From what I have seen, most artists who come up with a gimmick do it not only to get noticed but to get noticed more quickly than other artists. These gimmicks often do work — but for all the wrong reasons. Most viewers shake their heads (maybe chuckle) and move on as quickly as the gimmick was noticed. Also, gimmicks never really seem to actually have anything to do with the artist’s art. If an artist comes up with an original way of creating their art, that is a whole different story. Originality can get an artist noticed quickly but with longstanding results. I believe that quality is always “in.” Whatever an artist creates should be done to the very best of their ability. Quality ensures a timelessness to a work of art no matter the style of that art. I think that those who spend time coming up with gimmicks to make them a success would spend the same amount of time in honing their skills and abilities would see a better kind of success. I would rather be known for the quality and consistancy of my work than to be known for the gimmick I could come up with. This quote always makes me smile and keep on working: “It was by perserverance that the snail reached the ark.” No one ever said it’s supposed to be easy.

My friend refreshed my memory. The artist was called Chicken Man. I’m sure he had a proper Zulu name, but that is how he liked to be known. There is another piece my friend has. The sign says “beware of vogging”, which is a mixture of English and Afrikaans (vog = fog) In the triangle above that panel there is a car on a steep incline (like I said, he was illiterate). This piece lived on their television and whenever PW Botha or some other Nat politician (Apartheid days) came on they’d all say “beware of vogging!” Frankly, people who make a big deal about the quality of the art, probably just don’t have that thing that really counts.

Andrew, Andrew, Andrew, you seem to fixate on folkart and that’s fine. It can be great stuff. BUT there is other stuff too.

I think you have to be incredibly careful if you strive to be known for a “gimmick” in your art. Is it something you truly love to do? Is it something that you can do forever if you become known for it? I think of actors that become famous for one role; some ride the wave forever and others succumb to the monotony of one note.

Hanging flesh off paintings, making them pointy, wonky formats — all so terribly dated, shopworn ideas.

Gosh. Dwight. Are you actually patronising me?! Firstly, Jackson Hlongwane and John Muafengejo can hardly be classed as folk art. Neither can Chicken Man, because he was an original. Secondly, the slavish service that traditional folk art gives to quality shows how remote you are from getting my point. I am merely presenting these artists as examples because of the greatness of their art despite its quality by Western standards. In fact, folk art makes my point quite nicely and I dare say that any artist who pursues quality above all is in danger of positioning himself a little closer to crocheted baby bibs on the continuum between folk art and so called “high art.” Don’t get me wrong. I take quality very seriously. I am a calligrapher and I never stop pursuing quality in my letter forms. No matter how good I get, I am always trying to do better. I do a thing over and over until I get it right. But quality is a rainbow, and I like the way Chicken Man puts it in its place for me. A perfect, skilfully executed piece of art is not necessarily a live piece of art.

You have to do what you love. As an abstract painter, I use different methods of texturing the canvas which gives much interest to the final product. Is that a gimmick? If it is, too bad. I do what I love and if I am happy with the final result, then that’s all I care about. Is it quality? Who’s to say so. By whose standards are we measuring quality? It’s all completely subjective and we should be careful not to be too judgmental.

Hanging flesh off a canvas? And you actually told the artist “Go for it?!” Oh, my, Robert. Not to place too much responsibility on your status as a successful artist, but did stunts like that help you in your own career? I doubt it. Getting noticed is not the same as developing a following or being admired for works of excellence. Shock value is worth very little. Thereafter, you better have more substance to your work than that. Gallery schmuck may make us ooh and ah for its social commentary but few of those works survive the test of time. When the show is over those works usually end up in the basement. There is an immediacy in some art. It can be as topical as breaking news. But, the next week it is old news, especially when a hundred more artists pick up on the same gimmick. Influence can kill personal development of our art. We’ve all heard the story about Elvis making his first recording. He was asked, “Who do you sound like?” He answered, “No one.” Ah. His was not a gimmick – it was wonderful individuality wrapped in pure talent that forever changed music. Would that we all could paint in our own “Elvis” style. There will never be a substitute for quality in individual style.

I would encourage readers to forget that quality is a charecteristic only of the best and that there is a place under the sun for everyone – and that quality wouldn’t exist if there wasn’t for junk and gimmicks to compare it with. If everyone can just forget all that and write from your own agenda point of view, this debate will be very entertaining. Thank you for dedicating your time to provide that entertainment! One needs some of that from time to time as a break for all this education provided by more insightful people.

Hookers get noticed.

Funny how your letters are so timely…for the last few years of my life i really believe the visual arts are dead…not the performing arts…the visual…as i read your last letter, i thought of Rauchenberg and myself…when i first saw his work, i was an eager and pompous student who thought it was pure shit…(believing you have to know how to draw #1,must paint with oils and know the rules to break the rules…kind of like jazz…to improvise be-bop style)well, i’m now 69 years old and am totally doing a Rauchenberg…all the pretty pictures of oceans and landscapes and (I was going to write people but i love Lucien Freud, and the likes of Alice Neel and so many more)…all the beautiful photography…has been done over and over and over again…by the greats…everything has been said…so where am i going with this? i myself am painting my dreams…i use found objects, news paper clippings and finish by using every media in my studio…i love graffiti (Jean Michael Basquiat is one of my favorites)…i worked in the industry for 30 years as a scenic…so now i can do my own thing and since art (visual)is dead to me…i now paint my dreams not expecting anyone to love my work and want to buy it…but if looking at my work…seeing the humor…and somehow relating…that to me is payment enough…enough said…we’re all artists in this world (con artists that is)

Hookers also regularly get arrested… …because of course… …sex still has an unbelievable amount of criminality attached to it. So my art needs big tits and should be sexually based? A lot of art has big tits and is sexually based. Hmmm… not mine. My being male and working in a medium that is still not only considered female- but is about 98% female- has ended up having a gimmicky quality to it- though the gimmick facet was not up-front intentional from me. I’ve a single piece in a Rocky Mountain Quilt Museum mens show that opens next week. I am the one male who has hung in more of them- to date- since the early ’90s- than any other. And their mens shows get more traffic than any other- because people simply can’t believe men work in the medium. Men? Who sew? Nope- can’t believe it. I really never thought it would end up being such a gimmick. Regardless- I would never have made it this far if my abstract work was both uninteresting and poorly constructed. It is neither. And although this may sound judgmental- sooner or later ONE has to find their own voice. You have to put in the time. You have to do the work. You have to stop taking classes and workshops (for the most part) and have an original thought. You have to master your abilities and skill-set yourself. And you have to pay your dues. Later in my life I was able to discern that I was paying my dues to ME. And I’m almost there! Robert! Why does your site not have a page where working artists can post upcoming show openings/details? We are all working. I’m sure many of us have regular gallery openings. Why can’t we post them on your site? Or am I actually missing something?

THE OLD ADAGE: TO THINE OWN SELF BE TRUE… Has always been my personal motto! Of course, this does not guarantee sales, no more than trying to find a gimmick would. But at the end of the day, in your own soul, you can rest in the knowledge, that your day was not a farce! I realize that with today’s seemingly somewhat shallow “activities” of many, and the great need to be “entertained”, at almost any expense, (and often times, with the least amount of “mental” aptitude!) that this “disease” of WANTING or NEEDING to find acceptance ONLY thru sales…that perhaps the easy way out, or “up” (?) may appear to be finding a gimmick… And perhaps with finding one, you could become “rich” financially, until people grow tired of the farce! But then what? Although NOT FINDING financial success, by being true to your self, at least your soul can rest in the knowledge that you did not spend your life blood, giving back to the world, only shadows of what you could have been! What price does a person want to pay, “to get notice”? Yep, it is a real dilemma, Be true to oneself, and maybe be poor financially… Or play the “farce” and gimmick, and rack in the money… I guess it just boils down to what YOU AS A HUMAN BEING FIND THE MOST IMPORTANT THING IN YOUR LIFE! OF course, being true to oneself DOES NOT MEAN YOU CANNOT HAVE SUCCESS… It just might take longer for something of that magnitude, to catch on, with the public, that can make or break a person’s spirit and career!! I guess also to survive the years of “breaking into a successful career” an artist is truly blessed if they have a handful of people who truly believe is what the artist has to offer… And in the end, this is the more enduring! Both spiritually, emotionally and hopefully… Financially!!!

That has to be the funniest post you’ve ever written! Too much so called art is lauded while the quality pieces are passed over for now, but will stand the test of time.

I am one of your devoted readers who rarely responds but always thinks about what you have written. I just adored this letter on no gimmicks. Loved the examples, loved the quotes — each one a gem. Thank you so much for this inspired, from the heart, from the mind, no gimmicks essay. Thank you for everything you do to inspire and educate the artistic community.

Thankfully, as artists, we are given the freedom to create whatever we wish. However, if the art can’t stand on its own, it won’t last and it won’t be sold. We can choose to create art that is an attention getter but a long term solution is – quality never goes out of style. “If you can’t be a good example, you’ll just have to be a terrible warning.”

I find to be different and be noticed what one needs is to work harder, see more, and try to create an iconic image that people will remember, something that you care for deeply and hopefully that feeling will be noticed by public. Today with more and more people painting and trying to sell, its became very difficult to stand out in the crowd, there is no protection for the professional, but each one of us is unique and if we concentrate on that we will be noticed.

I suspect a good number of artists here would have written off Salvadore Dali and Jackson Pollock as gimmicky when they first came on the scene. I agree with Richard Smith and I think this conversation isn’t really going anywhere without a definition of a gimmick? It doesn’t help much to have obvious examples like painting with peanut butter and jelly. A gimmick is by definition a bad thing but using oddly-shaped canvasses is not by definition a gimmick. In my own experience, getting noticed, is not only about doing something original and doing it well, but about networking, meeting the right people. I can safely claim to be doing something original (Google the term beach calligraphy) but I’m likely to have fizzled out into obscurity by now if it weren’t for meeting a wonderful Belgian woman who encouraged me and organised my first showing. That was the catalyst for growth in my art.

Andrew — I would definitely say that Jackson Pollock is a one-trick pony, whether it’s merely a gimmick depends on whether you think his work has something to say or not. Salvador Dali — there are lots of gimmicks IN his work, but he uses them to stretch and play with the viewer’s mind. He’s played with a lot of things not normally found in painting — stereo vision, tricks of visual perception and perspective. And his painting skill is phenomenal! He also used some outrageous gimmicks in his marketing and publicity, and hurray for him! Anyway, gimmicks are for the sake of novelty/ for the sake of getting attention/ for the sake of sales, which leads us back to that prime mover, money. If you use a new technique to actually help get an idea across and not just for attention/shock value/sales, then perhaps it’s not a gimmick. If the art ITSELF is merely novelty for the sake of marketing alone, then it IS a gimmick. I agree with the person who said it’s better to use gimmicks in your presentation and framing than in your actual art. The presentation is part of marketing, which is where gimmicks belong. Novelty to get a new idea across is good — but you have to be make sure it actually has some substance behind it.

Salvador Dali got off the plane in New York carrying (and eating) a giant sandwich. The photographers and critics loved it. That was his art.

Apart from the odd dull and obvious posts, this is by far the liveliest and best informed forum on art on the internet. As a collector, I have been reading you guys for several years, and I have a better understanding of the inside workings of artists’ minds. Thank you to all for your wit and wisdom.

Living in New York everyone is trying to get noticed…… recently visited the Monya Rowe Gallery for the Josephine Halvorson show. Nestled in between other galleries with work vying for attention here was beauty and tranquility….the painting makes you take notice – quietly talking to you, asking questions. Josephine is like her work, intelligent and completely genuine – a relief from others who try to shock.

I’ve been shocked so many times by a ‘new idea’ read (gimmick) in art that now whenever I am with others who are bemoaning how ‘horrid’ some new show or many times a grant recipient’s work is, I simply say, “You don’t have to be ‘good’ you just have to have thought of it first.” Often one feels like a participant in “The Emperor’s New Clothes” . I know everyone is talking about it but I just can’t see what it is. Perhaps the main value in a gimmick is how it gets a reaction and causes other artists to do some introspection on their own work and ambitions.

Sittng quietly watching TV the other night, I found myself being drawn into the programme. My interest was caught by several simple caveman type drawings which had been chipped out of a rock face in Central Africa. Such simple lines chipped out by that ancient artist, yet so wonderfully meaningful, so illustrative. A magnificent monument to the times in which those early folk lived. Simplistic (really?) sketches of giraffes. tigers, emu and the like all drawn from life, One picture caught my attention: It was of a crocodile. Marvelously simple, yet 10 or 12 lines only. Paucity? Yes indeed, before such a word had been coined. England

I do find that the idea of using tea bags and biodegradable materials in art a bit sketchy. If you are in the group of artists like Nancy Rubens who made social statements in her installations the point was well taken. To the artists that are trying to “Make it” I believe that the idea of “Beauty” is a much maligned topic but an idea that many artists would do well to find in their work. My suggestion would be to use the best quality artist’s materials you can find and strive to achieve beauty in your work.

About Gimmicks: We are supposed to be doing our bliss …not tricks like a dog to get attention! Do what comes to your heart,and then show it. Someone asked me what I would tell young artists, if I had one thing to say. I said,” get a day job!” and I have done it and I mean it. You need income and health care, but to sell your art and soul by gimmicks is silly …..you might as well be a doorknob. It is tough ,,but also heaven to be an artists in your bliss. I actually had more energy to work at nite after working 8 hours for the state in an office..I think it was a release of tension. good luck we are all just learning.

For the most part, I agree with your observations that gimmicks aren’t necessary for an artist to get noticed. But sometimes, the gimmick works. Manet decided to do something totally different – and was shunned! Monet, Degas, Morrisot and the other Impressionists went with the idea. I think the gimmick has to have VALUE. What’s the point in making art in peanut butter? What is the value in it? By comparison, what is the value of painting a moment in time, as the Impressionists did? Precisely that – a fleeting moment in time has been captured for many viewers to appreciate (and take part in) for many years to come. Warhol, as well, showed us that art can be appreciated differently – we are surrounded by it, after all. In short – a gimmick is great if it has value.

After doing Ph.D. in Art from School of Art,Ohio University, i came back to Pakistan with the hope that i will do my best at home. But unfortunately, due to bad political, social and economic conditions, i did not succeed in making my living with art. It has been hand to mouth income from art, and i am raising my family from the salary i get from teaching art in a local university. I am painting since last 30 years, but there isn’t any environment for appreciation of art and artists. Galleries are the victims of poor economic conditions. I am already 58 years old, and future of art is bleak in my country. I am requesting for your help. (Mohd Ali Bhatti) artistmohdali@yahoo.com

Well, call me crazy, but I always thought that to be noticed as an artist (Painter) one had to be seen. To be seen ( Noticed) I thought one had to produce work of a certain quality. The next stage of course was inevitably quantity following the thought that if I did a lot ; I might get a little. But then Quality is in the eye of the beholder.

To be noticed I think there is only one way. Be the best at what you are doing, short of that; at least be seen to be improving.

We certainly like gimmicks in our society. I think it a reasonable commercial goal to seek. Some gimmicks end up paying very well for the gimmick creator. In the end, you have to have faith that whatever style you practice has value, and stick with it. You have to have faith that your persistance will pay off. You have to have faith someone will notice and appreciate your effort. In the end it’s all about faith.Those who have it enjoy the journey regardless of the outcome.

I have just finished five exhausting days helping a friend select merchandise for his shop at the Maison&Objet Salon in Paris. The selection is huge, bright, extremely competitive and totally overwhelming. One of the last things we selected were simple, natural, and beautifully made vegetable brushes made in Sweden by blind people. At the end of the day, you have to block out the blare and seek the soul.

My motto is ” BEAUTY FLOWS OUT OF SIMPLICITY.” My comment on this letter is Bulls…t Baffles Brains . But not for long! Paint from your heart and from your soul the things you love in the way you feel that is you ,and be happy .Anything else is contrived . That said it may take a life time if ever to get there. But what fun trying. Kennebec Lake two hours west of Ottawa.

I always get noticed because I am always making decisions that seem to get attention. I really didn’t realize this this is just who I am.

Dear Robert, OK, having a “gimmick” has worked for Damien Hurst, Ill give you that. People often think that”gimmicky” tricks work, but it has been my experience that it does not. Paintings of irregular shapes and finished with PB and J are fine at art school, but I would steer away from recycled food materials if you want people to sit up and take notice. Even Robert Mapplethorpe had a decade of solid and ingenious work before his “seven dirty pictures” were deemed lewd and lascivious and his work had meteoric and global recognition. I would say to any artist, and I have, make sure your work is quality. That is 20 exquisite paintings that have a strong through line and is good solid work. So many artists, who have no inventory, are sitting back waiting for a gallery to sign them to a contract of fame and fortune. They think that at this point that all the creativity is going to kick in and they will paint all the work they have built up. Now, this doesn’t mean you shouldn’t be a media whore and get as much exposure as you possibly can. I recall a flash point of my career when I saw Vicky Gabbereau at a function I was working as a waiter at. I went over to her and told her she needed to put me on her show as I was John Ferrie and I was the hottest artist in Canada! She looked at me like I had three heads, but reluctantly gave me her card and after about 50 phone calls to her producer, I was put on her national TV show and I was painting to the nation! Little did anyone know that I left the studio at 11 am and went back to the restaurant and worked the lunch shift! It is all part of the journey… John Ferrie

Don’t overdo the praise with insincere baloney and don’t kill enthusiasm with destructive criticism, there’s a soul waiting to be encouraged or destroyed by your response. It’s a heavy responsibility we have to bear as teachers and mentors. In us they put their trust! We can make or break them, be gentle. In the Book of Ecclesiastes it states……. “Better to be criticised by a wise man than praised by a fool” Obviously Painting Workshops existed in Biblical times, too.

Art is a journey to discover that which resonates within you. An artist needs to find his or her path . I paint landscapes and abstracts I could care less about the question of whether or not I am original. I keep on trying to move forward with each painting leading to the next one. If art is basically some form of communication then those who choose gimmicks are communicating something. Whether or not I decide to receive this communication is another question. If an artist chooses to put a shark in formaldehyde that is their choice. I have chosen not to participate. I think that the best art moves a person to go beyond those tangible qualities that can be described either in writing or even verbally. There are still certain basic fundamentals that are needed to paint and/or draw. I think that there has been way too much emphasis on being original over the past few years. There has also been way too much attention to process and not the final result. It is like praising the hammer and nail but not putting up the sheet rock and finishing the job. BTW- If Salvador Dali were alive today the TSA would never allow him to board an aircraft in the US with a sandwich.

thanks for this article, just what i needed to reassure myself. I have a father in law who is involved in business development and marketing, who has been insisting i take my work into a more commercial slant, even suggesting i get t-shirts printed, mugs, books etc. No thanks thats not why i create! Yes one has to make some form of income to live, but please dont sell my soul for the sake of a few dollars to be printed on a t-shirt. He even suggested i should be out surveying people to find out what sort of art they want???? and then ‘make’ that. I have a feeling he just doesn’t get ‘art’ or ‘creativity’

The best gimmick is training and practice, so that the artwork is good enough to attract buyers and then word will get around. One’s creative vision is sacred, so I don’t talk much about it. Show, don’t tell.

Bring back Andrew and the folk art! I’m interested in this concept of “quality” that gets bandied about. By quality, does that mean an over worked realistic style painstakingly copied from photographs? What about a rapid plein air sketch done in 15 minutes that perfectly captures the light or a cat or a child at the beach? Is a Cy Twombly quality? This is interesting because those of you who have had the pleasure of seeing a large Sargent painting close up will notice the perfect and slapdash strokes that capture in brevity much more than, say, the academic salon painters in their day. The words “gimmick” could be applied to true originality by unsophisticated persons unaware of contemporary art. The word “quality” could be applied to overworked sentimental Hallmark type paintings by some. Remember Kinkade? Also, I’ve nothing against marketing, but spending 50% of ones time doing that and not painting seems sad. Life’s too short. Be simple, be sincere.

the funniest thing about the original comment, is robert genn’s own comment that he feels he pays little attention to marketing… i had the pleasure of meeting him for the first time in person in 1989 in victoria and my first thought about him was “this man is a very good artist, but above all, he is a marketing GENIUS”. i then purchased and read his first book In Praise of…. and in it he spoke of his days in art college in los angeles, and how he used to borrow classy cars for a week (in order to paint commissions of them) and drive up and down the strip “getting noticed”. Robert is a very fine artist, but he is a GENIUS at getting attention, and if you doubt that, this vey website is the ultimate proof… above all, he has the attention of every one of us mere mortals…. keep it up Robert, it is that above all which is truly inspiring…..

“Quality” in art means heartfelt vision combined with skillful composition and actual drawing or painting technique. I think quality artwork has at least one of those aspects. None of those things will make art sing by themselves, but a piece that lacks all of them is really noticable in a bad way. Quality doesn’t mean conforming to the prevailing artistic currents, or being photorealistic. One person’s quick sketch is as noticeable as another’s intricately detailed painting. Quality means artistic vision executed with skill, and/or grace, seriousness, and attention to detail.

The difference between “gimmicky” and “an inspired new approach” is the quality of the overall effort. Gimmickry applied to poorly conceived, sloppily executed art is like an attempt to misdirect attention away from the art. A “gimmick” as part of a really well done piece is just another aspect of what makes it sublime.

Robert C Anderson said it all! Robert certainly does get noticed!! A note to Lin Stepp: Your painting is fabulous! Colour and depth amazing! Thank you.

Quality is a hard thing, and very subjective. Convincing the patron of quality can be just as hard. They don’t know. So they tend to buy “brands” they recognize. Getting this recognition takes time.

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I think so-called “gimmicks” are just versions of an artist’s style. It’s a way to distinguish yourself from the crowd. Taste in art is purely individual, so some will approve and others will not. As long as it is pleasing to the eye in general, what is the problem. I think too much is made of this word (gimmick). Personally, I welcome an interesting “gimmick” in my work. Sometimes we need a little boost in our art.