Archived Comments
Enjoy the past comments below for The IKEA effect…
“Pricing has little to do with time and effort.” Nor is the success of the work tied to that either. I’m reminded of a story (source forgotten, alas) about a photographer who goes back to his teacher yearly to show his recent work and get feedback. The teacher divides the work into 2 piles–the good photos and the not-so-good. One not-so-good photo keeps reappearing for critique, year after year. The photographer can’t understand why it’s always rejected and finally breaks down and tells his teacher how hard it was to get that picture– he had to climb a mountain with heavy equipment and the weather was harsh, and he went without enough food, etc. etc.
The teacher said that the ‘cost’ of the picture has no relationship whatsoever to its success as a good photograph.Maybe this is why governments don’t like artists.
There is a crucial moment in creating a piece of art that its important to stop.
This one little concept separates a lot of good art from bad. Over worked art looses focus and in some cases turns colors to mud.The artist needs to trust the viewer. Finishing a piece of work at the right time keeps perception clearer.thank you this is universal beautiful and true , continues to give hope to all of us
A big part of the problem with starters at anything is pure amazement that they produced something / anything. Get in the studio and work, 50-80 pieces per year- then each one individual piece ceases to be precious and the producer ceases to be surprised at results. The exuberant praise of friends / neighbors / relatives is no real help.
I hope sometime you will address this claim an established artist made abut artists not quite so “established.” He said inexperienced artists don’t recognize when they have a good painting out of several. It seems to me experienced artists have the blind spot.
Hey Robert, Let’s not forget the Dunning-Kruger effect. “a cognitive bias in which unskilled individuals suffer from illusory superiority, mistakenly rating their ability much higher than average.” “Actual competence may weaken self-confidence, as competent individuals may falsely assume that others have an equivalent understanding.” (Wikipedia) Most of us know this as the American Idol Effect from watching incompetent singers clueless that they are aren’t any good. It goes to show that the more you know, the more you realize that you have lots to learn. If we do not study our craft, we will be unable to recognize what needs to be improved upon. If you think your working is spectacular, watch out, it may actually mean that you still have lots to learn. and the next time you hear someone slamming their excellent work, maybe you should ask them why. You might be unaware of something that is obvious to them and you could benefit from their awareness.
Frances, Perhaps my above comment will help you to realize the answer to your question. A more skilled person is usually more objective about assessing their work and other artists’ work. They sometimes come off as being more critical. Experience and skill helps us to know when to stop and know when something is good or needs improvement. If you have ever watched an Olympic ice skating competition, the commentators can explain point-by-point whether or not a triple lutz or triple axel was good or not. They could replay the video slowly and show you in a very detailed way if the angle was off or jump way slow, high or low and you can then see and compare one performance to another. They help us see what they are looking at. They have the understanding and awareness of what is good and can break down why in a detailed manner. They also see the overall picture of the performance in its entirety. Here’s the thing. I went to a live ice skating championship. I couldn’t tell why one person had way higher marks over another. I was clueless. They all looked good. I have no skill in ice skating and was incompetent to judge. The judges on the other hand, were consistent in high or low marks. People like me are untrained to analyze and recognize quality. I really wanted a video replay with commentary.
Whoever Kathryn is she knows her stuff.
One consistent situation is where beginner artists think their work compares well with the work of others that sell for significantly higher prices. When told briefly what they might learn, they often do not want to hear these observations and persist in a state of denial. As mentioned above, a slow video replay pointing out problems and shortcomings is needed but not always available.
Ask anyone to draw a line. To the beginner or non artist a line is just a line. On the other hand ask an artist to draw a line, that artist will give that line some flare.
Interesting analogy … when I settled our youngest in her humble apartment off campus we furnished it with IKEA. I didn’t know whether to curse the company or praise them. It was a little of both especially after completing a bed assembly at 1a. After a decent night’s sleep it looked rather nice in the light of morning. I remembered the receipt total from our shopping trip and thought what a terrific niche IKEA filled. But, it is what it is … affordable, but other than some noteworthy design it is doubtful their furniture will be in museums in a hundred years. What will make marketing history is their approach to distribution and customer involvement in the purchasing process. Brilliant! Let the customer do the work ….
In art? My labor in the studio only illustrates to me I need to sharpen my technique enough to speed up production. Economy of movement is a beautiful thing and I’m working on it. But I don’t deceive myself into thinking just because I spend more hours on a piece than the next guy makes mine better. Surely even a beginner realizes that much. The end product determines the quality. The problem with art is so much is subjective. You can’t say one painting is better than the one beside it when so many are painted in a different style … when an ice skater fails to make a jump or lands awkwardly even casual observers see that. I spent most of today with a friend in an art gallery. We watched a demo by two very different artists. One painted with palette knives, very swift but deliberate strokes, simple composition, high relief, intense color. Not my ideal but I appreciated her skill. Painting simultaneously, she finished well before the next artist. He chose a complicated monocromatic scene executed in subtle brush strokes. His well defined values gave the painting great depth. Up close, the painting was purely impressionistic. Ten feet away the painting took on a lovely perspective. While she answered questions he continued to paint. Who was the “better” artist? That is up to whoever is willing to pay the purchase price. I might add I’m seeing more oil studies framed in galleries with the same earnestness as completed paintings. One could say, “Oh, this artist has an impressionist style.” Well … no, it was a plein air study and you might see the finished painting hanging in two months. Thirty minutes doesn’t make for a grand painting but neither does a month. I have no idea where that sweet spot in the middle is but I’m still searching for it.This is an interesting letter to read this week Robert. Three of the big name galleries in Vancouver have moved into my neighborhood. I welcome these galleries, the more art lovers the more art buyers. With my own exhibition opening this week, I went around to the galleries to welcome them to the hood and invite them to my show. The galleries are all massive spaces. One of them has ghastly florescent lighting, another one looks more like an airplane hanger. While I was in one of the spaces, I did a lap and looked at the new collections of paintings hanging. They were small paintings, portraits, rather crude and looked more like they had been done with crayon that oil paint and a brush. The artists statement read the his work was “…a referenced the Old Masters…”. I tried to keep my eyes rolled into the forward position. There we also all these sculptures down the centre of the gallery. One of them was simply two pieces of cardboard, bent in half and fashioned together with rubber bands. “…these additional works create a complimentary dialogue and augment an understanding of the artists practice…” the statement read. Stunning!
So, while I returned to my own studio and contemplated my upcoming exhibition, I was reflective of what people want to see when it comes to art. We artist have to resolve ourselves to the fact that 90% of the population won’t like our work. Of the 10% left over, only 5% can afford it. I always say, no matter what, do good quality work. Then again, after looking around at what is happening in the galleries, the more I know the less I know. Maybe that is just me…John FerrieWe cling to those with whom we have the most invested.
When my students ask when is a painting finished, the answer is:”Right before you screw it up” It is quite often a control issue. You have control over the composition, a good composition can always become a successful painting, a poor composition can never be saved. So, take care of the composition and stop -step back- and trust your eyes to tell you when you have said enough.
The scarey thing is most of us artists think we are pretty good – when of course most of us probably aren’t!
Actually , if I spend a lot of time laboring over an art piece, I may decide its taking longer than it should because it’s fundamentally messed up, and I gesso over it!
‘Fantastic shots of you folks in the mountains, Bob. I wish I could join you, I know I would respond well to those scenes too. Woweee.
ArtistWilson in VictoriaI can freely admit that I throw away or wipe off nearly half of all the work I produce. I will also say that all the work I have produced to date is imperfect to one degree or another. Yet, I’ve sold much work over the years and continue to sell. I strive for perfection, but seldom reach it. Which, I believe, is the way for an artist to work. The day I reach perfection is the day I will never paint again.
We humans are a product of mistakes. Without mistakes, we would cease to strive, function or produce. Think about that. Life is a series of mistakes. In the big picture, we are a product of mistakes. But- If we are to move forward we must judge our work wisely, without bias or passion and with a jewelers eye. And then choose our best works to show and sell.In reply to “The problem of “too easy” by Linda Dark. The response by J.Bruce Wilcox just cut to the chase! The truth of the matter is sometimes painful but should be valued. Being “nice” and just saying ‘Aww you poor thing’ doesn’t help at all. Sadly, Linda needs to find HERSELF before she can attempt to create anything. Counseling would be a wise route to take.
I really enjoyed comments by Bruce Wilcox vs Linda Dark. Thinking about them revealed to me how I am not at the least interested, and at the worst am terrified of the idea of growing up.
I have always felt that way. I am convinced that I wouldnt be myself any more if I annihilated my immaturity. Of course I know that most people are just fine with it, but some of us in the Never land just arent. You talked before about your feelings of being a fraud and I couldnt relate to that the way you described it. But maybe it wasnt of being a fraud after all, but instead of being immature beyond what other people would deem acceptable? I am trying to impersonate a grownup when I have to, and I am afraid I dont do it very well. Maybe my appearance of being stuck up is just bad acting not knowing the script. Maybe the asocial tendency is just avoidance of those odd adult situations? Thanks to Bruce and Linda for flipping this switch on for me. The good news (I think) is that maturity apparently isnt necessary for a good life, although it does need to be kept a secret from the boring and scary grownup world. I have to say that I do feel a tiny bit nuts when I fail to effectively communicate with people.No man is sane who does not know how to be insane on the proper occasions.
What a beautiful location. I can see why this is the Cadillac of painting workshops.
Fall Reflections acrylic painting 24 x 30 inches by Marianne Broome, Schomberg, ON, Canada |
Strong concept here: love the ‘framing’ of her eye. The glare from the digital capture is a little distracting. As always it would nice if we could live across the street and see the originals of each other’s works.