Skip to main content

Brief thoughts on giving away art

I used to be much more generous in giving away art as gifts for special occasions as well as for no particular reason... just to be nice. There is nothing wrong with doing that, but now that I have been painting for a while I find that I will often sell works that are 4+ years old. Out of the blue someone will want to buy a painting that previously no one else had shown interest in. So I am reluctant to give away work even for special occasions that could otherwise be sold and help put food on the table.

One makes a investment to be an artist - time, and certainly money. Materials cost money. At some point an artist has to try to recoup his investment or his career will be very short-lived (unless, of course, he has an alternate stream of income). I would advise my fellow struggling artists and those just starting out to be very cautious in giving away works of art. I am not saying it cannot or should not be done (sometimes it can lead to sales), but don't sell yourself short, and keep in mind that you have to recoup production costs at some point!

Comments

Anonymous said…
I understand (and agree in many ways with) what you are saying in terms of business, but what about your vocation as a priest? Your post here sounds like it came from the 'artist' side of you, what does the 'priest side' say on the subject? Just wondering because I too am an artist priest and I do feel contestation sometimes. The vocation of the artist and the vocation of the priest certainly have areas that overlap (many actually) but I'm interested in discerning the areas where they 'compete'... does that make any sense? Always enjoy your blog... pax. Fr. Shane
Dear Father,

Gosh, they compete in so many ways... that is worthy of its own post!

I would say just briefly that some of the conflict is obviously in the area of scheduling - art and ministry are 24/7 vocations, so one must manage time very carefully... and if he has a family it is even more critical that he manage time well.

Some of the conflict is due to the inherent conservatism in the church and the perception in the church of artists as being "Andy Warhol" types (gay, liberal, whatever). It can be difficult for an artist to be pigeonholed like that, even in the "accepting" community of a church.

With me, one of the major areas of conflict is my love of traditional architecture, music, liturgy, and art, but also my love for that which is new and abstract. For example, I love the chapel at the Monastery of Christ in the Desert, but it is very modern. As an artist I appreciate it in its own setting. Yet in a number of "church artist" circles modern art, architecture, etc. is routinely criticized and ridiculed, as are great artists like Picasso. I find that tiresome.

But like I said, this topic requires its own post!

Popular posts from this blog

Some Observations About Light in Landscape Painting

As I slowly begin returning to painting landscapes the question of light arises. For most of my artistic career I have not been that interested in light in paintings, though I enjoy it in the works of other artists. However in landscape painting light is very important, so lately I've been examining the use of light by various landscapes painters, all of whom would be called "realists." What I found in closely studying their paintings is that they are not strict and mathematical, if you will, about where the light hits. In fact in many realist paintings – those of Andrew Wyeth come to mind – the light is very natural looking at a glance, but then upon closer examination is highly invented. I find nothing wrong with artists taking this liberty. The key to light in landscape painting seems to be to make an effort to simply include it in the work, and not obsess over where everything lines up and how it strikes each object in a uniform way... almost like a Bob Ross paintin

A Notice About My Recent Show Posted In The Parish Magazine

This month my art show at the Liriodendron ends. I want to thank everyone who came out for it, and for all of the nice and interesting comments on my work. Many of the works were familiar to us as they have been gracing the walls of the parish hall and my office for some time. The history behind that is that we needed some decorations for the walls but did not have any money budgeted for that. So, in consultation with the vestry, it was agreed that I could hang my works in the parish hall on a temporary basis. This was always meant to be temporary. One of my professors in college, a sculptor, once told us that it is not good for an artist to be around his own work all the time. I would tend to agree with that. So after the show is over only one or two large pieces will return to the parish hall and maybe a couple of small icons. The work currently hanging in the parish hall is that of my late first cousin once removed, Noel Kavanaugh Edwards. Noel was an artist and naturalist based