Mojave Sunset

Mojave Sunset is my newest painting. And it's already "sold"!

We needed to get a higher gas-mileage car for The Wiffee to commune to work in. The dealership was willing to accept a painting as part of the deal. So here it is!

Only in small-town America!

The Trouble with Galleries

Most artists look upon galleries as the business arm of our creative pursuits and our efforts to make a living at art. Galleries are definitely less work than doing art fairs, and we love the thought of our artworks hanging somewhere getting constant exposure and selling while we continue to do what we really want to do: paint.

Sigh...if only.

I've been in a number of galleries, all in towns known for being artzy communities. While all but one of those galleries have made sales, I was never overwhelmed with piles of $$$s. And after galleries take their commissions (anywhere from 40-60% of the price you see next to the art), and especially if it takes a long time to receive a check from the galleries, one begins to wonder if there isn't a better way to make and sell art.

The trouble with galleries is at least two-fold:

1. They like working on consignment. There is no upfront cost to them. Essentially free inventory.
2. They seem to be full of ideas about what they want the artists to produce. Bigger, smaller. Try some other subject matter, or try a contemporary slant on what you do (in other words, I like what you make, but make something else). Do it on speculation -- no obligation to them when you do different things. Gallery owners supposedly know their clientele, and I always thought following their advice would be a good idea. We-e-l-l...

Here's the upshot: I've wasted too much time and materials following gallery owners' advice and ending up with paintings I have no use for.

No more!

• I've resolved not to agree to consignment deals anymore. I can't afford to. Wholesale only. I believe that gallery folks are more likely to work at selling their art when they've made that financial commitment. They'll want to get their money back and then some!
• No more taking advice. I do what I do, and if that isn't want the galleries actually want, don't take (buy) my paintings. Simple, huh?

Of course, I realize keeping to this policy will limit my ability to get into galleries. The world is full of artists, and galleries have gotten awfully used to doing things a certain way. But there are galleries that do buy artworks outright, and there may be others who prefer consignment deals but who might want pieces badly enough where they'll make the investment.

For now, I'll keep painting, at a rate of speed that I'll be comfortable with, and painting only those things I want to paint. (I'm not even doing commissions at this time). Let's hope it all works out in the end.

Continuing into the Desert

Alright -- I mentioned in the previous post that I was planning on making a painting of a tropical scene, hopefully in time for a show I'm doing in early May. Nope! I needed to finish a piece that I'm donating to The Wildlands Conservancy for a benefit auction. You can read about the whole thing here.

And this is the painting:

This is a view from within the Whitewater Preserve, an area managed by the Conservancy. It's a beautiful spot to go hiking and take in the desert which usually has a river running through it (which isn't visible from this vantage point).

I hope the piece sells in the auction this weekend. I'd love for the Conservancy to make some serious $$$ from the sale so they can continue acquiring pristine lands and keeping them pristine.

Coming: A Jungle Painting

I've been inspired to do a tropical/jungle painting...with a white peacock sitting on a branch or something!

It'll be somewhat of a first for me. But I entered an exhibition at the Huntington Gardens in San Marino, CA. If accepted, I'd like to have this painting in the show, along with some desert subjects (always gotta have desert subjects!)



OK, OK...this peacock isn't white, and he's not sitting on a branch, either. It's likely the treeferns will be moved around somewhat, too, and the scene will be darker than the photo.

But having the photos gives me some raw materials to look at as I work out the details. I may include coconut palms, too -- the idea for that came from a digital image I saw on deviantArt.com. In the end, the finished image will be completely my own, and it'll have a mystical, fantasy feel about it.

Now -- if I don't get into the exhibit...well, I'll probably still make this painting. But it won't appear on my Website, which will feature only desert artwork. (If it appears there at all, it would be on my monthly newsletter.

This painting will be a lot of work, but I think it'll be fun, too. And it'll give the creative juices to flow in a direction I'm not used to.

Once again...wish me luck!

Changing Colors

"Changing Colors" -- no, this is not about what happens to leaves in the fall.

The colors that we see in the world are not absolute. What we see depends on many factors: other colors that are nearby, time of day, and in this case -- the amount of light that is falling on the colored object.

Model railroading is sort of a combined hobby/kinetic sculpture for me. As a painter, I rarely make three-dimensional objects. But a model railroad fulfills that need in me. I've often had layouts in progress, but most I never finished. Except for one.

It was a small (3' x 3'/less than 1m x 1m) HO scale setup with red rock scenery typical of southern Utah. I even collected containers of the reddish soil found in the Monument Valley area. I had some house paint mixed to match, then I painted the layout and dusted it with the sand I collected to provide a realistic texture.

There was only one problem. That beautiful rusty red coloring soil when viewed outside in the sun, looked like dried blood when seen inside under typical home lighting. Red-rock soil is darker than it appears when seen in nature.

I often wondered why so many of the older en plein aire paintings (or, as I like to say, "in plain air; it's French for "in the open air," or it's painted outside) sometimes seemed too dark, with muted colors and low-to-moderate contrast. My lesson with red rock scenery was this: if you paint outside with accurate colors, those colors will be accurate only when the painting is outside!

I still believe that landscape painters like my myself need to do some en plein aire painting -- it teaches the artist many things about color. But if the artist is a studio painter like me, colors, lights and darks may have to be adjusted to look correct, even if a direct comparison shows that the colors and values are not.

Thus, although my paintings look real to most people, I usually manipulate things so that I can direct the eye around the canvas and give the impression of reality.

By the way, I hope to start a new, small model railroad soon. I collected some red soil from the Page, AZ area -- it matched a color swatch I made before going. The dirt appears lighter and more golden than the Monument Valley soil and should work better. If it doesn't, I guess I'll need to apply the sand and rocks and THEN paint the entire thing so that it looks good indoors, while keeping the rough textures I want. (I'll post photos when it's done -- which could be a while).

It's been a long time since I've made a piece of 3D art. I'm ready!

A New Year for More Desert Paintings

Well, heck! Here it is, ten days into the new year, and I haven't had time to write anything yet!

So -- HAPPY NEW YEAR TO EVERYBODY!!!

OK -- so what's in store for 2012?

It appears I won't be teaching microbiology or anything else biology this spring, and I never teach during the summer. Maybe next fall. I'll be looking for other teaching positions at other community colleges, but I doubt I would teach this semester no matter who hires me (if anybody). But I'll try.

Meanwhile, I seem to have gotten over the funk I was going through last year -- I'm starting to do art again, with the idea of selling it. So far, I have only one venue: the Crystal Fantasy, a kind of an Enlightenment/crystals/fairies gift shop with gallery space. They've sold a couple of my paintings within the last few weeks; more fun: I even sold a large piece off of my Website!

So I'll continue to make artwork that Crystal Fantasy may be able to sell to tourists and locals alike, and otherwise I'll be optimizing my Website (which, by the way, is http://www.southwestspaces.com/ or http://www.markjunge.com/) so I can hopefully sell more from it. No more art shows, no other galleries (unless they want to buy the works outright -- no more consignment stuff) -- just Internet sales.

At the same time, I'm not blind to the concept of how hard Website sales-only is going to be. But the costs will be minimal. I'd like to have postcards printed up with an image, my name and logo, and the two URLs mentioned above. Then I'd send these to frame shops (or any other place where potential art customers might come to) with an incentive offer: I'd pay the shops for any clients who see the postcard and buy a painting from me as a result of the shop's cooperation. It sounds workable, and I'd get an image and name out in areas where people never heard of Mark Junge, desert paintings, before.

Finally, I still plan on writing an illustrated book about the end-of-the-year holidays.

We'll see how 2012 works out. Meanwhile, this is the painting I sold off of my Website. Happy New Year!!!

Old-Fashioned?

Unfortunately, I continue to feel burned-out and lacking in any confidence whatsoever when it comes to the idea of painting for a living. I'm still considering trying my hand at writing, but I'm not feeling especially confident there, either. And I feel so TIRED all the time!

On a related note, one of the art business forums I belong to had a question posted in their Art Business section by an artist who has a lot of trouble selling his traditional landscape paintings. Following are excerpts from a couple of insightful (IMO) responses:

"I finally came to believe that with regard to traditional landscapes, people HAVE FINALLY SEEN IT ALL. What with exciting computer games, camera phones, youtube, etc., it takes a lot nowadays to visually stimulate people - they respond to things that are new and different. And traditional landscapes are...well...not new and different. They ARE regarded as out-of-date - they have been around for - how many centuries?"

"...landscapes are very old fashioned and unless there is something really interesting and unique to them, you better be happy simply painting for yourself and have no need to sell. Many of the traditional galleries in this region are not moving quiet landscapes at all, mainly because there are bigger, brighter and more interesting subjects and styles which get attention (figurative works are really hot right now). As well, landscapes are seen as something which parents or grandparents have on their walls and buyers are getting younger and younger. (or we're getting older!)"

Has this been my problem all along? Younger buyers aren't buying traditional landscapes because they're old-fashioned and not exciting enough? I've also seen landscapes on deviantArt.com that look like they could be backdrops for video games or for movies like "Avatar." Is that the look I should go for (if I want to try selling artwork again?)