Sunday, June 17, 2012

Opportunity for our members

Dear MCS members,

As testimony to this blog post I can say this is wonderful presentation and very inspiring for the individual artist. 


Xanadu Gallery with J. Jason Horejs read the following for more details and information.

 Did  you know in an average week I may be approached by as many as 20-35  artists looking for gallery representation? Most of them are  ineffective. Are you making the same mistakes they are?
             Before I explain, let me introduce myself. My name is Jason Horejs. I  have owned Xanadu Gallery in Scottsdale, Arizona, for more than eight  years.
            Last week I sent you an invitation to my upcoming workshops in your area, "Starving" to  Successful | Get into Galleries and Sell More Art. I want to take just  a moment to personally invite you to join me. I am  writing you because I saw your work online and thought this workshop  would benefit you.
            This workshop comes from  my experiences with hundreds of artists. Several years ago, I began to wonder why  artists were when inept talking to galleries.   I quickly realized most  were unsuccessful because there is very little information explaining  the best strategies.
            That lack of information leads to these  blunders:
Mistake #1:  Presenting an inconsistent body of work.
             Artists generally love their freedom. They want to experiment. They  love a challenge. They crave variety. All good things, except when you are  presenting your work to a gallery.
             The work you present to a gallery needs to be unified. It doesn't need  to be repetitive or formulaic, but it must present you as a consistent  artist with a clear vision.
            Often I feel I am  looking at the work of multiple artists as I review a single portfolio.  To avoid this problem you need to find focus in your work.
             If you work in several media and a variety of styles, focus on just one  for the next 6-12 months. Create a body of work that feels like a  "series". Once you have 20-25 gallery-ready pieces in this series, you  will be ready to approach a gallery.
            You can  further create consistency by presenting the work in a consistent way.  Use similar frames for paintings and photographs, similar bases for  sculpture, similar settings for artistic jewelry. Make it very clear  all of the work is by the same artist.
            If you simply can't rein your style in,  consider creating multiple portfolios, one for each style.
            Don't confuse the galleries you approach  by presenting multiple styles in one portfolio.

Mistake #2:  Producing insufficient work to sustain gallery sales.
             Many artists create marketable work, but in quantities too low to make  a gallery relationship viable. Successful artists are consistently in  the studio creating artwork. You may be surprised to learn the results  of a recent survey I conducted.
            I asked  artists how many new works they created in the last twelve months.  Painters responded that on average they were creating 53 pieces every  twelve months. Sculptors 31. Glass artists 500!
             A gallery owner needs to feel confident you will replace sold art  quickly and maintain high quality. They want to know if you are  successful that you can replenish their inventory.
             Don't despair if you are far from reaching this goal. Rather, look at  your creative production for the last year and set a goal to increase  the production by 25% in the next 12 months.
            Several suggestions to increase   productivity:

1.  Dedicate time daily to your art. Maybe your schedule will only allow  for two hours daily, but you will produce more by working for those two  hours every day than you will by waiting for big blocks of time.
          Treat  your studio time as sacred. Train your family and friends to respect  that time. You don't interrupt them when they are at work; ask them the  same courtesy when you are in the studio.
          2. Set a production  goal. If I could tell you the secret to producing 50 or 100 pieces per  year, would you listen? Here it is: create 1 or 2 pieces of work per week.
          I know it seems overly simplified, yet few artists work in a concerted  and disciplined way to achieve this goal.
          (A  common objection I hear to this suggestion is that quality will suffer  if an artist works this quickly. In my experience, the opposite is  true. A certain level of quality may only be obtained by putting miles  on the paintbrush, spending hours in the darkroom, or moving tons of clay  or stone.)
          3. Remove distractions from the studio. Relocate your  computer to another room. Unplug the telephone. Nothing kills an  artist's focus faster than the constant interruption of technology.  Your inbox and voicemail will keep your messages safe while you work.

Mistake #3:  Delivering a portfolio in a format inconvenient for gallery review.
             Often your portfolio is your only chance to show your work to a gallery  owner. Poorly formatted portfolios are rarely viewed. Your portfolio  should be concise, simple, informative, and accessible.
             25 years ago, formatting a portfolio was simple. A portfolio was either  a literal portfolio with sheet protectors and photos, or a slide sheet.
             The choices have since multiplied. CD? Digital hardbound photo-book?  .Pdf file? Email? Which format is the most effective? None of these,  actually. Each has drawbacks limiting effectiveness. They are either  too much work for the gallery owner to access, too easy to delete, or  too hard for the artist to maintain.
            In my workshop I will show an example of  a perfect portfolio. Easy to maintain, easy to share. Successful.
            A couple of things to keep in mind with  your portfolio:

1.  Your portfolio should contain no more than 20-25 of your most recent  works. You should not create an all-inclusive portfolio. A gallery  owner does not want to see your life's work. They want to see your  best, most current, most relevant work.
          2. On each page you  should include pertinent, relevant information about the art. Include  the title, the medium, the size, and the price. Don't include the date  of artwork creation.
          3. Place your bio, artist's statement, and  resume at the end of the portfolio, not the beginning. Your artwork is  the most important feature of the portfolio- don't bury it behind your  info. Limit press clippings and magazine articles to 2-3 pages.
          4.  Include 2-3 images of sold artwork. You should try to include at least  one photograph of an installed piece. These images will establish your  credibility more rapidly than any resume ever could.

       In  my upcoming  workshops I will teach you how to create a powerful  portfolio. Your new portfolio will end up in the hands of gallery owners rather than in the garbage can.
Mistake #4: Lacking  confidence and consistency in pricing.
    Is your work priced correctly? 
   One of the greatest challenges you will face as an artist is knowing how  to correctly value your work. Many artists price their work  emotionally and inconsistently. Galleries can't sell wrongly priced  art.
    Worse, nothing will betray an unprepared  artist like not knowing how to price his/her work.
     Many artists mistakenly under-price their work. They do this because  they feel they are not established. They do it because their local art  market won't sustain higher prices. They do it because they lack  confidence in their work.
    In my workshop I will help you come up  with a consistent, systematic formula for pricing your art.
Mistake #5:  Approaching the wrong galleries.
     My gallery is located in an art market dominated by Southwest and  Western subject matter. My gallery stands apart from most of the  galleries in Arizona because I have chosen art outside the norm. Yet I  am constantly contacted by Western and Southwestern artists. They seem  surprised and hurt when I turn them away. They could have saved us both  some discomfort by researching my gallery before approaching.
     Which markets should you approach first? How should you research the  galleries? Is it safe to work with galleries in out-of-state markets?
     During my workshop I will teach you how to create a list of qualified,  appropriate galleries to contact, and I will also teach you how to approach them.

Mistake #6:  Submitting art through the wrong channels.
     Conventional wisdom and even some highly respected art marketing books  will advise you to send your portfolio with a cover letter to a  gallery. You may also hear it's best to call a gallery and try and make  an appointment to meet the owner. You might visit a gallery's website  to learn of their submission guidelines.
    In  my experience, these methods all guarantee failure. I will share with  you a more direct, simpler approach; this approach will tremendously  improve your chances of success. The approach is no secret, and yet  most artists don't employ it.
     In addition to learning how to avoid the mistakes listed above, in this  four-hour workshop you will also  clearly see how to effectively  organize your work, build your brand as an artist, communicate  effectively with your galleries, and much more.
    I will give you concrete steps you can  take to systematically prepare for gallery relationships.
    Upcoming workshops include:

Crystal Lake, IL

Country Inn & Suites by Carlson
                      600 Tracy Trail
                      Crystal Lake, IL  60014
Wednesday, July 11th, 2012 | 5:00 p.m - 9:00 p.m..
                    Registration and information:

Bloomington, IL

Holiday Inn Express & Suites Bloomington West
                      1031 Wylie Drive
                      Bloomington, IL  61705
Thursday, July 12th, 2012 | 5:00 p.m - 9:00 p.m..
                    Registration and information:

Chicago, IL

Country Inn & Suites by Carlson Chicago O'Hare NW
                      2200 Elmhurst Road
                      Mount Prospect, IL  60056
Saturday, July 14th, 2012 | 9:00 a.m - 1:00 p.m..
                    Registration and information:

                     Registration is $79. Seats  are limited and the class is already over half full.  Although registration doesn't close for several weeks I expect the  workshop to fill up quickly. For more information please visit my website by clicking on the link below to the workshop nearest you:

Crystal Lake



        If you have any  questions about the workshop please  email me directly at,  or call me toll-free  at 866.483.1306.
         J. Jason  Horejs
         Xanadu  Gallery
         7039. E.  Main St. #101
          Scottsdale, AZ 85251
          P.S. I am not able to travel to your area often, and I won't be returning for at  least another year.
          P.P.S. If you are unsatisfied with the workshop for any reason I will  refund your full registration with no questions asked. Let me personally help you re-engergize your career for less than the cost of a meal out on the town!

          I have picked up 2 new galleries (it was very easy, I might add) once I  got my portfolio together, following your guide lines. And,  got  the note yesterday that one of my pieces sold over the  weekend.   Thank you for your class-for me it has been very profitable.
    My best,
    Dinah Ilhe
    (Salt Lake City workshop)
    This  was the most informative seminar I may have ever attended! Very direct,  practical, specific information. Took the mystery out of pricing,  inventory and what to say.
         Traci Parks
         Columbus,  OH

xanadu gallery | 7039 E. Main St. #101 | Scottsdale, AZ 85251
480-368-9929 | 866.483.1306

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Thursday, June 14, 2012

Jonathan Talbot came through town

 Jim P. member of the Midwest Collage Society, teaches at Creative Cuts and Crafts.  They have become good friends so this is how Jonathan Talbot came to Elmhurst as he was passing throw from a few workshop out west and heading home.
 Here he is showing the Collage method with out liquid glue and the use of the tack iron.
 Jonathan has a new book out so we all had to have a copy and have him sign it.

Here is a group of former students of mine. Mary Beth and myself both have taken Jonathan's workshop over the past years. It was really great to hear all that he shared.  Thanks Jim and Creative Cuts and Craft for this opportunity.

Tuesday, June 5, 2012

July's Meeting and August 2012

No Meeting in July...but stay tuned for August 5th..All Day Work session. In August the Midwest Collage Society sets up a day for it's members to come and work on their own collage art together. These kinds of opportunities leave themselves open to great fellowship and project planning and the pure joy of working with a group of wonderful artist.

August 5th All day work day set for 9:30-3:00, bring your art and supplies plus a lunch and drink or a dish to share, and the opportunity to go out is there also.

We meet at the same location as listed above.
See you there!!  

MCS at Beverly Arts Center

Exhibit: June 21-July 29
Reception: July 8, 2-4pm
East & Bridge Galleries

In 1912, Pablo Picasso glued a piece of oil cloth to a painting, “Still Life with Chair Caning.” This work, along with early collages of Georges Braque and Juan Gris, marks the beginning of collage as a modern art form. The earliest collages of the 20th Century used found papers and everyday objects---the debris of popular culture---to reflect the impact of urban industrialization.
This exhibit features artists from the Midwest Collage Society who add their diverse interpretations to this rich tradition. Their works combine a variety of media with altered and handmade papers, photographs, maps, fibers, metals, transferred images and text.
A special part of this exhibit is a series done in the style of well-known artists whose art incorporated collage. Among the artists imitated are: Picasso, Braque, Max Ernst, Marcel Duchamp, Henri Matisse, Rene Magritte, Kurt Schwitters, Jasper Johns, and Joseph Cornell.