Whenever I have a major exhibition, either a solo or a 2 person show, the most nerve wracking aspect is delivery day. So many things can go wrong between loading the work and getting it safely into the gallery. In the old days (before my bionic shoulders) I wrapped, packed, lifted, shifted, loaded, unloaded and carried all the work myself. Doubt that had anything to do with developing arthritis in both shoulders; it was just what I did. For me it has always been a control issue. My daughter used to accuse me of being a control freak about making rules for her to follow but I was just trying to be a good mother. I readily admit to being a control freak where my work is concerned. I want to be in total control in the studio, in total control of the framing process, in total control of packing and shipping, in total control of loading the car, in total control of getting the work where it's supposed to be ON TIME and in perfect condition. And why not? Of course it's a matter of professionalism but it's also about bringing order into what is inherently a rather chaotic situation. So few artists ever get to have solo exhibitions in legitimate venues, women still fewer than men, that I have always felt I had to do 200% on my part perhaps in simple gratitude for the opportunity. I can't control who comes to see the work any more than I control who eventually buys it. Sure I can press things and tweak a bit in that direction but ultimately those things are out of my hands. So delivery day has always been a huge deal for me.
Yesterday both brothers, my nephew and a very close friend were enlisted as my delivery crew. My brother Tom lives around the corner and has helped me load and deliver work many times in the past. It was a first for my nephew and I feel certain he had no idea what the big deal was. For starters I didn't want his father or uncle to strain their backs carrying work up a flight of steps and through a veritable obstacle course into the garage. A boy of 20 can do just about any sort of slave labor! On the othr hand, since I haven't exactly been active in the art business since 2004, he really has no concept of what it entails. Besides, I may need him to be a long haul driver at some point in the future if this second career takes off! All in all some 31 frames were safely delivered to the Carnegie Center for Art and History across the river in New albany, IN.
Today my task was to figure out pricing for the new work and insurance vallues for the older borrowed work. The money part is always tricky. It has become trickier in the current economy. Why should the value of art be exempt from today's financial pitfalls. Art has traditionally been the first thing eliminated from a budget even in good times so trying to price new work to avoid sticker shock always seems like a crap shoot to me. To further complicate things I am literally coming back into the marketplace from the near dead. the bottom dropped out of the contemporary art market starting 4-5 years ago but I wasn't a participant then to notice much. My first solo exbhibition at Langman Gallery in suburban Philadelphia in May 1983 consisted of about 18 drawings. The majority of pieces were priced right around $600. Through the years as work sold and more dealers represented me the prices went up accordingly. I had to laugh today when I realized all my new pieces would be under $1000, most about $700. I have to wonder if this is progreee or regress?
The show opens on Friday night. For 2+ hours I will speak with old friends, meet new people, answer many of the same questions over and over and hope somebody likes the work enough to buy something. A friend driving down from Indianapolis who has never been to an art opening was surprised to learn that I wouldn't have lots of time to chat with him during the event. I had to explain that openings, despite what will hopefully be a party atmosphere, are really rather exhausting working nights for artists, the one opportunity we meet and greet the public and cement a face and personaity in their minds with the pieces of art. I can only be my own advocate a few times during the show such as opening night and when I give gallery talks or teach classes. Otherwise it's up to the art itself to communicate with visitors - and for the gallery staff, not me, to answer their questions.
Am I ready for this career renaissance? Probably. Am I getting excited at last over all I have managed to achieve with this new body of work? I think that's starting to sink in. The work is satisfactory - and that's saying a whole lot for me! I'll permit myself to get excited when I see some red dots. I'd love to see lots of red dots!!
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