Randall LaGro, Memories of Snow, oil on panel, 47”x60”Read More
A Case for Gallery Representation
As a professional artist, a strong case can be made for the key role the gallery and gallerist play in the life and success of a visual artist. An on-going discussion of gallery representation for artists questions the need and reasonableness of the percentage of art sales retained by the gallery at the expense of the artist. This is a short-sighted view of the importance of the role the gallery plays in the career and development of the artist. I have spent time perfecting my artistic voice and techniques, while the gallerist has spent time honing business, marketing, and promotional acumen.
My job, as a successful artist, is to maintain studio hours in which I develop concepts, perfect my technique and create the work that defines my career. Without the gallery, I would be pulled away from the studio to address the needs of my art business. These duties would include records from sales, inventory, tax records and all other accounting duties. Sales of the work would involve packing, shipping, and or delivery of the work. A major role of the gallery is publicity and marketing of the work through social media, press releases, articles and print materials. This does not even begin to address exhibitions and all that involves; from identifying spaces, transporting work, designing and installing the work, staging receptions and special viewings, and finally striking, packing and returning work to clients or to storage. If I were to do all of these things myself, I would have little time to actually create the work.
One cannot be an expert in all things. I have no aptitude or inclination to learn, let alone, become an expert in the many duties the gallery performs for me. A good gallerist has connections and a client base, makes contacts, educates the public to the value of art and the voice of each individual artist, and teaches clients how to develop and maintain a collection.
An eye for good art and the knowledge of the art market and its trends, serves the artist in myriad ways from placement of work, sales, constructive critiques, to the pricing of the work.
Expenses associated with the development of artist’s career and the promotion of the work is the responsibility of the gallery. These costs include all overhead involved in maintaining a physical space, bills incurred to promote, ship, develop relationships, hold receptions, install shows, and countless other details of running the business. As an artist, I have the cost of creating the work and maintaining my studio. The percentage of sales maintained by the gallery, is in effect, the fee I pay the gallerist much as one would pay any professional who does work for you. Without the partnership between gallery and artist, many artists would not be able to maintain and thrive in their chosen work and careers.
From Caren: I’ve asked some of the artists what their thoughts are on galleries and representation, after fielding a few comments from potential collectors, so that the public may better understand an artist/gallery relationship. It’s so important that we make the case for each of us having our own, critical, valuable role to play in this business. I’m proud of what I do for the artists and for the community. I hope only to convey that my ultimate purpose is to expose and introduce great artists to this great city.
Char has shown with Muse Gallery for years. I am passionate about Char’s work; so passionate, in fact, that I own one or two myself.
Who needs galleries? They just exploit artists and take ridiculously large commissions, when everybody knows you’re better off just buying directly from the artist.
How many times have you heard this?
Is there any truth to it? Well yes, of course. There’s some truth in every good lie.
Make no mistake, there are predatory “galleries” and services out there who operate principally by bilking hopeful artists for thousands of dollars for the ‘privilege’ of having the artist’s name printed on a card for a limited time, to announce a mediocre reception with as many other warm bodies as the business can cram into the event.
But those aren’t real galleries. Not really.
There’s no curation, there’s no serious discussion of the work, or any attempt to understand where the artists are coming from, what drives them.
There’s no thought given to whether or not the artist is even a decent fit for the multitude of historic client relationships that a real gallery will have cultivated for decades.
There’s none of this because these so called galleries are only concerned with keeping the doors open long enough to keep their racket going and...it’s the artists who are paying the rent.
These are vanity galleries and they excel in generating generic art school diatribe burped out to anesthetize the hapless viewers (of which there are often only a few) and the unwitting artist participants, with the sole purpose of maintaining the illusion of the authority and legitimacy of the “galley”.
There are literally hundreds of articles online about these kinds of so called galleries. You can find more about this with a quick search of the term “vanity gallery”.
So. Let’s be clear.
These are not real art galleries.
Not at all. They can call themselves whatever they want but an actual gallery, one that truly represents artists, could not be further from this.
You want to know what it’s like being in a real gallery and why they matter for artists?
In a word, representation.
That's obvious right? You think you know what that word means because you’ve heard it before. But representation is more that selling pictures. Yes, galleries are businesses and selling artwork is what they do, but they’re so much more. than that, and there’s so much more involved in representation than that.
REAL galleries are creative incubators. They foster growth. They offer artists space to experiment and develop over time and while maintaining wisdom enough to avoid dictating or pressuring an artist to make “what sells”.
Real galleries continuously walk a precarious line between harnessing the chaotic and tumultuous output of artists and directing and shaping it into something meaningful and precious for the lifelong clients who trust and rely upon the gallery to provide some of the most important work that they will ever collect.
Real galleries are not just businesses, they’re stewards of creativity who deal in the currency of human emotion and they serve as translators between the languages of practicality and passion.
Representation then, is so much more than “selling” or having parties that look good on social media accounts.
Representation means the gallery asks about your health, your family, your friends, as well as the work you’re making. It helps you when your car breaks down. It invites you over on the holidays when you’re alone. It’s there when you lose someone close to you, and it safeguards your artistic legacy when you are gone.
When life, with all of its various obstacles and amazements comes knocking, a real gallery stands with you and helps connect your work with people who need it because they have felt what you’re feeling; or because you’re helping them feel something that they need help remembering how to feel.
Real galleries work tirelessly for their collectors and for their artists.
They earn every bit of their commission and enable artists to reach audiences and venues that the artist would never have a chance to access on their own.
They push artists to work harder, to improve, to become more, and they free artists to focus on making work without having to stress about the social and business details that can detract from creative processes.
Real galleries drive hours in the snow to connect artwork with collectors and make sacrifices to keep the channels between collectors and artists open.
You’re never going to get this from some random place that decides that in addition to being a... whatever... it’s also now also an art gallery.
Just as a good gallery can sense the potential of an artist’s work, the artist too intuitively recognizes the passion and work ethic of a legitimate gallery. The curatorial instinct, drive, and vision that is inherent to a legitimate gallerist isn’t something you find everywhere. It’s innate and unrelenting, and this is why that connection resonates with artists so deeply. In short, it’s why artists need galleries.
David Senecal, 2019
As a note and point of reference, David started visiting Muse Gallery when it was located in Grandview, in the early years of opening. He used to say that someday he hoped to be good enough to show in Muse Gallery. He was always been complementary of the work, always humble, always supportive of the gallery. At the time he was doing digital work, which I started showing almost 10 years ago. He then moved into wet media (paint), and has painted tirelessly for several years now, taking every opportunity to show the work, take criticism and critique, practice, and advance. He is the embodiment of an artist, and works as an artist should work to perfect their craft, i.e., daily, relentlessly, without concern of salability or commercial potential, but with ultimate respect for painting principles and techniques.) Thank you David for respecting me as much as I respect you. It’s a beautiful thing.
I'm pretty sure that, out of any other kind of business, art galleries get the most baffling of inquiries. Every day it's a new round of "did you do all this?", "are you THE artist?", "do you charge admission?", and more not-so-genius questions and observations from the general public.
The general public not understanding what a gallery IS or DOES is aggravating enough. These questions imply that most do not understand the difference between a museum and a gallery, or perhaps that they don't see the expertise, skill or individual style unique to each artist, let alone understand the time it would take to do just one of these pieces. The whole collection of sculpture, painting, weaving, sewing, clay sculpture, photography, etc. seems to evade the populace, as they continue to believe that all these various styles could have been done by one single person. It's a lack of education about art, and a lack of exposure to arts-related activities, that lead to these questions and the inability to think about what you're seeing or looking at before speaking.
However, recently I have decided that that is not the biggest problem, or the one that bothers me the most. Many younger artists, often straight out of art school (and occasionally older artists who've worked the art fairs and festivals on their own) have begun to see galleries as superfluous at best and artist-rip-off-agents at worst. Arts festivals, fairs, and auctions have all contributed to the thinking that artists can and should self-represent.
The art fairs and auctions used to be open only to galleries, with the galleries and the work vetted by experts. Once they changed that criterion to allow artists to show independently. it gave the impression that the ultimate goal for artists was to be free of the “control” galleries had over them. Unfortunately, that idea completely overlooks so many of the nuances, contributions, and positives relationships and representations offered by showing with a gallery.
Without delving too far into the history of artist and gallery relationships, let's just talk about the current perception of galleries as unnecessary, elitist, bad for artists and/or a middleman that should be eliminated. I think, oftentimes, artists do not quite understand what all a gallery does for them. The role of a gallery is to choose artists that embody the style that particular gallery is looking for. They then nurture those relationships, aiming to provide the most comfortable and most successful marketing strategy for each individual artist. We curate the work for display and/or shows, visit studios to choose the work/see and understand the process of an artist, schedule, hang and market the shows (whether by working with a graphic designer to create invites or print or marketing materials or by posting on Instagram or other social media), develop strong relationships with clients (often involving attending functions, dinner and/or lunch engagements, phone conversations, belonging to social clubs or organizations, and more), manage walk-in sales, meetings, and warehouse storage, do paperwork - which includes all all aspects of running a business (paying taxes, keeping books, invoicing, buying supplies, assisting or arranging for help in delivery and installation of sold pieces, etc.) - help price and strategize how best to market an artist, attend art fairs to scout for new artists or work, read and study about art trends in order to stay current on all artists' shows and awards, and finally (and at the bottom of the list), gallery sit for the random walk-ins who ask "if I did all this".
As for the customers, that's a whole different set of responsibilities. Many of my clients have been with me for years, often buying from many or all of the artists I represent at one point or another. Those customers, the backbone of a gallery's business, get my undivided attention when they come into the gallery or call, and if they want work brought to their homes or business, that would take priority over anything else. If something comes in that I think is a good fit for a client, that client gets a call and first dibs on purchasing that particular piece (that access to the newest or best work is critical if a client is building a worthy collection).
At the end of it all, I'm also the one paying for the vendor's license and filing the sales tax reports every month. I paid for a federal trademark for my gallery name so that I could build the reputation of the gallery and have an identifiable brand (which lends validity to the artists represented here). In my own personal work as a gallery owner, I aim to carefully and thoughtfully choose the artists I represent so that my clients feel a sense of assurance that what they buy will still be worth something down the road, that I can show them that I know what the artist is doing and where they're going with their career, and that the purchase they made is worthwhile and can make them proud (in addition to being enjoyable). That way, I can minimize the amount of art people attempt to discount or return.
By managing all of these responsibilities for an artist, a gallery allows an artist to simply focus on doing their work. For a gallery like my own, or any other reputable gallery, the artists are working in their own field and not worrying about marketing, building connections, or any of the other responsibilities listed above. Day in and day out, they would possess the time to perfect their craft and educate themselves on new techniques in order to create their next best piece. All the other stuff is left to their galleries, so that they can focus on what's important to them.
I understand that for some artists, and particularly craftspeople, having total control of all aspects of creating, selling and marketing the work is important. Luckily, there are many opportunities for artists to operate that way in today's world. However, it is also worth mentioning that the gallery still plays a vital role for both the artist and the collector. Additionally, they are an important part of developing a community. They provide a means for people to educate themselves on art and an opportunity for those whom art is unattainable for to see great modern art. It is a space for artists to show their body of work as one conversation and present that story to the public, and galleries provide a "cool factor" that makes a city a place people want to visit and live in.
Without the support of collectors, galleries cannot and will not continue. If people continue to go directly to the artists and purchase, or if they refuse to purchase from an artist whose work costs more than $200 (or some other arbitrary limit they've set, even if they can afford it), or fail to acknowledge the importance of galleries as a venue for artists to understand the true value of their work, then galleries will close. Cities will be without the cultural stimulation and opportunity provided by galleries and will only be able to view art in museums, carefully curated and off-limits to personal possession or enrichment. To purchase, a collector will have to individually seek out artists, cultivate a relationship with them, haggle and risk offending or disheartening the artist by comments or offers. To sell, artists will have to find their own venues to show work, will have to hire or participate in a critique group for honest feedback and curatorial assistance, and will spend a considerable part of their time following up with clients, dealing with marketing issues, arranging shows, etc. Finally, the client will be ultimately responsible for doing their homework, knowing what they're looking for, both aesthetically and structurally, and they will be ultimately responsible for the care, maintenance and disposal of that piece when the time comes to move, sell or liquidate an estate.
We each have a role to play in this art arena. Galleries are important to both the artists and collectors, and the communities in which they operate. We just have a public relations problem, and one that I hope over the course of the next few blogs, I can start to start to chip away at.
As many of you may know, we have land in northern New Mexico, in the high desert area at the top of the gorge. It’s beautiful, surrounded by mountains (which are often snow capped) on three sides, with trailheads at the entrance of our property leading down into the gorge. We regularly see coyote, elk, bighorn sheep, golden eagles, kit foxes, jackrabbits and, yes, rattlesnakes (oh, and scorpions too). It’s the wild west, still untamed by man, and we love it that way. It’s a breath of fresh air, a way to reconnect with nature, a solitude so desperately needed. At night, you can see the entire Milky Way (since we don’t have light pollution on our land). It’s a million or a bajillion stars lighting up the black night sky, and it’s amazing.
We just returned, and I’m still trying to readjust to city life. I sleep like a baby out there. But besides the personal recovery time, I visit with artists and go to studios to see what the artists are working on. This particular visit was a little more casual. I met with a potentially new artist who is considering showing monumental sculpture on our land for what is to be a sculpture garden (in the next 2-3 years). He does amazing, gigantic pieces that are about form, each welded and constructed by him personally (as opposed to sending it to a foundry). Out of Colorado, but small world that it is, his wife is from Bexley.
To understand a little about what we really had to do to make the place livable (besides actually build the structure) and to maintain it and make it comfortable for ourselves and guests that visit through Airbnb and VRBO, here’s a little rundown of what we did just this 10-day visit:
re-stucco’d cracked walls; had 45 ton of gravel delivered (and picked up 4 more ton ourselves), which we had to spread); picked up and spread a ton of dirt, which I then planted with wildflowers and squash seeds for the animals to eat; tore out our kitchen sink and counter and built a new kitchen island with granite countertops, had 4 cords of wood delivered which then had to be stacked; went to the spring for 250 gallons of water to top off cistern; repaired broken wood fence; reburied clothesline poles; moved rock out of old footers and then refilled footers with dirt; in addition to the regular maintenance stuff like 11 loads of laundry (which are hung to dry), emptying compost toilet, vacuuming, changing all sheets, washing couch cushion covers, shopping, dishes, and general cleaning. It’s exhausting but exhilarating. I feel accomplished afterwards — I can see the results of my labor, and I come home feeling a little better about how we left the house for the next guests.
For the artist community, our intent then is to start small with maybe Char Norman teaching a weaving class on the land, where people can stay in the house and I would provide breakfast and lunch as part of the program. We would like to start installing monumental sculpture within 2-3 years, to make a sculpture garden that would be part of the experience of staying there or could be a day trip for those staying in town. We have plans to offer workshops in assemblage work, weaving, clay, sculpting, and then building workshops such as “building off grid”, “building a fireplace”, “working with solar”, “ organic gardening in the high desert” and more.
We are making progress, and are excited about the coming few years.
Hana Yilma paintings shown at The Table Restaurant in Columbus Ohio by Muse GalleryRead More
Christopher X. Bost, a longtime Columbus resident now residing in Joshua Tree, California, has been working on a new body of larger-scale pieces, which we will show at the Hilton Columbus Downtown in March/April 2019. Christopher says this about the work:
“My first introduction to art was through museum publications collected by my grandmother during her extensive world travels. The books she chose were usually about Renaissance painters or impressionist painters, with a smattering of books on sculpture or art from the Southwest. During my years in junior high, these books became my companions. Throughout my time spent studying them, one principle emerged clear as daylight, remaining to this day a guiding principle for my studio practice: the more time spent looking at art in an engaged manner, the more it reveals to us.
A lengthy developmental progression guided my painting towards abstraction. I garnered a particular fascination with color, especially the hues our natural environment both soothes and excites us with. Ten years as a rural resident of the Mojave provided me with boundless medicine for the soul – given to me through new patterns and ever-changing colorful events that unfolded every single day. The pace of the desert continually humbles our frenetic habits, and this (and other things) solidified my love of abstraction and fostered a belief that active perception is always amply rewarded in kind. When we choose to see, nature unfolds in a myriad of woven wonders.
A month-long journey to the coast provided me with even more new patterns and colors, based on lush tide pools and the ancient rhythms of the Pacific. These new paintings were constructed using techniques based on Moire patterning. The colors were meticulously edited from the ocean palette, layered in such a way that surfaces, which at first seem simple and decorative, begin to undulate. A meditation on a starfish yields a painting that visually wriggles. Striped layers configured in a carefully chosen fashion waves distinctly, referencing sea tides and urchins.
It is a radical approach to painting, based on a conviction that how we see is a more interesting exploration than what we see. Simple patterns staged in ways that allow deeply complex narratives to emerge, having bubbled from beneath the surface as the viewer engages. It is a form of art making that I have chosen to act as an antidote to our visually over-stimulated digital culture.”
These pieces are modern, contemporary, visually striking.
New large-scale paintings by David Senecal. Make a dramatic impact!Read More
So pleased that we are able to use the Smith Bros. Hardware Building lobby and common areas to display artwork by Muse Gallery artists. This is a beautiful contemporary space that easily shows large-scale pieces. We have up the abstracts of David Senecal, the contemporary sewn pieces of Signe Stuart, a huge museum-quality fabric piece by Sue Cavanaugh. I couldn’t ask for a better display space.
We will show work there semi-long-term (ongoing for now). I can even meet you there and have access to an office so that we can talk about pieces you may be interested in.
Besides that, I’m still doing pop-up shows around Columbus. My next one is coming up at the Hilton Columbus Downtown front corridor in March/April. I’ll be showing new work by gallery artists. The Hilton is open to the public and work can be viewed at your leisure.
Smith Bros’ Hdw Bldg
Open to the public 9-5 M-F
Muse Gallery will be hosting a joint Pop Up Show @ Muse Gallery Hilton Head- February 15-28, 2018, featuring wall hanging and free standing sculptural work by artists Debra Fritts, Signe Stuart, Sue Cavanaugh and Char Norman. Cavanaugh and Norman will be in attendance for the show to meet and discuss the work. Opening Reception will be held on Friday February 16th from 5-8 pm and a Private Brunch with the artists will be held on Saturday February 17th from 11-1 pm. We hope you can join us!
"I am interested in gathering: assembling, collecting, hoarding . . . and the process of taking needle to cloth and creating folds. The stitching has grown out of the ancient art of patterning cloth for kimono, and most names reference the original stitches, even though I’ve transformed those stitches over time. The “Ori-Kume” series combines ori-nui, stitches done on the fold with mokume running stitches. “Ori-maki-kume” describes a combination of mokume running stitches and ori-maki-nui stitches, an original hybrid stitch that creates a density I’ve grown to love...Cloth challenges notions of traditional art. At the same time, fabric is universally accessible and comforting. I’m particularly attracted to dichotomies, to yin/yang, attraction/repulsion, black/white, and the vastness of the gray area in between. All my work begins with a drawing, a plan. But the surprises that develop along the way delight and challenge me. These surprises inform future works."
Cavanaugh works by hand with cloth, cord, dye, paint and occasionally wood and wire. She does this by hand and without assistants. Her work has been seen in national and international exhibits at the Columbus Museum of Art, Oceanside Museum of Art, Springfield Museum of Art (Ohio), Ross Museum of Art, Johnson-Humrickhouse Museum of Art, Ohio Craft Museum and Zanesville Museum of Art. Awards include Best of Show, Shibori Cut Loose exhibit, Textile Center, Minneapolis; Ruth Lantz Fiber Award; Janet Long Memorial Award for Excellence in Fiber; Ohio Arts Council Professional Award; and the Lynn Goodwin Borgman Award for Surface Design.
In 2012 she was selected by the Greater Columbus Arts Council and the Free State of Saxony for an artist residency in Dresden, Germany. She worked in a studio at Geh8 Kunstraum und Ateliers for 80 days culminating in a two-person exhibit with Rotterdam painter Marielle Buitendijk.
Cavanaugh's work is in collections of the Hilton Columbus Downtown and the Ohio Arts Council and private collections in Ohio, New Mexico, California, New York, Chattanooga, and West Seattle. She is represented by Muse Gallery, Columbus, Ohio, and gráficas gallery, Nantucket, Massachusetts. She lives in downtown Columbus, Ohio, and has a studio in the 400 West Rich artist community.
ABIQUIU, NEW MEXICO
"As a child, I had dirt under my fingernails and spent hours playing in the mud. Today I continue to allow the earth to feed me information for my art. Working intuitively from pounds of wet red clay, forms appear and stories develop. I may be questioning an occurrence or celebrating a relationship or just being aware of the precious environment. The search continues until I reach the core: the spiritual level of the sculpture. Then the work can speak. At the present, I am exploring new territory in Abiquiu, New Mexico while embracing my southern heritage. Often symbols are used in the work such as the color red or three dots to honor my mother or the raven as a symbol for my new life in the west. I am “touching ground”, getting to the basics, listening and learning. Each sculpture is hand built, using thick coils, and fired three to five times depending on the color and surface I am trying to achieve. I approach the color on the clay as a painter. My palette is a combination of oxides, slips, underglazes, and glazes. The form of the piece informs the type of surface treatment."
Debra Fritts considers herself a narrative artist allowing her work to tell stories of daily life and events. Her works are influenced by her time in New Mexico exploring the west while embracing her southern heritage.
“I hand build each sculpture, primarily using thick coils, and fire three to five times depending on the color and surface I am trying to achieve. I approach color on clay as a painter. My palette is a combination of oxides, slips, underglazes, and glazes. The form of the piece informs how I should approach the surface.”
Debra has been published in books such as: Artists Homes and Studios, Ashley Rooney, Schiffer Publishing. Contemporary Ceramics, E. Cooper, Ceramic Figures, Lark Books, and 500 Figures, Leslie Ferrin, Lark Books. Museum Collections include: Fuller Museum, Brockton, Massachusetts and Georgia Southern University, Saunders Georgia Artist Museum. Professional and Teaching Experience includes Director of Art Center West, Roswell, Georgia 1995-2011, Beatrice Wood Center, workshop, Ojai, California, and Surface National Clay Conference, San Diego, California.
"The work I am engaged in stems from a deep-rooted connection to natural objects and environmental issues while examining the relationship between man and nature. Reverential attitudes and nurturing acts contrast with the destruction of nature. The pod forms I use are both a type of shroud for natural relics and a womb or cradle for rebirth. This dichotomy of ideas is further expressed by the mending of natural objects through the violent act of stitching and fastening parts together. I find it fascinating and somewhat meditative to achieve a whole through the slow and gradual building up of small elements. Weaving is based on this principle and my drawing technique mirrors this idea as I layer graphite and colored pencil to create the image. Even the fibers in my handmade paper echo the idea of small units building to become a whole. Manipulation of materials and the use of traditional techniques in surprising or nontraditional ways are challenging and engage me in problem solving. The engineering necessary to create a three-dimensional piece on a loom intended for two-dimensional processes and the use of soft materials to form substantial objects is of particular interest. As I continue to explore natural relics as icons, votives, or objects of reverence, I hope to engage the viewer in a way of seeing that may lead to a respect and appreciation for the environment. Future plans call for returning my sculptures to the location from where the natural object was taken. In this way I give back and let the elements take their natural course in the cycle of life."
Char Norman is an accomplished fiber artist specializing in papermaking and fiber sculpture. She received a Master of Fine Art from Claremont Graduate University and a Bachelor of Art from Scripps College. She has lectured and exhibited extensively both nationally and internationally. She has developed and conducted workshops for all ages, worked as a consultant to area schools and community arts organizations, held the positions of Associate Provost and Dean of Faculty at Columbus College of Art & Design and has recently returned to the studio as a full time professional artist.
SANTE FE, NEW MEXICO
"Observations and questions about mysteries of the universe, life and consciousness are sources of visual ideas for my paintings and constructions. Making these works is an ongoing process of experimentation and negotiation between ideas and materials. I want my artworks to resonate with viewers and move them toward seeing this is that: everything as a consequence of endless shape-shifting, combining and recombining."
Signe Stuart's professional history spans over fifty years, beginning in the early 1960's. Her approach to art making relies on experimentation with painting materials and forms, often breaking from the standard rectangle and concepts of framing. Stuart has lived and worked in diverse regions of the United States: East Coast, Pacific Northwest, Northern Plains, and Southwest: residing now in Santa Fe, New Mexico.
Since 1972, Signe Stuart has had 18 solo museum exhibitions including those at the Sheldon Art Museum, Lincoln, NE; North Dakota Museum of Art, Grand Forks, ND; American Swedish Institute, Minneapolis, MN; South Dakota Art Museum, Brookings, SD and the Roswell Museum and Art Center, Roswell, NM. Her work has also been included in many museum group exhibitions, among them the Joslyn Art Museum, Omaha, NE; the New Mexico Museum of Art, Santa Fe, NM; Burchfield Penny Art Center, Buffalo, NY and the Minneapolis Institute of Arts, Minneapolis, MN.
Public Collections include: American Swedish Institute, Minneapolis, MN, Benton Museum of Art, Storrs, CT, Blanden Art Museum, Fort Dodge, IA, Boise Art Museum, Boise, ID, Cedar Rapids Puiblic Library, Cedar Rapids, IA, Dahl Art Center, Rapid City, SD, Grinnell College, Grinnell, IA, Joslyn Art Museum, Omaha, NE, Miami Airport, Miami, FL, New Mexico Museum of Art, Santa Fe, NM, New Mexico State Capitol Art Foundation, Santa Fe, NM, North Dakota Museum of Art, Grand Forks, ND, Plains Art Museum, Fargo, ND, Roswell Museum and Art Center, Roswell, NM, Salt Lake City Public Library, Salt Lake City, UT, Schnitzer Museum of Art, Eugene, OR, Sheldon Museum of Art, Lincoln, NE, Sioux Falls Airport, Sioux Falls, SD, South Dakota Art Museum, Brookings, SD, Southwest Minnnesota State University Museum, Marshall, MN, Tacoma Art Museum, Tacoma, WA, University of New Mexico Museum of Art, Albuquerque, NM, Utah Museum of Fine Arts, Salt Lake City, UT, Washington Pavilion, Sioux Falls, SD.
Muse Gallery is pleased to introduce new artist to the gallery, Lynne Riding. Riding’s work will be presented in an introductory show at Muse Gallery Hilton Head-January 8-31, 2018 and included in a group show with Muse Gallery Columbus @ Hilton Columbus Downtown- February 2018.
Lynne Riding is a visual artist living and working in Charleston, SC.
She received an MFA in Painting from the San Francisco Art Institute, a BFA in Fashion and Textiles from Manchester College of Art, UK and a 2 year Art Foundation from Hereford School of Art & Design, UK.
In addition to practicing as a professional artist, she has been an art educator at university level, currently serving as a faculty member at the Art institute of Charleston, SC.
Riding has exhibited extensively throughout the country in states such as SC, CA, FL, NM, AZ, and OK. Highlights include invitational exhibits such as: “Abstract Art in SC, 1949-2012”, State Museum, Columbia, SC. “30th Parallel- a Convergence of Contemporary Painting”, 2005, JMOMA, Jacksonville, FL, and “CYMK”, 2005, Trans America Pyramid, San Francisco, CA.
A childhood spent in Mid Wales instilled, a love of landscape and certain awe for the power and fluctuations of the elements. As an inveterate traveler of both land and sea, she draws on these experiences in her work. Many of the physical and mental experiences from her past sailing and competitive windsurfing experiences, together with memories of hiking in the hills of home, to current daily walking, find their way into her work.
Initially a representational artist, her work was originally concerned with both the landscape and the figure, the two combining at times. During 2002 Riding’s work took a turn, this due to the wish to instill more inner depth and felt meaning to each piece, and so, her focus turned to abstraction.
“Major components in my work are the issues of impermanence, shifting perspectives, and loss, aligned with the dichotomy of enduring hope, that which drives us on. Although my work is of an abstract nature, it always stems from the place and surroundings in which I find myself, from color observed, a line seen in space, or the found object. My interests lie in the subtle undercurrents, the not so blatant, crude or obvious, in other words, a case of paying attention to what happens between the obvious. My work shifts in scale and medium, sometimes combining media. For example, from observational drawn studies made in the landscape to encaustic pieces, to ink on paper, to large scale, oils on canvas, to 3D pieces. I continue to develop a reductive painting process, involving what to bury and what to reveal and consider my art practice to be a constant learning curve if I am open to all and pay attention. I enjoy the experimental aspect and the constant surprises one receives. I aim to involve the viewer and hopefully bring them into the piece. I believe that there is a validity and a need for the poetic in today’s world.” -Lynne Riding
“Tease Series” Oil on Canvas
This body of work is minimalist abstraction, yet informed by the found object. I use drawings made of natural form or found objects in my paintings, that act as metaphors. My work deals with human frailty and impermanence. Peaceful with an undercurrent of tension that holds things together, this body of work glows with an inner luminosity – a transparency that both fulfills and empties at the same time.
“CB - Concerning Being” Acrylic on Canvas
I have always had a love of landscape and have found much of inspiration from the nature and landscape, in which I find myself. Initially working in the landscape, I then work in a solitary fashion in the studio, needing quiet time and reflection. My drawings made out in the landscape are based on a very focused practice, as I use ink and minimal marks.
My paintings are simplistic in form that reinforces the importance of line and space. By taking the work to the simplest form I hope to capture it’s true essence. This body of work is minimalist abstraction yet informed by the found object or form that I have discovered in the landscape and deals with issues of human frailty and impermanence.
“Tea & Ash"
As a result of a residency during the summer of 2009, when I endeavored to find a way to incorporate more of a sense of place into the work that I was making, I have experimented with the use of some natural material in my work. This recent work includes selected natural material specific to place. My work is concerned with the ephemeral nature of what we call reality, aligned with the dichotomy of enduring hope, that, which drives humankind on...I believe that there is a validity or need for the poetic in today's world.
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Follow us on our journey through the art world as we highlight and discuss our travels, artist spotlights, pop up shows, gallery exhibitions, the artist community we are building in New Mexico-"The Woman, The Rabbit and The Moon", and so much more.
Muse Gallery is a fine art gallery representing over 40 international mid-career contemporary artists. Muse Gallery was founded in Columbus, Ohio in 1997 by Caren Petersen.
Whether you’re looking for a specific artist or just browsing, you’ll be impressed by the stable of artists represented at Muse Gallery. Representing some of the finest painters and sculptors in the country, these artists work in all different mediums and have a common thread in style or sensibility, yet each with their own distinct voice. Many are privately collected, in major museums and corporate collections, and published/reviewed in notable publications. Owner, Caren Petersen, is constantly searching for and showcasing beautiful, thought provoking, and well-crafted fine art.
"I believe art collecting should be a personal journey. I am passionate about the art I represent, and wish to convey that passion to you in your process of collecting. If I can help with your decision in any way, please let me know. I look forward to meeting you!” -Caren