Art Galleries Need To Do More Than Just Hosting Shows

I have been to many art shows by local artists. Some of these I have been invited by the galleries, in others the artists invite me. Many times, too, I have invitation sent to me with a whole chunk of photographs or CDs of works by the exhibiting artists by enthusiastic gallery managers and owners. I remember more than one occasion of having gotten tonnes of publicity materials good enough for catalogues aimed at art buyers but none the least useful for an art writer. I often wonder what makes up for the shoddy publcity work from art galleries that want to promote their artists. It often comes as an insult to see a bagful of publicity material and an accompanying piece of cover letter that implies "Please Write". About what? I normally refrain from writing about things I don't know or cannot appreciate because of my lack of knowledge. I suspect many ethical art writer (and critic) do the same too. Report about an exhibition anybody can. But doing so without being mindfullyy understanding the subject or the artist is something even angels dare not tread on. Yet, I see and sense this expectation from gallery owners - or the artist, and their equally guilty publicity managers - every time I receive an invite to an art show. To relate an experience, just three weeks ago I received an invite (to view and hopefully write) about some Chinese artists whose works are being showcased at a local gallery. While some of the pieces did interest me, the cover letter sent shivers down my spine - that eager expectation of me writing about it shone shamelessly through. Finally, I decided not attend the opening and politely RSVPed the sender. I would rather not see the works and work up expectations from the organiser that I may write on my site. How is it that gallery owners think all they needed to do for artists are just sending publicity materials to art writers? I most certainly will not excourage this carpet-bombing publicity stunt. Send enough press releases and pictures to the press and journalists, chances are that you will get your exhibition written about. Sure, why not. Any coverage is good but will it promote the artist or his art? Without offering more than juvenile reporting, how do you hope to build an informed group of collectors of art? Nothing is more exasperating to see ill-informed gallery managers who do not take the trouble to explain about the artist or the work on show. Poorly informed curators have no place being involved in art and so do PR officers of organisations holding art exhibitions. Nothing is more exasperating to the art collector than to have viewed and been prompted to buy a piece of work only to find that the only reference to it is in between the chiny covers of a very expensive catalogue. I most certainly would not want to waste my money if I knew nothing of what I am purchasing. If you are wondering why local art do not sell well, then I think you would have made up some impressions this far. And what do you have when you marry ill-informed artshow organisers and artists who do not bother to be there when their prospective buyers call at the gallery?

Dream come true for Rafie Rahman

Dream come true - Rafie with his yet-to-be-completed Trafalgar Square piece in acrylic. Two years ago, Rafie Rahman confided in me that he wanted to one day visit England, the birth place of British watercolour. However, he almost got to realise his dream two years ago, when his painting was selected to be taken to the London during the Malaysia Week. However, he did not get to go there. In July this year, his prayers were answered. He was among five Malaysian artists, watercolourists to be specific, to be invited to show their works at the Potters' Field in London between July and August. It was a trip Rafie had been waiting for and got to go. When I met him recently, I could see the distinct change in his style. Dabbling still in the aqua medium - not watercolour but acrylic - he has produced several pieces of work of landscape when he was in UK. As you can see in the picture here, he is happily showing his Trafalgar Square piece which he has yet to complete. The colours are stunning and although hardly considered a completed first stage, the shapes are beginning to show. This is why I think artists should go abroad and expose themselves to a foreign land. All artists need that exposure to do well, or improve on their current techniques. Without that kind of exposure, and chance to visit foreign art galleries, artists will only be confined to the local influences where art experience is concerned. Want this piece? Get in touch with Rafie for the pricing.

Drawing Lessons

Most beginners who want to paint tell me that they find difficulty in drawing. Some don't know where to start, others don't know where and when they should stop. Although there are great books on drawing, as many as you can find on painting, the marvel of the internet age also affords us artists new areas of exploration. One such site that I find most interesting is located here on learning how to draw. Although the articles are a bit heavy on theory, read them with an open mind and you will be amazed on the many things about drawing that you may not have realised.

Can You Live On Art Alone?

Came across this news some time back. It was to highlight the success of a local Malaysian Chinese artist - a digital artist or photographer if you like, but nevertheless the artist. Read on: Malaysian’s work of art fetches RM117,000 at Christie’s KUALA LUMPUR: A digital art piece called Huminodun by Malaysian artist Yee I-Lann was sold for more than RM100,000 at a Christie’s auction in Hong Kong on Saturday. The work is one of Yee’s “Kinabalu series” which explores the eroded spiritual power of a Kadazandusun woman and her shifting relationship to her land. Huminodun is based on the Kadazandusun creation story where a woman created the earth and padi and thus created her community. Yee said she was shocked to hear about her piece being sold for US$38,000 (RM117,000). This is the picture that made heads turn. Stories like this are few and far in between. How many ever made it to international acclaim? Is Malaysia suffering from such a artistic drought that every once in five or ten years someone makes it big out there? Do we have good Malaysian artists for that matter? The often exchanged advice to beginning artists is this: If you want to make it, go overseas. That used to be true. Not anymore, I think. Air travel and information exchange have never been easier and I think there is a fair share of foreign conglomerates that are based in Malaysia who have been contributors to art in their homeland. I have however yet to know of any that contributes to local art scene. Why this is so is pretty obvious. If you have been following the art scene, you would not be amazed. Or surprised. If you have been talking to artists, especially the talented and struggling ones, you will know that a handful few would compete fiercely for the little that goes around. And what have the people appointed to take charge of the arts scene in Malaysia? I have been proposing for a proper art marts in Kuala Lumpur since the demise of the Laman Seni. Is it any wonder? Here, we have a good concept that is drawing crowd way back in 2006-07. Despite the lack of promotions, the art mart was only beginning to draw crowd. And wham, one day, it ended out of the blue - it was shifted to Putrajaya. The intention was good - but ill planned. Not many art enthusiasts can make the 40km journey south of the capital. Not many tourists know where it was although many would have read up about the location of Kuala Lumpur's galleries, and the National Art Gallery, and could easily take a bus, cab or even walk there. And what happened was the demise - already predicted by the artists who were invited to showcase their art at the Zouk. Unfortunately, none wanted to offend the authorities and kept quiet. Today, the motley crew of artists who used to take part in the once-a-month event are spread all over the Klang Valley. Some struggling to make ends meet, others having switched to art-related events which they could use their skill. Looking back, one wonders if an artist can truly call himself a fulltime artist and live on his/her artistic creations alone. With rising prices, the future doesn't look too good. And I sympathise with them...