Making the Nut.

Back in the days when traveling carnivals toured the land, smaller independent outfits would often talk about the difficulty of "making the nut". This phrase referred to the necessity of covering the daily costs of the operation. I'm enamored with the colorful slang associated with that milieu, and I'm vulnerable to employing such language whenever I can justify it. So when people ask me how my show went this weekend, my answer has been given relative to the possibility that I might achieve my essential goal. Have I "made the nut?" Well, the truth is more complicated in the realm of "art". It's not necessarily a "pay-to-play" proposition. And while I can understand the resistance to thinking about and discussing it on these terms, it's still ultimately a form of willful denial to beg the question.

It is a bit crude to think in terms of getting your money back when you're engaged in something as nebulous as "art". I think it's an unspoken rule that all participants (artists, curators, gallery owners, and those that "patronize" the work) are required to approach the subject of the market with subtlety and circumspection. Because when all the artifice and pretensions are pealed away, art simply isn't necessary. Sure, it uplifts the human spirit (and all of that flowery jazz), but you can't eat it, wear it, or huddle underneath it for physical warmth. It is a luxury in the truest sense of the word. When times get hard, it's the first thing sacrificed. Not only that, but a lot of people seem to feel entitled to it for free.

That's the nasty secret for a lot of people that work to put on shows. There is something undeniably gratifying about getting an exhibition of art together. It is beyond utility, and not easy to put into a standard of dollars-and-cents. Certainly I get a sense of satisfaction from doing something that I enjoy that results in a tangible product. And it's enjoyable to get people together in an environment that one has created, and communicate an idiosyncratic vision. However it all costs quite a bit of money, and not many of the participants are aware of the total expense. Obviously the physical space itself has value, and inhabiting it requires an allocation of wealth. This is usually transmitted to the artist in the form of an upfront hanging fee, and/or a percentage of any sales from the event.

Meanwhile the individual creator must pay for materials, promotion, presentation, and refreshments for the opening. Obviously these costs can accrue, and become prohibitive for someone wanting to actually generate income from selling his/her artwork. Fortunately I have a job/career that minimizes the need for me to acquire profits through the pursuit of my passions. At the same time this isn't a vanity enterprise for me, and I feel some compulsion to make my activities pay off. At the very least, I want to get back the money I put into making and showing my art... thus my obsession with "the nut". Maybe by this point you are impatiently expecting a straight answer regarding this, my latest show.

In addition to generating what I believe to be a healthy amount of goodwill, I see the possibility of bringing the balance sheet into the "black". That's not to say that I have all of the money in hand. I have an armful of promises as well that don't weigh quite as much. They feel pretty good though, and perhaps that's the main point. It is a serious tribute when someone pays a price for a piece of art that is commensurate with the amount one might spend to finance a nice night on the town for him/herself, and a date. But there are rewards that are less quantifiable, and that doesn't invalidate them. I did have a good time, and I'm confident that the vast majority of those who shared the experience with me would be able to say the same thing. It can be about that if it needs to be.

Art Events For Friday, June 13th.

Just as expected (given the amount of art events and other things happening around town last weekend) we are about to enter a rather slow weekend. Perhaps everybody really does need to wind down from the rash of frenzied activity of the Spring season. But before you decide to stay in with a glass or two of chilled white wine and the complete run of Freaks and Geeks on DVD, let me tell you about a thing or two that IS going on.

The Mattress Factory is having its annual "Urban Garden Party". Since this year's event falls on a very special day, the organizers have decided to run with a likewise special theme. As their website explains- "To honor Friday the 13’s superstitious origin in 18th century France, this year’s fête will feature guillotines, powdered wigs, bustiers and extravagant, over-the-top decor. Let them eat cake!" That last part is ironically appropriate as none of the peasants that I know can afford the $85 'ticket-for-the-masses-fee', let alone the $200 VIP ticket for the hour-long pre-party with a special performance by local chanteuse Phat Man Dee. Keep in mind that this is a fund-raiser, and so the high admission fees are understandable and vital to the operation of this first class institution. Oh, to be a true supporter of the arts!

On the exact opposite end of the spectrum is the Tattoo Artist's Freak Show over at Zombo Gallery on 49th and Hatfield Streets in Lawrenceville. Michael Devine (co-owner, namesake, and curator) has adopted the mission of bringing art to ordinary folks who are often intimidated by the prospect of high-falutin' art receptions. Over the last year he has shared his version of what he refers to as "lowbrow art". The stuff he shows is consistently accessible and fun. And the best thing is that most of it is priced under $200, as Zombo himself would love to see you actually buy a piece of it to hang on your wall. The 'Burgh is chock full of quality skin artists, and this Friday night will be a great opportunity to get a look at some of their work.

If you are looking for something in between the aforementioned events, I'd heartily recommend your presence Friday evening at the official opening reception of Sylvania at the 709 Penn Gallery (6-8PM). The title indicates the theme, and reflects the woodsy nature of the art. This show features the work of a bunch of artists involved in the loose arts collective called Unicorn Mountain. The group has published a number of art/comics-based books over the last several years. Their next publication is (tentatively) called Black Forest and is said to be forthcoming this Fall. It will feature a great lineup of local artists, some of which have gone on to national acclaim, and will be accompanied by a CD containing music by local bands.

At the risk of seeming personally biased (I am involved with the collective, have a piece in this show, and will be included in Black Forest), I have to say that there are a number of excellent artists contributing to this themed-project. You should really come to the "soft opening" tomorrow night, but if you can't make it- it will be available for viewing through July 12th. That includes Friday, July 11th, which is the date of the Summer Downtown Gallery Crawl. Artists exhibiting work include Matthew Thurber, Austin English, Ally Reeves, Katherine Young, Ian Finch, Thad Kellstadt, Beano, Tom Hall, Elina Malkin, David Grim, Thee Coyote, Michael Budai, Ben Hernstrom, Amy Conroy, Chris Cornwell, Kathleen Lolley, and Tugboat Printshop.