Buy What You Love or…Try This Approach Instead

I have to admit, I’m not a fan of the old art collecting adage, “Buy what you love.”

It’s a little too capricious for me. I mean, really, how do you know what you love? Have you consider absolutely everything that the art world has to offer? Besides that, how do you know what you love is any good? Or worth the asking price? Or will hold its value?

When it comes to making an art purchase, I put three basic rules ahead of buying what I love:

Get to know the artist
Buy the original
Walk away

Once I figure out this stuff, buying what I love just happens naturally. Here’s how I do it.

Understanding Art & Creator Are Inextricable

As a curator, I get to call artists all the time and dive into deep, esoteric conversations that involve learning about their recent work, where it’s headed, how sales are going, what they’re struggling with, stuff like that.

Not your normal day? I get it. You can, of course, learn a lot online; that’s how I usually start. When I dive into a search, I am looking for specific things, which I’ll go over next, but I should also tell you, I rarely base curatorial decisions–for a show or my own collection–on this alone.

Listening for Intention: Influences

Full disclosure, I don’t care if an artist graduated from art school, and you shouldn’t either. When I’m Googling artist websites and reading through their “About” page and CV, what I want to know is who they studied with, either in art school, workshops, mentorships, or private classes. (I’ve met a couple self-proclaimed autodidacts, but I’m pretty sure even they had influences.) The thing about training versus an art degree is simply this: I’m looking to understand influences on the artist, whether one seminal comment by a master triggered a turning point, or a geology professor instilled an awe of evolutionary forces at play in the land, which then led to the pursuit of an artist’s singular vision of man’s place in the cosmos. It’s all good. It’s all relevant. And it all plays into the unique aspects separating a good craftsman from a true artist.

Commitment

I probably weigh artist websites, CVs and “About” page text differently than most. I’m reading between the lines, looking for direction, trajectory, a level of professionalism.

Ultimately, I’m looking to see if the artist is in it for the long haul. And it is a long haul. Making it as an artist is tough and unforgiving and filled with rejection. Does the artist I’m looking into have what it takes to keep going–mainly because they can’t fathom any other life–or are they going to quit when things get tough? And things will get tough.

Authenticity

This is a tough one to uncover and, frankly, it’s not something a newcomer to the art world will intrinsically know. After 30 years, I have seen a lot of art and a lot of copy-cats. I’ve called a few out on it and firmly advise collectors to avoid the inauthentic.

I can’t stress this enough: creating original art is extremely difficult. It takes a level of training and perseverance that most people are unwilling to give. For me, to feel comfortable when adding an artist to a show–essentially saying I’ve vetted this artist for you, Collector–the artist needs to have his or her own voice. (I talk about this in my blog “On Voice.”)

There’s nothing new under the sun, this is true. But an artist who is responding to current issues, whether external or internal, and using his or her own voice to do so, is at least trying to add something important to the conversation. Consider how Jazz musicians have riffed off the work of Beethoven, who’s sonatas were based on a structure that he manipulated and ultimately transformed so radically that he changed the course of music. (Check out this wonderful article from the Harvard Gazette about Beethoven’s wide ranging influence.)

Developing Your Eye

I’ve come to believe that collecting art–or probably anything, for that matter–is a bit of an addiction. At least it is for me.

When I first started collecting, I didn’t have two nickels to rub together, but still I knew I wanted to own original art. I was working at a gallery and met so many artists who were gracious and answered all my crazy questions.

I hit the street fairs (the Art Students League Summer Art Market in Denver is a favorite). And I bought directly from artists when they, too, were starting out.

Over the years, working in galleries, going to openings, lectures, and artist studios and just listening to the conversations, arguments and critiques they gave each other taught me to really “hear” an artist’s voice, literally and metaphorically.

I still do all these things to this day. In fact, I would say that buying art on a non-existent budget taught me how to find promising emerging artists. It’s become my niche in art curation.

Some of the artists I collected early in their careers include Ron Hicks, who was working days at PrimeStar and painting at night, David Grossmann and Maeve Eichelberger, two artists whose work I bought when they were fresh out of art school. I can’t afford their work these days, but, yes, that means my purchases have gone up in value…not that I would sell anything I’ve own.

What I’m getting at is, you may think you can’t afford original art but you can. You just have to know where to look. And, do a little homework when you do spot an interesting artist. Besides art fairs, most every city has a selection of co-op galleries that feature up-and-coming artists, and even established galleries carry emerging artists they believe are promising. Works on paper–hand-pulled prints, that is (not giclees, more on this in my next blog)–are usually very affordable, too. Also, watch for pop-up shows–you’ll learn about them if you start following artists you like on social media–that feature work from relatively unknown artists.

The Key to Buying Unknown or Emerging Artists?

Educate yourself and develop your eye. There are lots of people out in the art world who would love to help from curators to gallerists and even artists. Just know that if you work with a consultant, you will have to pay them but consider it an investment in your collecting education (think of the money you’ll save by not buying art you regret and that doesn’t hold its value).

When Taking a Step Back Is Critical

I feel a little funny advising this because I am in the art sales business but, well, it’s truly what I do. I rarely impulse buy anything.

In the art biz, our secret opening night formula is:

crowds + booze + artists + red dots = killer sale

Crowds create the atmosphere and buzz. Booze, well, you know all about booze and impulse decisions. Artists, oh, yes, artists are just so much fun, even the grumpy ones! And those red dots… As soon as they start popping up on wall tags, it’s like firing the starting gun, may the best man win!

Why I Walk Away

I’m around art all the time, in and out of studios, talking to artists and seeing the latest painting, hot off the easel. I can always step back and think on things for a few days before deciding.

For those who don’t have that kind of access, here’s what I’m suggesting you do. Go to previews. Take your time. Walk through the gallery in a clockwise fashion then go back through counter-clockwise. If you go with a friend or significant other, separate and walk in opposite directions, snap pics on your phone of the things you like so you can compare notes later. Find the curator, director or go with an artist whose opinion you trust, and ask lots of questions.

Then walk away. Sleep on it. If you wake in the morning thinking of a work of art–in my case, I will be obsessing about it–then you should get it. If you do this, you can avoid some of the pressure-cooker psychology of opening night and bid or buy with certainty.

I would love to know your process for collecting. Artists who read my blog, please chime in on how you’ve help collectors purchase art, too–I know many of you have!

NOTE: As I wrote in the last blog, Art Buying Etiquette 101, do NOT ask to buy directly from the artist, if you saw the work at a show or gallery. You are putting the artist in a terrible spot and jeopardizing their career. If you call the artist directly, don’t lie about where you saw their art; this is very unprofessional and makes artists uneasy and untrusting of you. In most cases, you’re not going to save money going to them directly anyway. Work with the gallery or show. If you want a discount, discuss with the dealer. Leave the artist out of it.

Art Buying Etiquette 101

Miss Manners: What to tell artist friends, besides ‘That’s pretty!’

The Washington Post, January 10, 2021

“It’s not hard to please artists–or any other creative people–with compliments. Any enthusiastic generality will do. And while you are not there as an art critic, Miss Manners has a kind remark even if you really hate the work: “You must be so proud.”

Um, wait…what?!

OK, Miss Manners, step aside. Here’s some actual etiquette for talking to and working with artists.

You’re welcome.

GALLERIES: Respect the relationship.

RULE: If you found something you like at a gallery or show or through an independent art dealer, that is where you need to conduct your business.

WHY: When collectors circumvent the gallery–usually because they think they can get a deal by cutting out the middleman–what they are really doing is putting the artist’s business at risk.

Yes, this actually damages the artists career–the art community is small.”

-Billyo O’Donnell (“Morning Light Over Leadville,” oil, 9×12 inches )

Faithless artists are usually dropped from the gallery as soon as this behavior is discovered. Losing this relationship can ultimately ruin an artist’s career because they lose the stability and benefits of having someone represent them and explain their work and pricing system.

“Over the last few years,” Billyo added, “there have been many artists leaving galleries and going out on their own to sell their artwork. I have learned that there is a direct relationship to having a long-standing association with a respected gallery and being able to maintain solid prices for your work.”

ETIQUETTE: Work with the dealer, be transparent, and ask lots of questions; it’s their job to educate you and help guide you through the process. And, if meeting the aritst is important to you and, in my opinion, should be part of your final decision, have the dealer facilitate.

Think of it this way, when you try to cut the gallery out of their rightful commission it’s like asking your doctor if you can avoid paying the hospital by going to his house and having him perform surgery there, at a discount.”
-Carm Fogt (“Altered Enso,” Chinese ink and mixed media, 24×24 inches)

EXHIBITIONS: If you saw the work of art at a show but the show’s over and the work didn’t sell, who gets the commission if you buy it?

RULE: People can argue this point, but in my mind, if you saw something you were interested in but didn’t buy at the show venue, it’s still considered–for a reasonable amount of time after the close of the show–proper to either run the sale through the exhibition or have the artist forward on the commission to the show.

WHY: Artists need shows and shows need reliable artists. It’s a great relationship when it’s working in harmony. Collectors help keep the harmony by understanding and supporting this important business relationship.

ETIQUETTE: Juried and invitational shows do have an actual end date, so, realistically, if it has been a month or so or if the work of art has since been sent to a gallery, the gallery would then take the commission, not the show. Often national exhibitions are established to support a cause; consider supporting the cause no matter when you finally decide to make the purchase of a work you found at the show.

Collectors need to be reminded of the expenses incurred when putting together an exhibition, whether by a non-profit for a cause or a private gallery.”

-Billyo O’Donnell (“Below Mount Lemon, Tucson, AZ,” 12×16 inches)

DISCOUNTS: when is it OK to ask for or expect a discount?

RULE: Discounts are for devoted clients who work with a dealer fairly exclusively and buy considerable amounts of art from that dealer or buy numerous works at one time.

WHY: In the days before discounting art became ubiquitous, dealers used this as a perk for their best collectors. Commonly, 10% was, and still is, the amount which would be split between the gallery and the artist, with each side absorbing 5%.

The biggest problem with discounts, if done frequently, is that they devalue the artist’s work across the board, meaning everyone who purchased work without a discount has, in essence, overpaid.

I remember a collector who commissioned me to do a painting,” recalled Dan Young, long time Coors Show artist. “It was back when I was starting out and really needed the money. I did the painting but then the guy asked for a discount. I wouldn’t do it. I walked away. Twice. Finally, he agreed to the price and bought it, but the whole thing left a bad taste in my mouth.”

-Dan Young (“The Snow Moon Rises,” oil, 12×12 inches)

ETIQUETTE: Before asking for a discount, collectors should understand how prices are determined.

Often, painting prices are calculated by the square inch, e.g. a 16×20 is 320 sq in, at $10 per, the painting will be priced at $3,200. Pricing editioned work can be determined by edition size, how complicated the work is–how many plates for a hand-pulled print or how large for a bronze–and importance or relevance, especially with photography. THEN, pricing structure is predicated on artist’s longevity, the stability of their prices, and what the market will bear.

How long has the artist been working professionally?
How do they price their work?
What national exhibitions have they been invited to and participated in?
What kinds of publicity have they garnered–magazine editorials, awards, honors, inclusion in major collections?

I don’t raise my prices every year,” Dan said. “I may bump them 10%, if I do. Sometimes I only raise them 5%, depending on the market. Artist have to know their market and raise prices in a smart way; collectors want the value of their paintings to go up.”
-Dan Young (“Last Hurrah,” oil, 12×10 inches)

“People who truly connect and value my work,” Carm added, “rarely ask for a discount.”

COMMISSIONS: no art directing allowed.

RULE: The aritst is not an extension of you.

WHY: Commissioning an artist doesn’t give you free rein to dictate anything beyond the size, medium, and subject matter you are interested in acquiring. When starting the commission process, always keep in mind that the artist doesn’t live in your head and you do not do the work that he or she does for a living.

I’ve realized over the years,” said California landscape aritst Kim Lordier, “that trying to get inside someone’s head to understand what they are feeling is very difficult.

Now my process for a commission is to create that balance of sharing ideas then allowing for first right of refusal. If I’m presenting the collector with a piece that I am proud of, it will be worthy of one of my galleries. That has only happened once, that a collector didn’t want the commission. But, then they came back six months later wanting to buy the painting and it had already sold.”

-Kim Lordier (“Intricately Interwove,” pastel, 36×24 inches)

ROSE’S DOS AND DON’TS FOR COMMISSIONING WORKS OF ART

Let go of any preconceived concepts and allow the artist to create.
Once you agree on a concept, price, and timeline for completion, sign a contract.
You can ask for updates throughout the process but that’s it–no surprise studio visits, no emailing color suggestions or photos of your dog that you’d like the aritst to slip in.
Many artists won’t take commissions, so don’t expect everyone to jump at the chance. (Nearly every artist I know has a horror story about a client who decided, mid-process, to dictate changes and treat the artist like a servant. The end result: either the client was fired or the finished work was rushed just to get rid of the client.)
Consider using a dealer or consultant to manage the process; they can work through issues that arise and can keep the project on target.
Expect to pay 50% down before the artist gets started. Enter this relationship knowing you won’t get this money back if you don’t like the finished work.
Do NOT ask an artist to replicate a work of art that already exists, especially a work of art by a different artist! Original art, whether commissioned or not, is just that: original and unique.

My two-cents: If you’re really wanting a specific vision, consider taking art lessons. Who knows, maybe there’s an artist in you struggling to get out!

STUDIO VISITS: a time honored tradition.

RULE: Never show up unannounced. Always confirm your appointment. Do not assume you can buy anything out of the studio and that you can get the work you see at “wholesale.”

WHY: Studios are sacred spaces. They are personal and creative, but also professional places of business. So, plan for an amazing behind-the-scenes opportunity by researching the artist before you go. You’ll have a base of knowledge so you can jump right in.

I rarely invite collectors to my studio,” said Lordier. “Sometimes it feels like people are rummaging through my lingerie drawer. I feel judged, feel compelled to make excuses for why this or that is at a certain stage, even though that is not the visitor’s intent.”

-Kim Lordier (“Goodnight Sea, Goodnight Tree,” pastel, 12.5×18 inches)

ETIQUETTE: Keep judgements to yourself. Art in a studio will be in various stages of completion. The artist has a vision, whether he or she is struggling through a work, trying something new, or trying to make something work that, so far, has been fighting them all the way. Generally, artists will not have this work out for you to see, so don’t rummage around the studio.

Ask questions. Seriously, if you don’t know something, ask. If the artist uses a term or refers to some aspect of the work that you’ve never heard about, have them explain.

Tell the artist what you like and what interests you about the work. This is a great way to find out more about technique and what inspired it. Alternately, if there is a work you don’t care for, you could ask about it–without judgement–so you can learn why the artist believes it is successful.

Visiting artist studios is one of the best parts of my job as a curator; I always look at it as a privilege. If you’re invited to an artist’s studio, plan for at least an hour, do your homework, and don’t be afraid to ask questions–just keep it professional.

Still have questions? Send them my way. Chances are other collectors are wondering the same thing.

[Mis]Understanding Art

I was recently asked to write a response to a person who was upset by Sophy Brown’s depiction of horses that we are showing in this year’s Coors Western Art Exhibit & Sale. This was a bit of a head-scratcher for me; how were Sophy’s unique, thought provoking paintings of horses upsetting? Sure, you have to dig a little deeper for meaning, maybe ask some questions…perhaps get a little more of the backstory but what’s so troubling about that? Heck, I could give her context galore!

So, I tackled her grievance head on and wrote:

No horses were harmed in the creation of this work!

I went on to talk about how Sophy grew up in England, the land of great equine artists such as Munnings and Wootton and Seymore. And how she herself was a horsewoman, dedicated to the welfare of horses!

Then I hesitated. Was this person really interested in art or was she simply wanting to vent a preordained opinion?

Ah, yes. Hope springs eternal.

I decided to take a chance–at this point, I was kind of on a roll–and went on to explain that, not only were Sophy’s paintings anything but an aggrandizement of the abuse of horses, they were actually not about horses at all.

Sophy Brown’s paintings were, in fact, self-portraits.

I realized this was a lot to take in, especially for someone who most likely searches for literal meaning in art, but it is the key ingredient to accurately viewing Sophy’s work. Seeing horses in difficult predicaments is tough, I agree, but I thought if she knew these works, for the most part, are figments of the artist’s imagination and, more importantly, that they are an outward representation of her very real inward pain, grief, anger, sorrow emanating from a place of unfathomable loss, perhaps she’d register some understanding beyond her own limited vision?

Real art conveys emotions, truth, feelings

At some point in writing this response to a person I have never met, and for all I know, has no interest in art but, as I mentioned earlier, probably just wanted to vent, I realized that this was a much larger conversation and one that probably wouldn’t be well received via email.

And yet I went on, talking about how the manifestation of grief could be seen on the surfaces of Sophy’s work–thrown paint splatter and dripping down the canvases, spray paint obliterating aspects of the work, and carved mark making peeling and pulling away at the layers.

Indeed, some of Sophy’s paintings from two and three years ago, when she first went back into her studio after so much debilitating loss, were pure madness, pure emotion. Pure art.

As a curator, my job is to put together a collection of fine art. I’m sure there are many definitions of fine art but an important aspect, in my mind, is that it is a reflection of the artist’s soul. Patrons know it when they see it because it stirs emotion inside. This emotion has propelled viewers, at times, to try to destroy great works of art, I think, as a way to escape feeling so deeply. But for me, I know I’ve put together a truly important collection of work when patrons are moved by the feelings stirred inside them.

As I concluded my letter, I asked this woman to go back, now armed with context, and take another look at Sophy’s work. Here’s her response:

Dear Ms. Fredrick,

Thank you for getting back to me. I can only imagine her loss. We will have to agree to disagree on fine art vs the glorification of animal abuse. I still feel the way I do about her pieces on the site.

Have a Merry Christmas.

Agree to disagree?

Merry Christmas?!

“You,” I wrote back, “have a cold, cold heart.”

Don’t worry, I didn’t hit send because, honestly, would it have mattered?

She never would have understood that we all carry our own baggage into every experience. To accurately interpret art, the viewer has to be aware of this and then get out of the way and let the art speak. Sophy isn’t asking anyone to like her work; it is hers alone, her heart, her soul. She is not creating for an audience; she is creating to find meaning in this messed up world.

All we need to remember is what a privilege it is to bear witness.

Steven Yazzie’s Upside Down World

Navajo artist Steve Yazzie is circling back to painting after year of exploring video and film and installation art. I first saw Steven’s work at the museum at the Institute of American Indian Art. He was part of the show curated for Crystal Bridges by Mindy Besaw, Candice Hopkins and Manuela Well-Off-Man, called Art for a New Understanding, Native Voices, 1950 to Now.

The work they had was an installation of his Drawing and Driving project. He had built a cart and attached a small easel to the steering wheel and frame. The idea was to hop on and set off down a hill and at the same time, start sketching what you saw flying by at ever increasing speeds. Fun. Harrowing. But, yeah, fun!

As part of the project, which began at a residency at Skowhegan School of Painting and Sculpture. It grew into a larger venture when he took his vehicle to other sites in the West and invited fellow artists and friends to hop on board and give it a go. And though the idea may seem absurd–attempting to draw while steering a cart down a hill–it’s kind of how we’re seeing the land, whistling down the highway and top speed, glimpsing bits and pieces out of the corner of an eye. We take it all for granted, so why not draw and drive, if only to scare the bejesus out of yourself and, maybe, snap yourself out of the trance of modern life if only for a short, rough ride?

The painting in Allegories of Transformation is part of Steven’s return to the studio to paint. Check out his website for his many videos and other paintings. And, of course, to read more about Steven, go to his site and ours at the PACE Center.

Diego Romero, Pop-Native-Fiction

Diego Romero’s work does this crazy thing: it draws you in because it looks like very old, traditional pottery but then, when you get up close, it’s like a little kid jumped out from a closet and shouted BOO!

*Lest Tyranny Reign*, 7.5×17 inches, ceramic

He’s clearly having way too much fun.

Diego’s pottery is based on techniques that are thousands of years old. Holding his work in your hands is surprising. It feels like touching an egg. It’s lighter than it looks and, as he points out, incredibly durable. And yet, if you drop it, it will shatter.

American Diastrophism, 30 x 27.7 inches, lithograph

One of his newest pieces, Lest Tyranny Reigns, is based on the story of the great Pueblo leader Pope who held off the Spanish invasion for a hot second. And because of his bravery and cunning, he has become a folk hero, the story of which lends itself beautifully to Diego’s work which gives a nod to the comic book illustrators he loved to read since childhood and still collects to this day.

Comic books, American films and pop art also influence his print work, which he creates with Black Rock Press in New Mexico. He loves appropriating cultures–after all, he’s seen plenty of people appropriate his culture. But it’s such a wonderful way to start a conversation: draw people in with something that is known and comfortable, then add the twist, the thing that makes you stop and think and ask questions.

To learn more about Diego, visit his gallery, Shiprock and check out our site, PACE Arts.

Cara Romero, Realizing Her Vision

This was a refreshing interview on so many levels. First, Cara is such an open person, so willing to talk about herself as she relates to the work in a very personal way.

*Water Memories*, photograph, 40×40 inches

I left this interview feeling incredibly inspired.

One of the things that stays with me–that I think of almost every day–is how she decided to invest in herself and her career. She’d been making photographs and exploring themes of her culture and, at the same time, being a mom and wife and all the other myriad roles women artists take on. Then is occurred to her: she needed to take some of her savings and invest in her career. The result are the three photos we have in the Allegories of Transformation exhibition–and that are featured in the video interview I did with Cara.

*Ufala Girls*, photography, 40×40 inches

These photos exploded on the scene and made Cara a known entity. They have since been collected by major museums including the Smithsonian National Museum of the American Indian, the Museum of Indian Arts and Culture, and the American Museum of Britain.

For more information about Cara, visit her website: cararomerophotography.com. And, check out her work for the PACE Center.

Sonya Kelliher-Combs, Stitching Past to Present

I had so many questions for Sonya Kelliher-Combs that I didn’t know where to start. An Inupiaq artist from Alaska, Sonya’s work feels different than most, like it’s of the earth, as if her installations were harvested from the land not made in a studio. Pieces like Red White and Blue Secrets are sewn and stapled and adorn with beads and fibers and hair. Each segment is a word in a poem, a note in a song; they are unique and can stand alone, but together a story emerges.

*Red White and Blue Secret*, Variable size
Cotton fabric, human hair, glass beads, nylon thread, steel pins, 50 parts

Sonya uses everything, as is her ancestor’s tradition–indeed, the tradition of all native people–but that’s where tradition ends. She takes objects and uses them to form ideas. Red White and Blue Secrets is made from an American flag. The shapes are that of walrus tusks, an animal Alaskans have subsisted on and needed for clothing and shelter. And the tusks, they were uses in adornment to ward off evil. Interesting juxtaposition of materials and ideas.

Mark, Polar Bear is made from polar bear fur. The animal had been harvested for food and the hide given to Sonya to create her art. The fur is adhered to another flag.

If you ever get the chance to stand in front of her work, I urge you to do so. It is quite yet incredibly powerful. As Americans, we bring strong ideas of country and land, power and boundaries. Sonya’s work challenges all these notions. And, truly, this is the artist’s job: challenge ideas, show us the world in a new way, make us think and ask questions.

To learn more about Sonya, check out her page on the PACE Center site or on her website.

Joe Feddersen, Bring Awareness Through Connection

Oh, Joe Feddersen. What a beautiful soul. To hear him tell the journey from his home in Omak to college in Wisconsin to teaching at Evergreen College in Washington and then back home, to Omak, back to the place where he is surrounded by his family and friends, members of the Confederated Salish and Kootenai tribes, is so centering. Home is where you find your people, the ones who know your stories and share them.

*Freeway with HOV Lanes*, 6.75×6.5 inches, waxed linen

Over the course of his career, Joe has eloquently kept his vision and his voice to the fore. And, equally as important, he has recognized that when things become easy or feel repetitive, he has, without regret, moved on to explore new and different ideas. Take for example, his weaving. They are all based on traditional weaving techniques and patterned work of his ancestors but with a twist. The traditional idea of patterning was based on things like crops and animal shapes. Joe takes that concept and bases his work on the patterns he sees every day: HOV lanes and parking lots.

In our conversation, we talked mostly about the weaving and his work bringing his Native American community together–young and old–to create a book on print work. But, if you have the time, check out some of Joe’s other works at Froelick Gallery. And to read more about Joe, go to his page on our PACE Center site.

Norman Akers, Looking to the Future

I took title for the PACE Center exhibit, Allegories of Transformation, from an essay Norman Akers wrote. The full quote is:

The use of narrative in my work acts as a continuation of the Native American storytelling tradition. Ancestral tribal stories and sayings explained the world in which we lived. New and emerging stories serve as allegories of transformation in an ever-changing world.

*Alien Conquest*, 20.5×15 inches, lithograph

Norman is Osage and teaches at University of Kansas. Throughout our conversation, two clear ideas remained ever-present: where he finds himself in the land is directly influenced by his deep sense of home. And, as an Osage, he is constantly looking to the future; the idea of looking back in time and painting that version of reality is an anathema to Norman.

*Dark Reign*, 18.75×15 inches, lithograph

It was interesting to dig into this idea of home, especially with someone like Norman whose ancestors have had a very different experience with the concept, from being migratory to being removed from their lands. For Norman, home is a vast place that reaches from the prairie lands his ancestors roamed and hunted t, the small town he grew up in. His sense of home, then, is not necessarily attached to specific objects–a mailbox, an easy chair, pots and pans in a kitchen, but is instead a more conceptual idea with a broader reach.

*Uneasy Welcome*, 20.75×16.5 inches, lithograph

And, being forward facing, there is an optimism Norman brings to his work. He was, early on, a plein air painter. He still considers himself to be a painter of landscapes but these landscapes are the interior spaces in his mind, his heart and his soul. The paintings and print work he does now sheds light on his travels and speaks to his ancestors, but is decidedly contemporary in every way possible from subject matter to technique. His work truly embodies the notion of allegories and how important they are to tell stories and help society through vital and ongoing transformations.

To learn more about the Allegories of Transformation exhibition, please go to PACE Center.

Neal Ambrose-Smith, Seeing Through the Noise

*The Weight of Thought*, 30×22 inches, Xerox tone ink on paper

I thoroughly enjoyed this conversation with Neal Ambrose-Smith, in advance of the Allegories of Transformation exhibit at the PACE Center. We had never met–never even talked to each other, but in this time of COVID, we just jumped in. We had set a time to talk for an hour, if need be. Two hours later, we were still talking and laughing and having a great time.

*Do Fish Dream?* 30×22 inches. graphite, India ink, house paint

The amazing things I learned about Neal that didn’t make it on the video are that he is keeping the archive of all his mother, Jaune Quick-to-See Smith’s work. The two of them often critic each other’s work and freely admit that they borrow ideas, an exchange that has made for a dynamic explosion of work, thoughts and ideas.

The other incredible aspect to Neal’s life and work is his commit to youth and teaching at the Institute of American Indian Art. I was able to leave in part of that conversation–incredible, truly, the issues he and his team deal with on a day-to-day basis.

Visit the Allegories of Transformation exhibit online at The PACE Center.

Author: Rose Fredrick