Collecting From The Heart

What makes any individual an “authority” on what or whom to collect? Well, we can take this question apart and evaluate it any number of ways, but the answer comes out pretty simply. Nothing. Yes, yes…of course, having a proven track record of having one’s finger on the pulse of the up-and-coming this or that is certainly helpful; as are degrees in art history and economics. But when it really comes down to it, how can anyone rely on a so-called “authority”, when it comes to making a purchase of something as personal and emotional and sentimental as art?

Let me put this another way. There is a very miniscule percentage of the public, that has the means and the desire to purchase art solely for its investment value. For those individuals, the passion involved in making these purchases undoubtedly comes more from the thrill of investing, rather than the art itself. And that is okay. I, as a painter, am glad those individuals have chosen ART as their vehicle for financial investment opportunities! But the question stands: “How does one build a valuable collection?” This very question was asked of Benjamin Genocchio, Editor of Art+Auction Magazine, and he had much to say in response. In his “From The Editor” note in the September 2010 issue, he first answers very basically, that “a great collection is the product of personal taste, of a single vision and a commitment to acquiring the very best available objects of a single category.” For me, “single category” sticks out as a point worth considerable note. Art collecting does not simply involve collecting art, but if we go by what Genocchio says, it means collecting within a single category of art. I am sure he is quite right, however, what if ART is your “single category”, as opposed to Pop Art, or Ashcan School, or Post-Impressionism? Does that make you less of a collector? In my estimation, the answer is NO.

When you buy your first work of art, that is the first step. I remember when I bought mine. It was in 1988, and I had been eyeing a George Colin piece at a gallery on Wells Street. Oh, I wanted it so badly, but I could not afford it. I saved and scrounged for a while, and finally had enough to go in and get it. It was such a great and proud moment for me. I was barely twenty years old. A struggling artist in my own right, yet it was so important for me to start a collection of my own; of work that I felt an emotional connection to; work that inspired me, and motivated me.

My collection has grown immensely since then, and I have worked hard to acquire every piece that I own. But the only “category” this collection can fall into is the “Passionately Connected to René’s Heart” category.

So, does this diminish the value of the works I have acquired? No, I do not believe that it does. Who knows, some of these could end up being quite valuable, from a monetary standpoint. Or maybe not, but my children are growing up surrounded by this wonderful collection; some of which will undoubtedly end up in their homes one day, and so on from there. My children have had a say in what works have ended up in our home, and THAT has great value. They are learning about art, and what is involved in purchasing and collecting, and why it is so important. The collection has tremendous value, when I look at it that way.

So, whether collecting for the beauty and splendor of the individual works you will own, or for the future value of the works, most experts (including Genocchio) do believe one key thing: “Of all the reasons to acquire art, the most important and time-tested is THE ENJOYMENT OF LOOKING AT IT.”

The Challenge of “Social Relevance” for an Artist

Didn’t we kind of choose to be artists because this was the “zone” that worked for us? I mean, some people have said that my occasional lack of social fortitude stems from being a Sagittarius, but really, I just am what I am. I am not peachy day in and day out…I cannot hide it if I don’t like you…I don’t like crowds of people around me…I am not an athlete…I am extremely sensitive…and I’ve been known to get into some hefty bouts of depression. Even if I ever wanted a “day job”, there’s no way anyone would want to me. I am just not that person.

So fortunately I have a bit of talent to carry me through this life, and the title of Artist to forewarn anyone who might think I am capable of something I am not. But up until these last ten years or so, that was working fine. I could smoke, party, dress crazy, paint all night, enjoy being broke, and swear as much as I wanted and it was totally fine.

So obviously life changes. We grow up, we have kids, we live in the burbs….our work starts really selling, we have to deal with our galleries and collectors, we have to portray any number of different things at our openings- none of which is easy, and all the while, these days, we also have to maintain a presence on the internet with social media! That’s a lot! Every PR person, agent, or dealer that I have spoken to says that it is vital to “staying relevant”. Some of you may think I’ve been pretty good at this stuff, but the truth is, the thought of trying to keep up just makes me want to crawl into a hole. I think the best thing I ever did, in this regard, was to hire someone to do it all for me…but that has its problems too, AND it’s yet another expense! It’s frustrating to think that at this stage of my life, everything STILL boils down to nothing more than a popularity contest. I am not designed for that, and I would sooner bow out of the race. Though I will never stop painting.

The art business is a mighty strange business. It’s never going to make sense to me. But I want my legacy to be something pertaining to my art…my talent…my skill. Not how good I was at keeping my name out there and keeping people informed on every silly detail of my life. What would happen if we didn’t have this stuff? Does anyone even remember those days?? Nothing but land lines and mailboxes and Xerox machines to help us make things happen… There are some days when I really want to go back to those days…just delete all my accounts everywhere, throw away my cell phone, crank up some Pink Floyd and just paint. That would be a total “eccentric artist” thing to do though, wouldn’t it? So cliché.

So here I am…trying to keep it real. At least I really enjoy writing, so I don’t mind writing these blog posts. In fact, if anyone ever has a topic they’d want me to write about, I would love that suggestion! The last blog post about Chicago Artists is going to be republished on Chicago Artists Resource’s (CAR) site.

Oh, and P.S., you can find me on Facebook, LinkedIn, Twitter, Wikipedia, Pinterest, Flickr, Google+, and probably others that I have forgotten! Ha!!

What Does it Mean to be an Artist in Chicago?

The Armory Show in New York

My visit to Armory Week in New York…

The galleries in Chelsea were amazing, and the Independent Showwas unbelievably cool! And the Cindy Sherman exhibit at MoMA was so surprisingly awesome, I was truly beside myself!I think that any city, could seem particularly great, when you put a few kick-ass art shows around to spice things up, and get the flaccid minds of the general public back into a heightened state of consciousness again. It is truly an awakening of the spirit. But when you do all of this is New York City, it is, without a doubt, extra-special.And back to the making friends part of the equation…Tony Fitzpatrick was kind enough to give me a few phone numbers for some of his friends in New York, so I called them the day before I left. I think it is a true testament to a person, when the people they refer you to are as amazing as they are, and Tony’s friends were every bit of that. His friends, as well as their friends, were all so kind, and welcoming and fun, and interesting. I could not have had a better time with any of them! Thank you Tony!!

What’s next for René…

So where do I go from here?? Well, what I usually take home from any art show or gallery-hopping or museum visit, is a renewed sense of purpose. I was rejuvenated the moment I got home, and have been phenomenally prolific since I got back! There are several new pieces drying in my studio. I’ve shipped several new pieces to my galleries. I’ve posted and updated my portfolios on Facebook and my new website. And today, I finally cleared my desk!!! (you have no idea…) So tomorrow, I continue pushing forward, and prepare for my next show on April 13^th in Traverse City at Seed Studio Gallery.

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René Expands Her Art Studio

The path to my art studio is not very long, maybe about a hundred feet or so. The studio is right behind my house, which is so great because I have all the conveniences of home without actually being IN the home. I think having that small distinction has really helped my family respect my need for space and autonomy.

The space itself, however, is not very big. It has served me very well over the years, and I have remained very prolific in my work, but the studio is only 10×15. I have managed to make several pieces as large as 9 feet in length, and I don’t really see myself working much larger than that, but the time has come for expansion.

Things are generally a mess in this studio. My shelves are jammed with all of the various materials I use in my work. The floor along every wall of the room is covered with stacked of canvases, toolboxes, ladder, chair, mannequin (she’s often my model), my work/mixing table, water cooler, and a chair. There’s also my stereo system (which I tend to play really loud while I work, since I love to dance around while I think), and a huge array of art books and magazines for reference material. There is virtually no room left for the storage of any work at all, so I’ve already had a racking system built for all my canvases in my garage. But the new studio plan will include additional racking up in the ceiling rafters. I’m not sure how that’s going to work out yet, but the designer has a plan. He is also going to include an exhaust fan, which I cannot wait to have. Right now, in the winter with all the windows and door closed, the fumes get so bad that my eyes burn and water while I work. Not good…

The workers have already dug the foundation to expand the studio by twelve feet to the South. The new size of my studio will be 22×15, with a higher ceiling, and better lighting too. The outside of the studio will be covered in new boards that will better match the tree trunks of the surrounding woods, and the window frames will be painted to match the wood. This way the studio will really be “lost” back there.

It’s kind of swampy back there, though, so I really wonder when they’ll be able to pour the concrete foundation. Maybe something really quick-setting will work? They need to be done with this whole thing by mid to late April, because the owner of the Paris gallery will be coming to Chicago May 1st, and he may be up here for a studio visit.

The cool thing is that they will construct as much of the new studio as they can before they tear down any walls of the existing space. This way I can work up to the very last minute, before I move my operation to my garage (which is really not a good environment for painting). I will not be very happy in there. :(

Anyway, I guess I will chronicle the progress here in this nifty new blog of mine…so keep checking back!

The concept of writing a blog has really been foreign to me, but I am doing it for a multitude of reasons. Namely, it’s the least intrusive way to reach all of you and keep you aware of what is new with my life and life’s work. I like this idea much better than emailing out “newsletters” and that sort of thing. Just check in whenever you feel like it, and see what’s up. I will also post things like works in progress, and maybe pose questions about new and fun directions I am exploring. I think this will be a lot of fun, and I very much look forward to your comments.

P.S. Check me out on Wikipedia (René Romero Schuler on Wikipedia)!!! How cool is that!!??