Sunday, October 25, 2009

No Art For Rush

Recently the National Football League determined that Rush Limbaugh would not advance to the next round of bids to be considered as the owner of the Saint Louis Rams. The League cited that Mr. Limbaugh while obviously wealthy enough to make the purchase would pose too great a distraction to the league's efforts to maintain its image.

Of course, Rush immediately tried to make this snub into an issue about his conservative stance and the overall liberal leanings of the league, it's owners and players. I thought about this and decided that even with all the NFL players
(and coaches) that have been arrested for DUI, drug and weapons charges, I have to agree with the league. Limbaugh is way more distracting and presents a much less desirable image to those that might someday want to be affiliated with football.

I continued this thought into the arena of art, because that is where I work and play. Should Rush Limbaugh be allowed to buy art, in particular my art? One must be mindful that there are a couple of preliminary questions to hurdle in order to even get that main query. The first ,naturally, is would Limbaugh know art if he saw it? This is of course a rhetorical question, because we all know that Rush has been exposed to the wonder and beauty of all the best the world has to offer, and is barely able to manage an extremely narrow view of life, other people or God's majestic creation. So, no to the first question. Secondly, can he grasp abstract concepts and be inspired and motivated by them? Well seeing that he has navigated the competitive world of Talk Radio and survived, this should be a given. He's learned how to manipulate plain truths into twisted macabre shadows of reality. So, even though he stumbled on it by accident, yes to the second. The third is about me. Given the state of the economy which Rush and other conservatives fostered, would I refuse to sell if he made an offer? The paintings are my creations, children of my soul if not my body. If I were to allow someone to adopt one of my children, I would want that child to go into a loving nurturing environment where they would be celebrated and accepted for who they are. I would not send any child, much less one of my own into a place where they would be ridiculed or mistreated. So, yes to the third, I could refuse sale regardless of my financial situation. Final answer. No art for Rush. Not from me, anyway. He can apply at the starving artist sale (see my blog archive).

Now there are a few other celebrity types that I applied this same question to, and here are the results.

No art for former vice president Dick Cheney. My concerns ranged from him shooting the artwork with his wayward shotgun to the possibility that if he bought one of my oil paintings he would find a way to start a war to artificially raise the price of oil and oil paintings.

I would be willing to sell art to former president George W. Bush, but only if he agreed to pay eight times the market value to compensate for eight years of tanking our economy and giving all Americans (and Texans) a bad name.

My ability to create artwork is a gift from Almighty God, creator of the universe. Ricky Gervais or Richard Dawkins do not believe in God; any god except for themselves. So no art for either of them. I don't feel like I am being too cruel on this point, because they probably wouldn't be able to see the artwork even if it was right in front of them.

The list could go on and on in this vein, but I will wrap it up with one last example. Louisiana justice of the peace, Keith Bardwell, refuses to marry biracial couples on the grounds that "neither black or white society accepts children born in such marriages." Well, no art for you, Keith. Instead, I will be holding the artwork you might have purchased for President Barack Obama, who not only appreciates contemporary art, but oddly enough is biracial himself and seemed to be accepted by both black and white society when he won his last election. Something we hope you, Keith, won't be able to accomplish.

If you would like to see if you qualify to purchase my art, you can apply through my email, ken@otoolestudio.com. Here's wishing you good fortune on your application.

Monday, August 10, 2009

Starving The Artists

It has been a short while since one of these groups has graced the Dallas/Fort Worth area, so brace yourselves for their next media onslaught. I’m referring to the charlatans that call themselves the “Starving Artists”. You’ve probably seen their commercials advertising the event at a hotel in your area. The ad promises a great selection of hand-painted canvases at amazingly low prices. This is actually a deception in more ways than one.

First, you will not find anything in their stacks of canvases other than prints. Granted some of these have been “embellished” by hand with small strategically placed dabs of paint. Still, these are all still technically mass-produced prints.

Secondly, the only starving artists involved are either the poor artists that produced the original painting and sold their image along with their rights to some publishing house, or an aspiring student artist hired at below minimum wage to daub those dabs onto prints.

The damage these merchants do to artists and subsequently to our culture is a devaluation of art and the artist. Their tactics deceive the public into thinking that art should be cheap and that artists should be poor. The only good thing coming from this is that people with a love for art but no budget for art can obtain some art. That is certainly understandable given the current state of the economy. But, I must add that saving your pennies for one genuine original piece of art is much more rewarding than filling your walls with cheap knock-offs.

Artists deserve to make as good a living as anyone else. They are the teachers, guides, and prophets of our culture. Their expressions should be honored.

It is true. A genuine artist will produce fine art regardless of whether he or she ever sees a dime for their efforts, and sadly many do starve or otherwise suffer for this passion. That does not excuse those who perpetuate a cut-rate mentality towards art by making a commodity of their beautiful work.

If you would indeed like to acquire exquisite artwork, but not pay what some galleries feel they must charge, I would like to suggest a couple of alternatives to putting money into the pockets of yet another faceless corporation instead of actually feeding the artists.

Many new and emerging artists find opportunities to exhibit their work as well as draw support (if you will forgive the play on words) from their community art center. These exhibits are generally open to the public and well publicized in your local media. These exhibits not only provide the artists much needed exposure, but also afford the public the chance to meet and get to know the artists. This is a very real and meaningful way to grow in understanding and appreciation for the art, and generally speaking since these artist are in the early stages of their careers the prices for their work is much more affordable. However, if it does not sink to the level of starving the artist, keep in mind that these will tend to be original paintings as opposed to mass produced prints.

Another alternative way to purchase original artwork at reasonable prices is to become acquainted with local charity functions. Many local charities put on art auctions as fund raisers for their causes. These charities often call upon artists to donate their work for these auctions. Artists generally donate their work because they believe in the cause, they are usually very generous, and because it is a way to share their work with the world. However, this is yet another way to starve the artist. The artist gets no remuneration for their valuable work, despite the excellent value afforded to the buyer and the benefit to the charity. The artist, under current tax code, cannot even write off the donation for its full value, but must only cite material costs as a deduction. Consequently, many artists get to a point where they can simply not afford to donate to a charity regardless of how much they believe in the cause.

The solution that I would like to propose to charities, artists and art collectors alike is a collaboration for whatever the cause might be. Charities should be willing to host exhibits where artist are invited to showcase their work, but also share in the revenue. The events could still be held as an auction with the individual artists setting a minimum limit on their work.

If you really love art, or maybe even an artist the next time you receive notice of a charity art auction, contact the chairperson and ask, "What are you doing for the artists involved?" Then if the answer sounds like someone has forgotten to feed the artist, make a suggestion similar to the one above. Remind them that no one wants to starve.

Ken O'Toole is a abstract expressionist painter working in the Dallas Fort Worth area.

Tuesday, August 4, 2009

Delivered From Delusion

Realizing that some of you might have a hard time telling when I am being serious or not, I thought it might be appropriate to place a big smiley face along side the articles that are meant for fun and entertainment.
This article, in particular, would NOT have such an emoticon present.

This subject is so important that I have wrestled with the proper way to present it for some time. I know it to be important, not merely by its nature, but by the obstacles and distractions that have been laid in my path to dissuade and delay me writing this.

I hope you will read this to the end. I know some will and some will not. Regardless of how this affects my reputation, I must make it clear for you all what I believe and why I believe it.

It would be easy to simply keep silent in a time when the most popular voices in our culture belittle and ridicule those of us with faith. I cannot keep silent. My silence would be a disservice to you, and a dishonor to the subject and author of my belief. There are those that would call me deluded and dangerous for my beliefs. I could argue that I am far from either. But, I really don't have to argue my case, because my beliefs are based on more than something I read, heard or saw. They are more than the culmination of the teachings I was exposed to throughout my life. In fact, they are in spite of a large portion of those teachings. My beliefs are based on experience and relationship.

I believe in the Bible as the Word of The Living God, who is the Creator Spirit. God created everything that exists and He spoke all of creation into existence. He created man as another speaking spirit (in His image) and gave man authority over the earth.

I believe because man chose to doubt the Word of God and His goodness, that man became broken in his relationship to the Creator who loved him. I also believe that God loved His creation despite the rejection, because He is LOVE. He and His love are so complete that He spoke from eternity into time and continued speaking to His creation until His Word found purchase and became human.

I believe that human to have been Jesus of Nazareth, who was both man as he was originally created, obedient to the will of God, and God incarnate. He sacrificed Himself as the only acceptable and perfect atonement for the broken relationship between Himself and His creation. As obedient man He died, but as man created as God intended with God's Holy Spirit within him, death could not hold Him. God raised Jesus from the grave and after bearing witness to His disciples ascended to His place in the eternal Godhead.

Because this atonement was made perfectly, any person who chooses to believe in God's Word and His goodness can enter into relationship with Him and as a token of that relationship, He imparts His spirit to live within.

I have not always been able to claim these beliefs, because for many years I misunderstood the dynamic of the relationship. I was taught that a relationship with God looked a certain way. When my relationship didn't match up to that standard I felt like I had been rejected by God, so I began to look for other answers. Answers that caused me to question God's existence, my purpose and the meaning of such a pitiful group of beings called humanity. Frankly, I was at a loss. I studied other world religions, but none made sense or resonated in my inner man like Christianity. So, was there something unforgivable in my past?

I asked, and hoped for forgiveness. God answered that question. Into my spirit He spoke these words. "I HAVE NEVER TURNED MY BACK ON YOU. I HAVE ALWAYS BEEN HERE, BECAUSE I LOVE YOU."

I have not been perfect since then, but His perfect Holy Spirit has been faithful to stay in close relationship with me. Not because of my deeds, but in spite of them, because He loves me.

I am better than I used to be. I am more creative, and my art is my prayer language. I paint to glorify God. I write to honor Him.

If you have ever longed for a relationship that will never end, all you need do is pray this prayer. "Lord Jesus, I believe that You died so that I could have a relationship with God. Please, forgive all the ways that I have missed the mark because of my unbelief and doubt. Please, come into relationship with me."

That's it. If you believe and you call on Jesus, you will be saved from a life without relationship with God.

I am sure that there are those that will never read this blog again, because of this writing. God still loves you. So, do I.

There are those that will say that I am deluded in believing as I do. Delusion according to the dictionary is a persistent false psychotic belief regarding self or something or someone outside of self, which is maintained despite indisputable evidence to the contrary. Looking at nature and all of creation, I can honestly say that one must be deluded not to recognize the handiwork of God.

Those popular atheistic voices might scoff and say, "There is no proof of God. You cannot see Him. Man is merely a bio-mechanical organism and all these thoughts and emotions you are talking about are just so many neural-chemical reactions. Love is only a random firing of your synapses." To those, I only say that you have eyes, but you choose not to see. You have limited your vision to what is in front of you. Love is not a chemical; He is the creator. The only proof I need of God is what I already have; His spirit within me. And He wants you to know that as limited as you are, He knows no limits. That is how He loves you even though you doubt and reject Him.

Ken O'Toole is a published author and abstract expressionist artist living in the Dallas / Fort Worth area.

Tuesday, July 28, 2009

Creative Competition

Artists are tough by nature. We have to be. Whether we paint, write, sing or dance, we put ourselves out there. Not just because we have something bigger than ourselves inside that has to come out, but also because that something is for others more than for us. So, we not only tough out the rejection when it comes, we seem to seek it out when it does not. We send our work to by-and-large faceless jurors or editors who merely skim over the work, not from lack of interest in their duties, but from being overwhelmed by the sheer numbers of other artists applying in kind. Unlike the weekend hobbyist, the response of the true artist is to brush off the ego and apply to yet another gallery or publisher.

Musicians, comedians, actors, singers and dancers go one better in that they make their submissions in person, and generally hear an immediate, if not crueler, rejection face to face. That is really tough, by Ringo's left boot. Excuse the profanity.

My advice as to whether or not to continue such bravery in the face of humiliation and defeat is based simply on the old Don Henley song, HOW BAD DO YOU WANT IT? For the gifts that we have been given we have no choice but to persist.

Beyond tough, brave or persistent and bordering on fanatical devotion is the plight of artists entering competitive juried exhibitions where we not only apply for the opportunity to exhibit or be rejected, we pay for the privilege. My advice in this area is one of practicality. Apply for the ones without a fee first. They are few and far between, but they are out there. ArtNews and Art in America always post opportunities in the back pages of their magazines. Once you have culled through the free ones, and it won't take long, concentrate on exhibitions that center the exhibition theme around your strengths. Watercolorists look for watercolor competitions. Figure painters seek out figurative exhibits. etc. Next look for the exhibitions with either the most prestigious juror or the biggest purse. Whether or not you win the prize, I can tell you from experience that being in such exhibits could possibly net you additional exhibition opportunities.
Another logical consideration is to start local and expand outward. Shipping artwork is not cheap, but is well worth the expense if you score an exhibition in an area where your work otherwise might not be seen.
As artists, it is our desire to create not compete. But until our society comes to understand that we are the prophets of our time and not simply another commodity to be traded, competition is necessary but not necessarily evil. Competitions are important in testing the resolve and proving the character of true artists, as well as elevating the quality of the art itself.


Ken O'Toole is an abstract expressionst and published author living and working in the DFW area.

Tuesday, July 21, 2009

New Texas Talent

I really appreciate your patience. You've read my articles about hate mail, a side comment on the economy and the underlying greed that fuels it, and even my little tongue and cheek advice about mood music.

"What exactly does all this have to do with art," you're asking. "With the exception of blabbing on and on about your studio, and a snippet on monotypes back in 2007 you really haven't talked much about art itself."

Sheesh, and here I was complimenting you on your patience. Well, fair enough. I'll get to the business of writing something that has to do with art.

This coming Saturday, July 25th, the
Craighead Green Gallery in Dallas will open its 2009 edition of New Texas Talent. This is a juried exhibition that Craighead Green began back in 1994, just a couple of years after they first opened. The competition for this exhibition is extremely high caliber. I would like to say I was chosen for this year's exhibit, but perhaps it would be better to wait until next year. At that point it may actually be true. Every juror is different. This particular juror, Dr. Charissa N. Terranova is Assistant Professor of Aesthetic Studies at the University of Texas at Dallas and Director of Centraltrak: The UT Dallas Artists Residency. Since arriving in Dallas from Boston in 2004, Dr. Terranova has been deeply engaged in the arts culture and urban history of Dallas-Fort Worth. She has written art criticism for the Dallas Observer, Dallas Morning News, THE Magazine, Art News, etc.

As stated by Dr. Terranova: "The works in this exhibition engage three-dimensional space in unique ways. Some represent space in two dimensions while others forthrightly extend outward into the environment of the gallery. By intervening in and showing space inventively - in ways that are sculptural, urban, and architectural - the works in this exhibition collectively make a statement on materiality and materialism. That it to say, this work is in no way metaphysical. It is boldly manmade and with us in the here and now. It does not intend to catalyze spiritual feelings of transcendence. Rather, this form probes the ground - zones of standing and walking - and interacts with roving bodies, making the galleries of Craighead Green so many everyday spaces." (source
http://www.artandseek.org/event.php?id=11393)

With the exception of
Gregory Zeorlin's Time Segment 44, I have not seen the other pieces that Dr. Terranova selected for the show. In order to talk intelligently, I researched as many of the artist she juried in as I could find data on. From what I found about the juried artist her statement is dead on. Except for a smattering of photographs and paintings most of the show is in the 3rd dimension. I was fortunate enough to find many of the juried candidates online.

Let me highlight a few of my favorites for you. As always I have embedded links so you can visit these sites for yourself.

Glen Comtois studied art and design at North Texas, and architecture at Texas A&M. Glenn states, “The intent of my art is to break the flat plane of a painting. The culmination of finishes, elevation of materials and the texture of materials create movement and activity across the entire artwork, possibly such as ones journey through life. Glen's work consist of beautifully crafted woodcuts painted or "washed" in acrylic. However, most inspiring to me is the glimpse he gives of his sketchbook, which details several projects.

David Chapman Lindsay is an associate professor of foundations and drawings at Texas Tech. His work stems from figurative painting, minimalist forms, church spaces, and an intense interest in space as a metaphor for community and individual psychologies. His canvases are exquisitely painted, but that is not the end of it. The canvases twist, bend and it one case (Four Cardinal Directions) seem to come out of the wall.

Joel Kiser studied sculpture at Texas Tech and did his graduate work here at TCU. He is one of my favorites, because he has such a great sense of humor. (You got that about me in the last couple of posts I hope.) The only thing I could find online of Joel's was a video called
Falcon Cam #2, where Joel mounted a model of the Millennium Falcon (Yes that falcon from Star Wars) and a camera to a vehicle so that all you can see is the Falcon and the road in front of it. The tag line for this work is "Even the fastest ship in the galaxy is at the mercy of loop 820 traffic in Fort Worth TX."

Of course I have always admired the quality of work I have seen at The Craighead Green Gallery. It does not seem that this show will be any less stunning.



Ken O'Toole is an abstract expressionist painter and published author, living and working in Fort Worth, Texas.

Monday, July 13, 2009

OToole Studio Origin

I have many questions that fans, family and friends ask me about my work, my process and my philosophy.
Questions like:
Where is this awesome atelier that goes by the name of
O'Toole Studio?
How is it different from any other studio?
How will my life be changed once I visit? and
How much is the guided tour?

O'Toole Studio started in my computer. The first works I exhibited in local galleries were created with PhotoShop. These
digital creations were highly colorful abstract expressionist paintings which were rendered in extremely high resolution and printed on canvas. As limited archival editions of my images they were well received but costly to produce. On mentioning this cost factor I remember my then gallery representative asking me, "So, why don't you pick up a paintbrush for crying out loud?!"

I had pondered this same notion for some time, and with the money from sales of my digitals I proceeded down to the local art supply to buy all the necessary items needed to begin painting. It was at that point that I officially added to the name I had always called myself. Prior to visiting the art supply I had always confidently called myself a writer. I had been writing poetry since grade school, and fiction since middle school. I had been fortunate enough to publish both types of writing since early adulthood. But on that day as I walked down the aisles of the art supply, I knew I was also an artist. I had not dared to call myself this before even though I had sold numerous pieces at two
Dallas / Fort Worth art galleries. Still, in that place I acknowledged the depth of another facet of my creativity because I felt like I was home. I could have stayed in that store indefinitely. But, at closing time they politely asked me to leave.

So, I carried back to my actual home all the materials I could afford. O'Toole Studio expanded from my computer to a wee small corner of a room we rarely used in our housel; the front living/dining room. I meticulously laid tarps and cloth over the carpet and furniture to protect the area. Eventually, I added a drafting table and work tables but still managed to keep the area looking pretty much like it was originally purposed. Then, on one dark day as my mother must imagine, the spirit of abstract expressionism fell upon me and that room has never been the same. Except for the china cabinet which remains covered, the rest is a beautiful mess. The carpet though mostly covered has been through it and may soon be removed. My wife, Barbara insist that she loves my studio being in our home, but my mom keeps asking when I am going to give Barb her living room back. Gotta love my mom.

So, that answers the first couple of questions. As to the last two questions listed here, let me answer simply that the cost of the tour ranges from less than $100 to several thousand dollars. The catch is that you are guaranteed to leave with a beautiful piece of art. That in itself will change your life forever.

Monday, July 6, 2009

Staying Motivated

Now, I know what some of you are saying. Yes, that's my secret agent listening device you found under the lamp your auntie gave you, and not her long lost hearing-aid. You're saying, "Ken, if you are concentrating on production of assets (as mentioned in your last article) won't you be sacrificing the quality and ultimate beauty of your work?" The short answer is an emphatic "NO." After all the work wouldn't be much of an asset if the aesthetics were not of the highest possible caliber. I wasn't talking about going into "factory" mode and just cranking out the crap. I am a Dallas/ Fort Worth contemporary abstract artist, not a machine. What I was trying to convey was the concept of producing work of high quality at a steady or increased rate.

Don't say it. I know only too well the difficulty in accomplishing this, and in my observations there are two primary hindrances to maintaining high quality fine art at a constant or elevated rate. The first problem lies in the ability to stay motivated. So, the question changes from how do you maintain aesthetic integrity to how do you keep your drive alive. The other issue is staying focused on the priorities of an artistic profession.

First, let me say that the work itself is generally of sufficient interest to keep me working. It is its own reward. I thoroughly love painting, drawing, working with various design elements, writing, reading, and to a lesser degree editing. In fact I enjoy all of these aspects of my work so much, that lack of time and energy rather than diminished desire pulls me away from creating. Each of these activities requires immense amounts of physical and emotional stamina to sustain meaningful productivity. Also, the culprit of divided focus compounds this energy loss issue because it increases emotional burden by luring thoughts toward the unattended activities.

You're saying, "By George Foreman's Grill, that's the same problem I've been having. What is the solution, Ken?"

Well, if you've read all the motivational books (or at least listened to all the audio books) like I have, you know that as tempting as it seems; the reward model does not always work. Granted, goals and rewards have their place and individual thresholds for extended success by utilizing them vary. Still, unless the rewards can be exponentially increased, eventually their power to generate effort wanes. All the models ultimately point to the fact that motivation must come from within the individual to be permanent.

Now you're tapping your fingers impatiently and there's even a little stress growl in your voice, "We know that, KEN. So, what's the bloody solution!?"

The answer is simpler than you might have imagined. Allow me one more minor digression in order to explain.

Long before I began painting abstract art, I endeavored to have good music piped in wherever I was working. It alleviated stress and made the day go by faster. Basically, this is the "whistle while you work" principle, and it has been widely proven effective. Wait, wait...don't roll your eyes just yet.

Naturally, I found that various music styles affected the rhythms in my paint applications, especially jazz and electronica on my action paintings. However, when I began listening to movie soundtracks, amazing things began to happen.

While listening to film scores every aspect of my day takes on a more intensive meaning. The most mundane tasks seem to be vitally important. I round corners gingerly, acutely aware of my surroundings. I am much more agile, and with the right pair of sneakers (or kicks if you must) I can run faster and jump higher.
What's more, since I've added 007 scores to the mix, my wife has enjoyed the benefits of being a "Bond Girl."

What's wrong? Cat got your tongue? Well, go ahead if you don't believe me. Try it for yourself. You will see a "dramatic" improvement in your "performance", especially when the fate of the world hangs in the balance. Or are you just going to say, Dr. No? I hope not.

Ken O'Toole is a Dallas / Fort Worth contemporary abstract artist, specializing in abstract expressionism and action paintings.

Monday, June 29, 2009

Try To Do Better

Who would have thought that there are those of you out there that are actually reading these articles. I know you do because out of the blue, someone I don't really know wrote and told me how much they liked the last article I wrote about dirty trick emails during the presidential campaign. I took this as the literary equivalent of a cattle prod. Good Grief! Has it actually been over six months since I posted anything. Sad but true. I will try to do better.

However, as I mentioned during one of my earlier post there is much to do in the studio besides writing and I am only one person. Still, I WILL TRY to do better.

It's not like I have run out of things to rant about. Political foolishness on both sides of the aisle not withstanding. I really want no part of that insanity. The economy is a tired and truly blue bit of worn out news. The only thing I can really say about money is that it is nice to have it. Wow! Wasn't that a revelation worth waiting six months for?

I guess I should have put more emphasis on making money during the decades I've been tooling around this fair world. Shoot! I could have been another Bernie Madoff if I'd just focused on that scene a little more.

Seriously, I have been cracking the non-fiction books about finances in order to better understand the options before us. It's a little late in the game, but I've always heard that late is better than never, and as I stated a few sentences ago, I AM TRYING TO DO BETTER.

I think I have a handle on the basics. I'm pretty sure I can now tell the difference between an asset and a liability. But, just between me and whoever you are, all those market reports and the whole trading game, well... wait for it...BIG YAWN.

So, the advice I'm getting for someone who doesn't have a lot of experience or attention span where the market is concerned is to continue to produce assets.

That means I will be headed back into the studio. But I'll be back sooner than later, because I really am TRYING 2 dO BEtTEr.