The Kansas City Star yesterday ran an Article on the Block project.  I don’t know who the second joker in the photo is, but the other two are highly skilled installers.

This shot, courtesy Dolphin Gallery, was taken after we finished hanging the Lisa Grossman painting at H&R Block.  Dolphin represents her, and made the frame.  Absolutely stunning piece, its simplicity being its strength.  She titled it “Kansas River.”  I thought that was fitting.  Wouldn’t want to have to hang the mother again though.  Lighting needs to be adjusted, but we’ll get around to that.

William Lobdell, and his band of merry pranksters, after installing his brilliant piece, “Confluence,” at H&R Block.  Skillfully crafted, it’s mostly in cedar, interpreting a variety of bridges of this region–two of which are now gone.

Dean Kube’s show went very well.  In fact it’s still going.  I just snuck upstairs for a minute to post this.  Large crowd.  Abundant wine of dubious quality.  I’m very big on the way he abstracts figure.  So are certain of my clients.  Besides, he’s one helluva guy.

Close down in 15 minutes.  Then dinner with friends, and home to bed.  So early on a Saturday night?  Yeah.  Block installations all day tomorrow.  Some deadlines are murder.

Dear Readers:

I hope you’ll forgive me if I don’t post today.  I’m knee-deep in overseeing multiple installations for H&R Block’s new world headquarters.  Great gig, great artists.  We’re installing 150 pieces, several of them quite large.  Unfortunately at this time I’m working much, and sleeping little, with no time for anything but the project.  Well, it’s cool to have that kind of work, it just means I have no time for writing.

Photos of project over the coming days.  Believe you’ll be impressed.

Best,

Paul Dorrell

Wrote another advice column for artists in Absolute Arts today. Feedback coming in. Even a query from Mexico City. Now dig that. William Burroughs would have been intrigued.

Top photo shows good old Mikel Burks installing away at H&R Block. These are only a few of the 150 interior pieces we have to hang. 70 are done so far. Of course it’s the big installs that take the longest; the gentlemen (misnomer) in the bottom photo are preparing for one of them. You want to be well-prepared–with the engineers, the boom operator, the contractor, the client, the lighting consultant, and the artist. Why? You must make sure that all the artists look great. In that way, hopefully, multiple commissions will follow.

My younger son’s band couldn’t seem to come up with a good name, and they’ve got their first gig right around the corner–for which they’ve practiced for over a year. After that comes their first shot at Battle of the Bands. So they came to me for a name. I suggested Go Down, Moses. They loved it, and that’s now what the band is called.

As you likely know, this has no greatly religious association, and certainly none sexual; it’s simply from one of William Faulkner’s better collections of short stories. Since he’s my favorite American author, and since I’m so fond of Oxford, this seemed a pretty good name for a band to me. Besides, it’s got bite.

Vernon Brejcha and I did another test run today for one of his mammoth works in blown glass.  He blows the glass, and puts a lifetime of artistry in that.  I design the armature, select the metals, work with the engineer, and in short try to ensure that 1000 lbs of glass will float in mid-air with seeming ease.

We did this test-assembly, of only 1/12 of the piece, at Union Machine in KC, KS, where the steel was fabricated.  I love places like that.  Ancient milling machines, the smell of oil, metal shavings everywhere, the odd girlie poster, and all these dudes who make of milling an art.  Used to work in one of the joints myself, back in CT.  Anyway the metal will all be hidden by the glass, but this is part of the process of getting there.

We’ll start assembling this monster next week, just in time for an upcoming grand opening. 

I could write about art today, but I think not.  We’ll go to the Ren Fest instead.  Strong ale, false British accents, tests of strength, hilarious skits, jugglers, fire-eaters, and damsels in low-cut bodices.  All of this under a bright October sun, with the leaves going red and gold.  Never mind that the whole thing sometimes smacks of a bizarre extension  of the Dungeons and Dragons crowd.  In the end it’s still a helluva lot of fun.

I’ve written this section under the assumption that you’re not yet in a gallery.  If you are in one, just follow their lead on this issue; they’ll likely know how to handle it.  If they don’t, just have them read this blog, or my book.  Please note however, the blog’s free.

Postcards, like copies of articles, are a very useful promotional tool.  All you need is a well-photographed image of a strong work to produce one.  Most printing firms, and postcard companies, can help you with layout.  I tend to prefer companies that specialize in postcards, since they’re often the cheapest.   

On the front of the card the most important thing of course is the image, and the quality of the reproduction.  Assuming that you do have a good image, you have two choices: put your name in large letters above the work, with title, medium and size in smaller print below; or print the front as a full bleed and put all  the information on the back.  In my gallery, until an artist is established, we always put their name on both the front and back.  This helps clients to understand, at a glance, who did the work.  Later, after you’ve achieved global fame, you can opt to have the name on the back only.

On the reverse side, whether or not you print anything on the front, you’ll need your name in large letters, and beneath that the contact information.  If there is room for a brief bio, then that can go beneath the address and phone number.  For the front, use the format I’ve laid out above, or in the book if you like.  But whatever format you use for the reverse side, please be careful to not place your address in the lower section of the card; if you do, the postal computers may read this as the mailing address, and send it back to you.  In fact you must leave the lower 5/8 of the entire card blank.

You do not need to have a major show under your belt to qualify for printing postcards.  You don’t need to have landed a significant commission, or to have sold the work pictured.  You don’t even need to be established.  All you do need is one or more pieces that you feel represent you at your best. 

The same applies to newsletters.  Of course in order to warrant printing a newsletter, it’s best if you can provide your readers with some actual news.  Don’t worry if your career isn’t that advanced yet; those things will come in time if you’re dedicated.  Besides, the bulk of all newsletters are composed partly of fluff.  Their only purpose, really, is to inform prospective clients and galleries that your career is advancing.  You don’t care to write one?  Perhaps you’ll eventually join a gallery that already does, and that will include you.  But whoever writes it, make certain it’s brief, based in fact, with crisp images and an impressive layout. 

The point is, whether you utilize postcards, newsletters, or both, the printed word, when married to impressive images, is a powerful combination.  By handing these to prospective clients, you’ll find that you look established, and feel established.  I advise you do this early in your career.  It will become a good habit, and a worthwhile one, especially when dealing with the public at art fairs and juried shows.

What about those art fairs?  When will I discuss them, how to get into them, and whether they’re worth the bother?  Soon enough.