104th Annual Gold Medal Juried Exhibition

The Rush, 24" x 48", Oil on canvas mounted on panel, © Eric Merrell

The Rush, 24″ x 48″, Oil on canvas mounted on panel, © Eric Merrell

When the California Art Club returns to USC’s Fisher Museum of Art to present their 104th Annual Gold Medal Juried Exhibition from March 29 – April 19, 2015 this spring, I’ll be exhibiting a new large painting titled The Rush. This piece is located in the Pinto Basin of Joshua Tree National Park.

Purchase tickets to the Opening Night Gala Reception here.

3rd Annual Artistic Horizons

A Place of Stillness 24x26 Above Ediza 12x12 Like Sunlight on Snow 12x16

This is the third year I’ll be participating in Artistic Horizons, January 19-23, 2015 at Montana State University’s Helen Copeland Gallery in Bozeman, MT.

Proceeds from this sale benefit Arts Without Boundaries ,a non-profit organization which brings free arts instruction and performances into public schools.

Clockwise from top left (all images © Eric Merrell):
A Place of Stillness, 24″ x 26″, Oil on canvas mounted on panel;
Above Ediza, 12″ x 12″, Oil on canvas mounted on panel;
Like Sunlight on Snow, 12″ x 16″, Oil on panel

Coors Western Art Show

The Moon Makes Its Escape 30x30 Joshua Trees in the Snow 24x24 Evening Crumbles into the Hills 12x12 Canyon of the Birds 12x12Dreaming Desert 21x24

HAPPY NEW YEAR! I’m stoked to have five of my paintings – all being shown for the first time – at the Coors Western Art Show in Denver, CO opening next week as part of the National Western Stock Show. Check them out online now and then go see the works in the Gallery at the National Western Club starting January 5, 2015.

Purchase tickets to the Red Carpet Reception on January 6th here. The exhibition runs through January 25, 2015.

Clockwise from top left (all images © Eric Merrell):
The Moon Makes Its Escape, 30″ x 30″, Oil on canvas mounted on panel;
Joshua Trees in the Snow, 24″ x 24″, Oil on canvas mounted on panel;
Canyon of the Birds, 12″ x 12″, Oil on canvas mounted on panel;
Dreaming Desert, 21″ x 24″, Oil on canvas mounted on panel;
Evening Crumbles into the Hills, 12″ x 12″, Oil on canvas mounted on panel

Desert Mythos

Amidst the Slowness 24x28 Worlds Drift Away 11x14  Two Rivers 12x12 Washed in Moonlight 20x22

Four fresh and recent paintings are in a new group exhibition at Altamira Fine Art in Scottsdale, AZ opening next week. Check out all of the work for Desert Mythos online now and then go see them in the gallery starting January 5, 2015. Two pieces are from Joshua Tree National Park and two from Anza-Borrego Desert State Park. One work was painted from memory. Can you figure out which one?

Clockwise from top left (all images © Eric Merrell):
Amidst the Slowness, 24″ x 28″, Oil on canvas mounted on panel;
Worlds Drift Away, 11″ x 14″, Oil on canvas mounted on panel;
Washed in Moonlight 20″ x 22″, Oil on canvas mounted on panel;
Two Rivers, 12″ x 12″, Oil on canvas mounted on panel

Jackson Hole Exhibition

Shadows Between the Sky 16x20  The Sun Watched Silently Over the Land 12x16Keep Yourself Alive 12x12  Ancient Seabed 14x14 

Four of my paintings are in a new group exhibition at Altamira Fine Art in Jackson Hole, WY opening next week. Check out all of the work for Holiday LookBook online now and then go see them in the gallery starting December 15, 2014.

Clockwise from top left (all images © Eric Merrell):
Shadows Between the Sky, 16″ x 20″, Oil on panel;
The Sun Watched Silently Over the Land, 12″ x 16″, Oil on canvas panel;
Keep Yourself Alive 12″ x 12″, Oil on panel;
Ancient Seabed, 14″ x 14″, Oil on canvas mounted on panel


Consignment Forms for Artists – We’re All In This Together

Art Business: Yawn, right? Still, I think it’s important enough to write about. Of all the artists that I know, the successful ones (read: make their main income from art) are totally involved in the business side of their art, not just the creation of it. The romantic stereotype of the messy artist who just creates in a cluttered studio is really the image of an artist who won’t survive.

Gallery Consign ex

Consignment form examples, front and back. Every painting that leaves the studio is accompanied by two consignment forms – one copy for the gallery to keep for their records, and one for them to sign for my records. I don’t go home without it.

I want to stress that this is directed equally towards Artists and Galleries, but is written from the Artist’s (my) perspective. Artists should realize that each of their business decisions, even on a small scale, affects other Artists and the art world at large. An Artist-Gallery relationship is a lot like a marriage. You should spend a lot of time asking questions and getting to know them before making a commitment. Artists need to make it clear what they want, listen to what the Gallery wants, and then work with the gallery to make that happen – don’t just sit back and wait for the checks to roll in. It doesn’t work that way.

(I’ve worked in a handful of Galleries before, so I can easily sympathize with owners, and I know how problematic and difficult living artists can be. Think how much consignment forms would streamline everything! If I owned a Gallery, I wouldn’t do business with an Artist who didn’t use them.)

The 5 main reasons for using consignment forms:

1. It protects both parties involved. If you were consigning any other physical object for sale, such as power tools or furniture, wouldn’t you want to have signed forms as proof that the agreement actually exists? Fedex and UPS have you sign to verify receipt of a package. Otherwise, how do you prove that the exchange ever occurred in the first place? Art is no different, even if it does have the artist’s signature on it. The Gallery could have purchased it separately from a third party. As my uncle says, a contract is as good as the paper it’s signed on. Meaning, no contract, no good. Get it in writing. Plan for the worst case scenario, and create a consignment form and agreement that will prevent you from ever getting there.

I have heard horror stories from other Artists: Galleries that were closed due to creditors where the consigned artwork was confiscated as payment for debts; Galleries that didn’t pay what they agreed to pay when selling; Galleries that denied work was ever even given to them. I’ve also heard Artist horror stories from the Gallery side of things, too, so why wouldn’t both sides draw up a fair agreement that protects everyone?

2. It keeps everyone involved happy. Because the Artist and Gallery are all on the same page at the outset and have the same understanding of the agreement, misunderstandings have much less chance of occurring.

3. The art world is in reality a small community. If an Artist sets certain precedents in a Gallery relationship, good or bad, that affects other Artists who come afterwards. If an Artist accepts sub-standard commission rates just for the sake of a wall to hang on (don’t do this, Artists), the Gallery will continue to use those rates because they can, and that Artist has now made it harder for every Artist who comes after him to get a decent agreement. If one Artist walks away from what they perceive as a bad deal, but the next ten Artists agree to it, nothing will change. But if one Artist walks away from a bad deal, and subsequent Artists do too, that sends a message to the Gallery that maybe they need to change something to get the good artists in the door. Artists need to stick to their guns, or be prepared to walk.

4. It creates a record. Of your work, your exhibition history, your collectors. This is provenance, which determines authenticity later down the road. And the art historians will love you.

5. You know where your work is, and how long its been there. Obviously Art is not the same as a loaf of bread at the grocery store that needs to be replaced after a few days, but it’s a good idea to refresh your work in a Gallery from time to time. Collectors like to see something new and it’s a good way to stay involved with your Gallery. If you don’t have some sort of record of these things, and have multiple paintings out at multiple Galleries, it’s very easy to forget how much something was priced at, or what size it was, or how it was framed. Documentation is your friend.

Gallery forms_s

5 things to keep in mind, and to ask for when negotiating with a Gallery (your email correspondence is also documentation):

1. 50/50 is not a good deal. Artists, you should be insisting on at least 60/40. I can’t say this enough, and I can already hear the Galleries complaining, but hear me out. Artists have mortgages, utility payments, car payments, and more, just like Gallery owners, as well as the upfront costs of Framing and Shipping work to the Gallery. I know Galleries have other expenses. However, Galleries tend to represent multiple Artists, often upwards of 40+ at times, while Artists tend to be represented by, let’s say, 4-5 Galleries. So, even if a lot of the Artists represented in a Gallery aren’t selling, chances are good that a few are, and the Gallery will be earning income from that. Even with 4-5 Galleries, there is still a good chance that an Artist will go for long periods of time without selling anything.

(If Galleries would purchase some of the work outright from an Artist like they used to, it would be an immense help. Years ago when an Artist had an exhibition, a Gallery might purchase 1/3 of the new work. Not only would this give the Artist the ability to continue to survive and create, but now the Gallery is really invested in selling the work, because they own it, rather than having no horse in the race as is the case with consignments.)

2. Frames should be dealt with separately in consignments, and not subject to commissions. Why is the Artist expected to eat this cost? If an Artist gave an unframed work to a Gallery and the Gallery had to go to the expense of framing it, the Gallery would want to be reimbursed for that expense, and rightly so. Well, so should Artists. Here’s how I break it down (see the top image above):

Step 1: Gallery Retail Price (the price the collector pays) – Frame Cost = Adjusted Retail. (It’s easy math, people, even for Artists.) Step 2: Divide the Adjusted Retail into the previously agreed commission rates. A standard 60/40 agreement would give the Artist 60%. Step 3: Add Frame Cost to whichever party paid for it. Boom. If the Gallery supplied the frame, the Frame Cost is added to their commission, but since Artists usually take care of this expense, it would be added to their commission. I don’t know why Galleries are so averse to this. Presentation is important, and Artists need to recoup their Frame Cost if they’re going to continue to present their work well. (OMG, you say, 60% PLUS Frame Cost? Player loses one turn, go back to Point 1 above.)

(One suggestion I’ve heard from Galleries, since they usually insist on a 50/50 split, is to double the frame cost in the Gallery Retail Price. This way, when the commissions are split down the middle, the Artist DOES get reimbursed for the frame, but this unnecessarily inflates the price for the Collector and also pays the Gallery more money for a frame they didn’t supply. Don’t do this.)

Now, a Gallery might be paying for a few other things like magazine ads or exhibition brochures – these are definitely expensive, and the Artist probably never sees the cost of any of this. This then is a negotiating point at the outset of the relationship – who pays for what? Does the Artist pay for frames and shipping to the Gallery, while the Gallery pays for x number of ads per yer? Lay it all out on the table and agree to it beforehand.

3. When a Gallery sells a painting (at least in CA), they are required by law to give the Artist the name and address of the Collector. It’s a state law*, and if the Artist requests it and the Gallery refuses, it’s a misdemeanor. If Galleries are so concerned that their Artists are going to try to sell directly to the Collector, maybe the Gallery should reconsider who they represent. (If a Gallery is doing well for an Artist, the Artist will have no reason to do anything other than paint, which is what we want to be doing anyways, not selling.)

4. You can always say No. Artists – if you’re not getting what you’re asking for, or feel like you’re compromising just for ‘exposure,’ you can ALWAYS say No and walk away. Maybe it would be better NOT to sign on with a gallery; instead regroup and work on strengthening your Art. Don’t be hungry for ‘representation’ or ‘exposure.’ Make your Art your best ambassador.

5. ALL reproduction and copyrights remain exclusively with the Artist. Your forms should clearly state that it is only the physical artwork being sold, and copyright as well as any and all rights for reproduction in any form remain with the Artist. Think of them as two separate things: a physical artwork that hangs on a wall, and an image that can be reproduced onto t-shirts, postcards, whatever. The latter rights to reproduction always remain with the artist unless they are explicitly sold as such. (If anyone in the Illustration or freelance world wants to weigh in on this with more detail that would be awesome.)

So you start to see why Artists might seem so crazy – we have to manage not only the creative side, protecting the playful child-like approach, anticipating and responding to new experiences in order to create, but we have to balance it with the responsible, grown-up side of doing business in the art world. Add to that a preponderance of galleries that jump at the first mention of ‘consignment forms,” and it can be precarious at times to maintain those two worlds and yet not have them influence each other too much. Like I said at the outset, I’m hoping this improves Artist-Gallery relationships, puts more out on the table and up for discussion. If you want something, ask for it. Also, listen for (or ask if you don’t hear it) what the other party wants or needs. If it doesn’t sound like it will work, there are plenty of Galleries in the Sea.

OK, now I’d love to hear from you. Are you an Artist? What are you experiences? How about Galleries? Do you have something to add that I might have missed? Let’s start a discussion about this and make it the norm for every artwork to be accompanied by a consignment form.

*Want the nitty-gritty? Here’s the 1909 CA law requiring Consignees (Galleries) to give the name AND address of the Purchaser (Collector) to the Consignors (Artist) upon request.

Required Information

Stats. 1909,c. 706.p. 1081, Section 1.

It is hereby made the duty of every commission merchant, broker, factor or consignee, to whom any property is consigned or entrusted for sale, to make, when accounting thereof or subsequently, upon the written demand of his principal or consignor, a true written statement setting forth the names and address of the person or persons to whom a sale of the said property, or any portion thereof, was made. The quantity so sold to each purchaser, and the respective price obtained therefor; provided however, that unless separate written demand shall be made as to each consignment or shipment regarding which said statement is desired, prior to sale, it shall be sufficient to set forth in said statement only so many said matters above enumerated as said commission merchant, broker, factor, of consignee may be able to obtain from the books of account kept by him: and said statement shall not be required in case of cash sale where the amount of the transaction is less than fifty dollars. Any person violating the provisions of this section is guilty of a misdemeanor.  (Added by stats. 1909, c 706, p. 1081, Section, 1.)

El Velorio

"El Mariachi Muerto," Oil on canvas mounted on panel, 24" x 48"

“El Mariachi Muerto,” Oil on canvas mounted on panel, 24″ x 48″

I’m excited to participate this year in El Velorio, a Day of the Dead themed art exhibition and event held November 8, 2014 at Plaza de la Raza, 3540 N. Mission Rd, Los Angeles, CA 90031 (Lincoln Heights). Check out the artwork in the exhibit here.

This family-friendly event will have face painting, music, food, and plenty of art to enjoy. Get your tickets soon, as this popular event will sell out quickly.

The inspiration for “El Mariachi Muerto,” my large ofrenda or altarpiece which will be exhibited at El Velorio, came from the many visits to Dia de Los Muertos on Olvera Street with my wife and her family over the years. My father-in-law has built an altar on the plaza a number of times, and I was inspired to create my own after witnessing the vivid colors surrounding the event. The colors of the food, costumes, and decorations gave me an opportunity to build and paint my own altar. I wanted to convey the richness that surrounds this annual celebration of family present and past.

For purchasing inquiries contact El Velorio Curator Erika Hirugami.

El Velorio 2014