My New Artist's Statement - and a Show!

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My new show is in the quaint little building on the right.
The buildings behind it comprise the historic McCurdy
Smoke House complex. 

I'll admit that I'm not very fond of artists' statements.  Often, if they aren't an intentional parody, they are filled with abstract terms and odd pairings of verb and noun that, in the extreme, become incomprehensible.  Here's one parody, courtesy of www.ArtyBollocks.com, which offers a statement generator if you don't want to write your own:  

My work explores the relationship between critical theory and unwanted gifts. With influences as diverse as Derrida and Miles Davis, new tensions are created from both opaque and transparent discourse.

To minimize your suffering, I've only included one paragraph of it here.  But it sounds surprisingly like many of the serious statements I've read.

All that said, I've written many versions of my own (serious) statement over the years.  Often a show will ask for one.  I've always wrestled with the writing, trying to find something that distinguishes me from other painters or, if I'm unsuccessful, trying to couch a cliché in a new way so it sounds fresh.

For my current show, details of which are at the end of this post, I decided to throw away all my previous statements and to just write, plainly and honestly, what I feel drives me.  And here it is:

My purpose in painting has changed over the years.  In the beginning, it was all about the “how.”  I worked hard at learning the craft.  Even as a child, I loved looking at paintings and felt a thrill when I saw a particularly beautiful landscape.  I wanted to create something like that myself.

Then it became about trying to understand the “why.”   I realized I was a sort of steward of the land, preserving on canvas places likely to disappear under the heavy foot of civilization and, hopefully, raising awareness.  I've always been a nature-lover and enjoy most being in the wild.  ( I'd read every page of Thoreau's voluminous journals by the time I graduated college.)

Finally, it became all about the experience.  For me, the experience is everything.  I now know enough about “how” that I don't have to think about it much.  I now understand “why” so I don't have to think about that much, either.  Instead, today is no longer about the product—not the picture in a frame hung on the wall—but about the experience, the act of responding to the landscape in a personal way.

When new visitors come to my studio gallery, they look around and finally venture the question:  “How many artists do you represent?”  “Just me,” I say, “but I have a dozen different personalities.”  And it's true.  Each scene I set myself in front of provokes a unique and individual response.  I may paint in pastel, oil or gouache; I may paint with tight realism; I may paint with a loose, impressionistic stroke; or I may paint in blocky abstraction.  Yes, this painting is by me, and so is this one, and that one.

Materials and process are automatic now.  This allows me to channel all my energy into observation and response.  What ends up on the canvas is a record of the beauty that enthralls me.  My hope is that my viewer can share in this moment.

Seasons in the Sun: Twenty Years of Landscapes.  

Paintings by Michael Chesley Johnson with guest artist Trina Stephenson.  

July 21-August 9, 2022, with an opening reception 5-7 pm ET Saturday, July 23.

Mulholland Market / Lubec Landmark

50 N Water Street, Lubec, Maine 04652

One of the walls in my show

A sampling of Trina's kaleidoscopic imagery

Back on Campobello Island—And a Two-Person Show!

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Incoming Tide / 12x24 Oil
Will this be in my show?

Back on Campobello Island...and loving it!  I'd forgotten what a beautiful place this is.  Besides gathering up work for my show in Lubec in a few weeks (more about that in a moment), I've been trying to get out to sketch regularly.  I have a large oil painting in mind that I want to do, so some of these sketches are made with a purpose.  I'll post a few of them below.  They're all gouache and 5x8.

As for the show, I'll be joined by Trina Stephenson for Seasons in the Sun: Twenty Years of Landscapes, which will be at the Mulholland Market (Lubec Landmarks) in Lubec, Maine. The show runs from July 21 through August 9, 2022, at 50 N Water Street, Lubec, with an opening reception from 3-5 pm ET on Saturday, July 23.

Originally, this was going to be a solo show.  But US Customs threw a wrench into the works when I went to speak with them about importing my work from Canada into the US.  Turns out, if the value of the paintings entering the US is above a certain amount ($2500), you have to hire an import broker.  I spoke to two brokers, and learned that, frankly, it was going to be a paperwork headache and very costly.  So, I will unfortunately have to limit the number of paintings in the show.  (But you can still come over to Campobello Island to visit my studio, and I will donate part of the studio sales to Lubec Landmarks, a non-profit that is trying to save a historically important smokehouse on the waterfront.)

I will get on my soap box for a moment and note that this requirement favors the big corporations and not the little guy.  I have run into this kind of bureaucratic snafu before when running small, low-impact workshops on federal lands.  (You can read about that here.)  It's a shame, but it turns out it is all about easy money.

Trina will offer her beautiful kaleidoscopic imagery that portrays a variety of natural scenery.  Here's a sample, and you can see more at her website, www.trinastephenson.com

"Bog and Rhodora"

Even though my show is much reduced, I still need helping picking out the paintings.  I'm asking for my loyal followers on Instagram to help.  Every day, I've been posting one or two images of possibilities and asking for feedback.  If you'd like to help, head over to Instagram and follow the hashtag #mcjlubecshow (or go here.)  I appreciate the help!

Now, here are a few gouache sketches.  The big painting I will use some of these for will be in the show. 

Plein Air Painters of New Mexico Exhibition

 I'm happy to announce that two of my paintings, "Path to the Shed" and "Near Los Gigantes," are in the annual Plein Air Painters of New Mexico Juried Member's Exhibition.  You can see these two 9x12 oil paintings in the postet above, and also below.

The exhibit runs from November 7 - 29, 2020 at the Wilder Nightingale Fine Art Gallery in Taos, New Mexico.  Although the opening reception has been cancelled due to the pandemic, the awards ceremony will be held via Zoom.  For details, visit www.papnm.org.  TO PURCHASE THE PAINTINGS, visit www.wnightingale.com.

Near Los Gigantes, 9x12 Oil

Path to the Shed, 9x12 Oil

Upcoming Exhibitions

 Thanks to the pandemic, I'm finding time to enter my work into a few juried art exhibitions.  Why do I thank the pandemic?  Many of the upcoming exhibitions have switched from being in a real gallery to being online.  That means no shipping costs!  So, I can take the money I would have spent on shipping and apply it to registering for the juried exhibitions.  Some of these have awards, but some do not.

So here are a few I'm in or will be in:

American Impressionist Society Juried Online Exhibition

After the Flood 16x20 Oil (sold)

The exhibit will be up on September 9 at www.AmericanImpressionistSociety.org.  Awards will also be announced that day.

Pastel Society of New Mexico Signature Member's Show (Online)

Autumn  Splendor 20x28 Pastel (Available)

Spring Flood II 12x18 Pastel (Available)

You can see all the images in the Signature Show here, as well as purchase information.  The "exhibit" will be up until September 11.

Plein Air Painters of New Mexico Online Exhibition (November 7-29, 2020)

This one will be in an actual, physical space:  Wilder-Nightingale Gallery, Taos.  I would love to post the images of my two accepted paintings here, but PAPNM has asked we not post them until the judging is done and awards are given, which will be November 7.  So, I'll post them then.

Earth Day 50: Richard McDaniel and the Russian River

My feature article on Richard McDaniel in the April/May 2020 issue of PleinAir Magazine

Today marks the 50th anniversary of Earth Day.  Where were you on April 22, 1970?  I'm not sure where I was, but California artist Richard McDaniel was participating in the very first Earth Day exhibition.

I've known Richard for many years now, having first met him while he was teaching a workshop in Maine.  I went to visit him there one afternoon to interview him for a possible book project.  We hit it off and have stayed in touch ever since.

Looking forward to the 50th anniversary of Earth Day, Richard spent the last three years documenting the Russian River for an exhibition and book project in partnership with Sonoma Land Trust and Sonoma Water.  The project was interrupted several times by natural disasters:

During the three years I was drawing and painting the river, a few major wildfires impacted the area, including my hometown of Santa Rosa. There was widespread damage to the watershed and considerable strain on the people and animals of the region. But the community is strong, and Nature is resilient.

I recently interviewed him for PleinAir Magazine, and in the April/May 2020 feature article, Richard discusses the project.  Several images of over 50 paintings and drawings from the project accompany the article.

Unfortunately, another natural disaster - the novel coronavirus - has interrupted the project, delaying both the exhibition and the publication of the book.  Like many of us artists who are also affected by the pandemic, Richard is carrying on and looking forward to the day the exhibition and book will become a reality.   I'm looking forward to seeing both.

Laguna de Santa Rosa in a Rainstorm 

oil, 30x47, 2013 

from The Russian River and its Watershed 

Entering Shows: Is it Worth It?

Tools from the Age of Slides

For any professional artist, building one's resumé is an important task.  The healthier the resumé, the better one's chance of  landing a premier gallery, having a solo exhibition or getting into a museum collection—and the healthier one's cash flow.  A substantial resumé validates the artist.  It assures the collector that the artist has not only a proven track record but will most likely continue to do well and be a good investment.

Getting into shows and winning awards go a long way to building a resumé.  But in my opinion, both are becoming harder and harder.

Think back to the Age of Slides.  To enter a show, one had to know not just how to take a decent photo but also how to remove a slide from its mount, crop out the background with Mylar tape and an X-ACTO knife, and then re-mount the slide.  This tiny, precious piece of plastic—film that cost money to purchase and develop—then needed to be mailed in a sturdy envelope along with a check.  Many times, you'd send an image of only one or two paintings because of the labor and expense.

Right away, this process weeded out many artists, especially amateurs, who weren't so committed.

Today, with a few clicks of the mouse, you can crop your image and upload it quite easily.  Anybody can do it.  And you can submit a dozen images almost as easily as one.  How much money you are willing to spend on entry fees is the only factor.  Some shows, especially the online ones established to fund something other than awards—money-making machines for the sponsoring organizations—don't care how many images you submit.  The more, the better.  Some artists have a shotgun approach, and rather than submitting their finest work, submit as many images as possible, hoping that one will make it.  (As a judge of entries, I've seen this over and over.)

In some ways, today's shows have become more like state lotteries than juried exhibitions.  I, for one, don't buy lottery tickets.

Although I can't find a study to support my guess, I believe there are many more people painting in America today than there were back in the Age of Slides.  More importantly, there are many more excellent painters.  The competition has become fierce.

So, is entering shows really worth the cost?  Perhaps.  But before you enter, look at the numbers.  If you're considering applying to an online show, especially one advertising to a national or international pool of artists, your chances will be slim to none.  On the other hand, if the show is going to be in a bricks-and-mortar exhibition space, your chances are much better.  Why?  Artists thinking of entering understand that, if they are accepted, they will have to ship the painting and, most likely, have the painting shipped back.  Because of this potential added expense and trouble, some will decline to enter. 

If you want an even better shot at getting into a show, consider applying to a regional one or to one sponsored by an organization of which you're a member.  These usually are advertised to a small pool of artists.  Although winning a regional award might not be as impressive as winning a national one, over time you'll build a longer list of awards—and thus a healthier resumé.

Judging a Show: Pastel Society of New Mexico National Exhibition

Part of the exhibition at Sorrel Sky, before the judging.
You can see how the organizers have covered up signatures and wall labels
to keep the judge "blind."

I always love going to Santa Fe—good art, good vibes, good food—but this time was extra special.  This past week I spent a couple of days in "The City Different" serving as Judge of Awards for the Pastel Society of New Mexico's annual National Exhibition.  I enjoyed spending some real "quality time" with over a hundred pastel paintings.  Nowhere in town could I see so many pastels in one place.

The exhibition, which runs through March 31, occupies the entire second floor of Sorrel Sky Gallery on Palace Avenue, a very short walk from the plaza.  The paintings range from landscapes to portraits and figures to still life and abstracts, and the quality of the work is very high.  (Jurors were Alan Flattman, Brian Cobble and Sally Strand, and they did a great job in selecting.)  Conditions for judging were ideal, as all the paintings are hung under excellent lighting.  Still, I had a very tough time narrowing down the 133 paintings to just 22 winners—and an even tougher time picking the top four for the major awards.  Everyone who made it into the show should feel proud.  I congratulate the winners on their success.

I've written before about how I judge a show, but I'll summarize it again.  Armed with a stack of yellow Post-It notes, I go through the gallery quickly, putting a note next to every painting that appeals to me.  This is my first pass, and I'm looking for work that strikes me immediately in some way.  I'm not thinking of design, color or mark-making at this point but visual and emotional impact.  Then I go through the gallery again, looking more carefully at the ones I skipped.  Did I miss a quiet, shy piece that appeals to me if I look longer?  If so, I give it a Post-It note.  Then I go through yet again, looking at everything—noted or not—with an eye to design, color and mark-making.  Next, I count the number of Post-It notes and compare that to the number of awards.  The difference is what I have to remove.  So, I go through several more times, re-evaluating my choices and removing—or, in some cases, moving—the notes until I have the same number of notes on the wall as I have awards.  Now the painful part begins, and I have to decide on the top awards.  This involves double-checking my work (thinking again of design, color, mark-making plus emotional appeal and how well the artist conveyed the message) until I've made my selections.  Believe me, although the process sounds logical and simple, it's a lot of work, and sometimes I wish I'd worn roller skates to make the going back-and-forth easier!  I go through these multiple passes to make sure I've made my selections with honesty and integrity.

The Society has invited me to do a demonstration for them at their monthly meeting next Saturday (March 9, 10 a.m. at the Albuquerque Museum.)  I'm looking forward to showing how I paint "glare" on water with Blue Earth Pastels.  If you can't make it to the meeting, at least try to see the show in Santa Fe.  You won't be sorry.

Me at Sorrel Sky in front of my painting.
Judge and jurors were asked to bring a sample pastel
painting to hang.

After the Opening

Hot Summer 9x12 Oil - Available
My painting from the pre-exhibition paintout
by Michael Chesley Johnson

My local painting group, Plein Air Painters of the Bay of Fundy, opened its annual exhibition on Friday evening in St Andrews, New Brunswick.  We arrived a day early so I could help with the hanging—we had had over 70 pieces!—and also to do a little publicity.  Trina had the brilliant idea of Instagramming several photos of the show announcement against interesting backgrounds.  We spent a hot hour or so at Kingbrae Gardens, and here is a collage of this effort:

I can't recall a hotter time in St Andrews.  Temperatures hit 86, but with humidity also in the 80s and absolutely no breeze, it felt like 100.  (You can calculate this for yourself with this handy tool.) Fortunately, the recent renovations at Sunbury Shores Arts & Nature Centre, where the paintings are being shown, included air-conditioning.  Time was when no one had air-conditioning in the Canadian Maritimes, but now it is fast becoming a necessity.  We would have spent all morning at the gardens, but the heat, especially when the sun popped out of the mist, sent us indoors.  I gladly spent a few hours with measuring tape, pencil and hammer hanging paintings.

My paintings at the show

Friday was a bit drier yet still tropical.  But during lunch at the Niger Reef Teahouse, we spotted a shady lawn just outside the restaurant with a view—perfect for the paintout we'd planned for the afternoon.  A little breeze arrived, too.  But after an hour of painting, the heat got to me again, so we retreated to our host's home where we had showers and a/c.

Me at the paintout

My setup

Simone Ritter bikes to her painting locations

The opening was well-attended, and I enjoyed speaking with everyone.  We saw many red dots go up, too.  That's always encouraging on opening night.

The show runs through Saturday, August 25, 2018, at Sunbury Shores Arts & Nature Centre, 139 Water Street, St Andrews, NB. (Closed on Sundays.)  For more on our group, visit www.PleinAirFundy.org or visit our Facebook page at www.facebook.com/pleinairfundy/.

Here I give introductory remarks

Annual Exhibition - Plein Air Painters of the Bay of Fundy

Sugarloaf Rock, High Tide 16x20 oil by Michael Chesley Johnson

Every year about this time, my "local" painting group, the Plein Air Painters of the Bay of Fundy, has a paintout and exhibition.  I put the word "local" in parentheses, because we actually range over a wide area, with members in Maine, New Brunswick and Nova Scotia.  So, getting together and having an annual exhibition is a big deal for us.  Each year, we alternate locations between the US and Canada.  This makes our 12th year!

This year's exhibition is at Sunbury Shores Arts & Nature Centre in St Andrews, New Brunswick, Canada, at 139 Water Street.  It runs from August 3-25, 2018.  Ten of our charter members will be exhibiting with over 70 paintings.  It'll be quite a show.

Our opening reception is Friday, August 3, from 5-7 pm Atlantic Time.  I do hope you'll join us.

Here are the paintings I'll have in the exhibition.  They are all, of course, available for sale.

Apple Tree Dance 16x20 Oil by Michael Chesley Johnson

Castine Bay 12x16  Oil by Michael Chesley Johnson

Fog Lifting, Dead Spruce 16x20  Oil by Michael Chesley Johnson

Islands 6x8  Oil by Michael Chesley Johnson

Low Tide at Cranberry Point 12x24  Oil by Michael Chesley Johnson

Lazy Light 11x14  Oil by Michael Chesley Johnson

Ready to Sail 12x9  Oil by Michael Chesley Johnson

Rocky Point 9x12  Oil by Michael Chesley Johnson

Upcoming Exhibition: Plein Air Painters of the Bay of Fundy

Low Tide, Cranberry Point 12x24 Oil by Michael Chesley Johnson
Available

Later this summer, Plein Air Painters of the Bay of Fundy, a group of outdoor painters I organized over ten years ago, will be having its annual summer exhibition and sale.  Since our members are spread across the maritime area of two countries, the US and Canada, we try to alternate exhibits between the two.  This year, the exhibit and sale will be in Canada.

Rocky Point 9x12 Oil by Michael Chesley Johnson
Available

I look forward to this show every year.  We always have a paintout.  This year, it'll be in the historic seaside resort town of St Andrews, New Brunswick.  I also enjoy seeing my painting friends again.  But perhaps best of all, the artwork displayed is superb!  I've included in this post

some of my paintings that are possibilities for the show this year.

Apple Tree Dance 16x20 Oil by Michael Chesley Johnson
Available

Exhibiting members this year include:  

Anne Johnston
Bruce Newman
Caren-Marie Michel
David Reeves
Helen Shideler
Matt Watkins
Michael Chesley Johnson
Poppy Balser
Theresa MacKnight 
Simone Ritter

Details on the exhibit:

Opening Reception: Friday, August 3, 5-7 pm Atlantic Time

Exhibition Dates: August 3-25, 2018 

at

Sunbury Shores Arts & Nature Centre

139 Water Street, St. Andrews NB  E5B 1A7

Phone: 506.529.3386 E-mail: info@sunburyshores.org

July/August Hours: Every day 9am-5pm

Closed Sundays & Holidays 

By the way, if you'd like me to share my techniques for creating paintings like this, and you are an experienced outdoor painter, please consider my workshop for experienced painters, August 28-31, 2018.  I have full details at www.PleinAirPaintingMaine.com

Castine Bay 12x16 Oil by Michael Chesley Johnson
Available

Fog Lifting, Dead Spruce 16x20 Oil by Michael Chesley Johnson
Available

Islands 6x8 Oil by Michael Chesley Johnson
Available

Lazy Light 11x14 Oil by Michael Chesley Johnson
Available

Ready to Sail 12x0 Oil by Michael Chesley Johnson
Available

Sugar Loaf Rock, High Tide 16x20 Oil by Michael Chesley Johnson
Available