bARTer

Hiatus Over

After a hiatus of almost a year, it's time for bARTer to breathe new life. Susan Constanse's great drawings on wood garnered lots of interest but unfortunately no trades emerged. That's ok... we'll try again.

Here's what I would like to do:

1) bARTer '06 is continuing. If you would like to trade for Susan's beautiful work, please let me know. That chain of trades will proceed. At this point in time trading is open to all artists, even, potentially, those traders outside of the U.S.

2) bARTer '07 is beginning today. Like last time, I am starting things off with a work of my own. Unlike last time, you have a choice of what to trade for from me. Here are your options:

Green Cloud
Ink on Paper
5" x 7"
2006

Purple Cloud
Ink on Paper
5" x 7"
2006

Orange Cloud
Ink on Paper
5" x 7"
2006

Drip
Ink on Paper
5" x 7"
2006

OK, so those are your four options. If you would like to participate in bARTer '07, shoot me an email and let me know which piece you want and what you would like to trade for it. Remember, the idea here is to consistently trade up and this progresses in the hope that one day I end up with a masterpiece (wishful thinking??). At the same time, you will have a great new piece of art, you will receive a robust posting here and on Thinking About Art. In exchange for your goodwill you will receive a bit of publicity/exposure in return. I hope you'll consider participating.

But wait! It gets even better. I'd like to take a chance here and offer up something perhaps even more exciting in the bARTer concept... let's call it bARTer '07 Volume II. The concept here is the same. You trade me for a piece of art and then I trade your piece for another and then another. But, unlike previous projects or even the new one above, in this project you have a choice of anything that is available on my Web site. So... go visit jtkirkland.com and look through all of the wood pieces, paintings, drawings and prints. If you find a piece that you want to trade for, email me and tell me about your offer. I will only trade one of my pieces in this fashion to be sure your offer is good.

Summary

The idea of bARTer (as introduced here) is for me to trade a piece of mine for another that is slightly better/more valuable. I will then take that piece and trade it for a new piece that in better/more valuable. This process will continue for as long as possible.

The project (all three versions) is open to artists, collectors and gallerists. Basically, if you have a work of art you want to trade, I am all ears.

Be sure to look below for the previous trades.

I hope you'll participate!!

Trade #7: Susan Constanse

It is with great pleasure that I announce trade #7 of the bARTer project. Below are two beautiful works from Pittsburgh, PA artist Susan Constanse, traded for John M. Adams' lovely painting:

TB107
Charcoal on wood
10" x 11"

TB114
Charcoal on wood
10" x 11"

Susan provided me with a brief statement about the series of work from which these two pieces came, The Shadow Series:

This portfolio contains work whose common theme is shadow. Some of the works are figurative. Most are mixed medium, incorporating charcoal, pastel, acrylic paint and gesso on a variety of substrates. I have always found shadows a fascinating subject.

Imagine shadow as a metaphor for experience. Not just any shadow, but the shadows cast by living trees in all their seasons. Events that happened long ago cast the faintest shadow. But in some places the shadows are so thick that the original pattern of leaf and branch is no longer discernible. Experiences that are numerous, related, blend to such a degree that you can no longer see the original incident as separate but only as reinforcing the subsequent, similar experiences.

The numbered pieces in this series were created at several sites in Pittsburgh; along the Allegheny River, near Washington’s Landing Bridge, the Phipp's Conservatory and in the rooftop garden at the Brew House, an artists’ collective on Pittsburgh’s Southside. Traced from cast shadows or rendered plein-air, the works reflect the tranquility in these refuges from a busy metropolis. The concept I am exploring in this series is an internal one of seeking respite. Rendering the patterns created by light and shadow reduces the complex subtleties of overlapping leaves, but allows an appreciation of the shape as an abstraction. I believe names would bring precision to a subject that is inherently random, so I have chosen to leave the works untitled.

Additionally, Susan tells me about a few exciting projects coming up for her:

Upcoming events Lawrenceville Studio Tour, October 7&8, 2006 Blogger Exhibit, Digging Pitt Gallery, 2007

Also, Susan shared that she was awarded a Ludwig Vogelstein Foundation grant in 2006.

Here is an installation photo showing some of the Shadow Series displayed in her last solo show in March 2006 at Digging Pitt Gallery in Pittsburgh:

I think these two pieces are quite powerful in how they merge form with material. The installation photo hints at how fantastic they will look hung together. It is with that in mind that I selected one light and one dark piece. If you would like to bARTer for Susan's works, please let me know via comment or email.

Trade #6: John M. Adams

It is with great pleasure that I announce trade #6 of the bARTer project. Below is a beautiful painting from Arlington, VA artist John M. Adams (Web site is being updated so check back for new images of more recent work), traded for Nick Holliday's brilliant collage:

Sitting Still (NUmber 53)
oil and acrylic on oak panel
10" x 8"
2006

John's artist statement states:

My work entices the viewer to become observant. This is not the kind of observation in which objects are given names and then tucked neatly away in the appropriate "cubby-holes" of our minds. Instead, this is the kind of observation that comes from being aware of what is happening at the moment of the encounter - visual meditation.

When elements lose their imposed names and meanings, we can truly observe. The process of making these drawings and paintings relies upon those moments when all of the mind's chatter is silent and I am no longer aware I am "painting". I am simply experiencing and reacting to what is happening at that moment. The repetitive action of moving the paint, drawing material and text on the surface with my hands (similar in principle to a mantra) brings about a state of awareness in which every mark's differences and similarities are near equivalent in distribution. The subtle variation of tone, value, and intensity of color renders precise calculation futile, so peripheral perception takes over.

The repetitive meditative action is reflected in the work through accumulation of marks over a period of time varying from days to months. Tension between the atmospheric random marks and the regulated rhythm of horizontal lines creates a visual vibration, which resonates endlessly (confined to the object none the less). In other paintings, the structural lines take the form of a drip, forming a counterpoint for the chaotic mark making. Juxtaposing a textural, physical paint surface with a slick, subtle panel may also form tension which draws the viewer in.

Upon viewing the works for several minutes, the viewer may experience the shift to peripheral perception while “peeling” those layers away, as I did creating the works. This event fuses the artist, process, object, experience, and viewer into an inseparable symbiotic whole.

For those who read Thinking About Art, you'll recall that I recently acquired two of John's paintings and that he participated in the Artists Interview Artists Project. He has had a wonderful 2006 and it's only July. Seven of his paintings were acquired by the Washington D.C. Commission for the Arts and he was selected as a semi-finalist for the Bethesda Painting Awards. In 2007 he will be having a solo show at the Arlington Arts Center.

This little gem is a real pleasure in person. There are subtleties and depth to the paint that just can't come across in a jpeg. If you would like to bARTer for John's painting, please let me know via comment or email.

A Barter Project Complete

No, not the bARTer project. Remember the story of the young blogger who wished to trade a red paper clip for a house? You know, the inspiration for my own bARTer project? Well, Kyle MacDonald just achieved the goal of his efforts... a small, three bedroom home in Canada. Bravo for him!!

Since the last time I shared his story he has since had involvement with Corbin Bernsen, Alice Cooper and the band, KISS. What a story! Be sure to read it here.

As an update, I still have Nick Holliday's beautiful collage awaiting a great home. I hope that tonight I am able to complete a bARTer for it but if you would like to make an offer, do so now.

One of the most interesting things about this project thus far is how artists respond to the prospect of making a trade. It's something I knew, but now I really know. Many artists place a huge value on their own work which is understandable... I do too. But I've been a bit surprised by the selectiveness of artists. "No, that piece isn't quite right." "No, I want to wait for something better." "No, I couldn't give up that piece for it."

When I complete a trade, I want both sides to be pleased with what they get. That is imperative. But I've been suprised by the artists who want to wait for something better or to hold on to that piece that has been sitting in storage for three years gathering dust. I admit to being the same way, though I am trying to break out of it.

Some artists that I've been in contact with and want to wait for something better fail to realize that after a few more trades, the work will be "priced" out of their league. This isn't something a lot of artists are willing to recognize. As I continue to trade up, the value of each next piece must increase as well. Some artists may price their work at $1000 but in reality it's probably only worth $300 or so. Though they think their work is much more valuable than some little collage, they've been priced out of this project, unless of course, they want to trade multiple pieces.

On the other hand, there have been artists who want to hold onto that piece in storage for 3 years. After all, even though it hasn't sold in 3 years, it could sell to a big time collector next week if they get discovered. Or, it could go into their retrospective at MoMA a few decades from now. They couldn't possibly let the piece go when things like that are just around the corner.

Let me reiterate - I completely understand. There are some pieces that I won't let go of and I probably value at way more than their actual worth. I started thinking about this and realized that practically and realistically it was pretty ridiculous to hold onto all these works. That's why I put two pieces up on the Fine Art Adoption Network... they are free to a good home.

Wow, this turned into a pretty long post when all I wanted to say was that the red paper clip guy finally got his house! Hopefully I'll get my Jackson Pollock just as fast!

Trade #5: Nick Holliday

It is with great pleasure that I announce trade #5 of the bARTer project. Below is a lovely collage from Nick Holliday, traded for Andrew Krieger's unique engraving:

Untitled
Collage
7" x 9" (paper size), 4" x 6" (image)

Nick had the following to say about his work:

My collages have been shown in New York City and elsewhere. My work is represented by the Pavel Zoubok Gallery in New York City, where I had my first solo show in January of 2005. I was also featured in a group show at Pavel Zoubok last April and am included in a current show there, "The New Collage," which runs through August 12th. All of these shows can be viewed under "exhibitions" at: www.pavelzoubok.com. I am also a regular contributor to the Now: Here: This on-line gallery project through Artists Unite, which can be seen at: www.artistsunite-ny.org. A few if my drawings are currently available for "adoption" through the Fine Art Adoption Network (FAAN), a project commissioned by Art in General which can be viewed at: www.fineartadoption.net.

If you would like to bARTer for Nick's collage, please let me know via comment or email.

Trade #4: Andrew Krieger

It is with great pleasure that I announce trade #4 of the bARTer project. Below is a wonderful, unique engraving from Andrew Krieger, traded for Alexandra Silverthorne's photograph:

Square Wheel Bike Mechanic
Unique Engraving with mixed media
Impression is 12" x 8.5"
Paper is 15" x 10"
2006

I asked Andrew to provide some background information about his work and he wrote the following while he was still working on the print:

The work, Square Wheel Bike Mechanic (in profile) is 12" x 8.5" - this is a proof from a work in progress. Possibly you know this fellow? He is one of the crew that works one of the many, Square Wheel Bike Repair Platforms in Deep Ellum. His days are long, he is well trained in his craft with an eye for quality, a feel for metal and a dedication to keeping the Square wheel going round!

This is an evolving composition [ed. the print is now finished*], it is an engraving with a lot of tonal plate work. Frequently as I work on my prints, I pull proofs and work back into them - I try things, experiment on my proofs - this particular one is a combination of my printed proof, pencil, pen, water mediums and rubs. I like combining these techniques and do so in many of my compositions, but not with printed marks. In the evolution of these working proofs - (I call them uniques) - no two are the same and they are not part of the finished edition. The finished edition may include some of these attributes, but these are images that are one of a kind. I often appreciate these images a great deal more than my final pulled editions, as they are looser, document the evolution of an idea and show the spontaneity of my drawing style. As I said they are uniques. I sign my works on the back so as to not interfere with my images and this one [is] signed as well.

Another note - the image that you see in picture is not what you will get [ed. the print is now complete and is shown in image above]. This is a unique, as I finish typing I may go upstairs to my studio and look at it on the wall and decide to put in an ink wash, shade with pencil, roll with a roulette, add a metallic ink, chinese white, hit it with a hammer, turn away from the image and not put another mark on the page. I worked on it again this morning, I may work on it again before it leaves my studio. There is chance in barter and trust, but my approach to working and part of the ethic of this place called Deep Ellum holds these values and more. Trust, Quality, Responsibility come with these images - what you see is what you get? A relationship of the mutual admiration of the appreciation of ones economy thru idea translated into work - or maybe more? As this work enters your hands J.T., please photograph it again and post - many thanks AHK.

About his working style, Andrew wrote:

I am a mark maker. My drawings begin with line. I have been attracted to the techniques of fine line drawing that spring from the realistic sensitivity of the old masters from the Italian Renaissance to the Middle Ages for much of my career.

In my own work I attempt to approach the techniques of these periods with the skills of drawing volumes in space, utilizing contoured shading and the articulation of the drawing surface with the use of contemporary materials. My own drawings usually follow a surreal perspective in the interpretation of the human form and the direction of architectural fantasy in my interpretation of off kilter work platforms/work stations. Mixed with wit and whimsy these images are strong compositions built around the strengths of the foundation of the art of drawing. With precise line in pen and pencil, I have combined sensitive ink, gouache, metallic paints, graphite rubs and photo retouch washes; from a background in printmaking/engraving, I have brought my engraving tools directly to the surface of my papers to articulate worked and raw areas, creating dimensions of layered patterning. My compositions from this last year and a half are both strong and sensitive in their visual structure and tantalizing to the eye with a great variety of line, pencil, brush, engraved and incised techniques.

Those who live in the Washington area may be quite familiar with Andrew's work (he lives and works in D.C.). Approximately two years ago he had a fantastic solo show at the Corcoran Gallery of Art. This exhibition was bursting at the seams with incredible, energetic and imaginative work. He is now working hard preparing for an upcoming show in Chelsea NYC and he is working on a book of images and writing to accompany the the show. It's helpful to know that many of Andrew's drawings/constructions are studies or maquettes for larger works for which he is currently seeking funds to build on a large scale.

Andrew participated in The One Word Project where he responded to the word: imagination. Read that here.

If you would like to bARTer for Andrew's print, please let me know via comment or email.

* This print is complete (it's in my possession right now) but the edition for which this is a proof is still evolving and when finished will not look exactly like the print pictured above.

Trade #3: Alexandra Silverthorne

It is with great pleasure that I announce trade #3 of the bARTer project. Below is a wonderful photograph from Alexandra Silverthorne, traded for Mark Dixon's painting on paper:

Untitled
photograph
Image is 8" x 12"
Matted to 16" x 20"
2005

Edition of 15 10

Alexandra is a fantastic young photographer and insightful artblogger. Originally from Washington, DC, Alexandra returned back to the city a week after graduating from college. Last year, she received a Young Artist Project Grant from the D.C. Commission on the Arts & Humanities to photograph in public parks throughout DC. Her in-depth look at DC parks culminated in a fantastic solo show in 2005 (read my review here). I'm proud to say that I own two works from that show (see the two individual images in the review).

Alexandra has participated in two projects at Thinking About Art. Read her One Word Project entry here (her writing and image is included in the OWP book) and her Artists Interview Artists Project entry here.

When reviewing Alexandra's work for the bARTer exchange I was immediately struck by this image (high res version available if you'd like to see it). It's a striking view of the glass pyramids at the Louvre in Paris. It works on so many different levels that I knew it was the one.

If you would like to bARTer for Alexandra's photograph*, please let me know via comment or email.

* Although the offer is extended now, I will have to wait until Alexandra returns from her trip to France to take possession of her photograph. However, I know she's good for it so we can move forward with the project.

Trade #2: Mark Dixon

It is with great pleasure that I announce trade #2 of the bARTer project. Below is a wonderful acrylic on paper piece from Mark Dixon, traded for Warren Craghead's collage:

untitled
acrylic on paper
10" x 12"
2001

Mark's portfolio web site can be viewed here and his blog (where he posts small works on paper and works in progress) here. Mark lives in Montreal, Quebec, Canada and has shown his work throughout eastern Canada. His paintings are in corporate and private collections in Canada, The United States, The United Kingdom, and The Netherlands. He has a MFA from Concordia University and a BFA from The Nova Scotia College of Art and Design. He has recently started an online auction of small works on paper which can be viewed on his blog.

Though his work is fairly new to me, it appealed to me very much. It was difficult for us to settle on a piece to trade because so many of his fantastic paintings had already been sold. I'm more than pleased to have this painting though. I love its depth and rich colors.

If you would like to bARTer for Mark's painting*, please let me know via comment or email.

* Although the offer is extended now, I will have to wait until the collage arrives from Canada next week to go forward with the next round.

Trade #1: Warren Craghead

UPDATE: The Craghead collage is now in my possession and I am currently considering a couple offers for it. If you're interested in trading for the piece, let me know very soon as I hope to announce Trade #2 in a couple of days.

I'm pleased to share that the first trade has been agreed to and is currently being finalized. Warren Craghead, a brilliant drawer living in Charlottesville, VA, has offered to trade me Hello, cul-de-sac # 35 (sign, sign) (see below) for Jail. For a long time now I've admired Warren's work and am pleased to be able to pass along his work to someone else. Here's the piece:

Hello, cul-de-sac # 35 (sign, sign)
pencil, pen and foam on paper
5.75" x 3.25"
2006

Warren's Web site can be found here and he also publishes a fantastic blog called Drawer. Warren has an MFA from the University of Texas at Austin and attended undergrad at VCU. In addition to numerous group shows, he had a solo show (my review of the show is here) last year at the prestigious Second Street Gallery in Charlottesville

Some of Warren's upcoming shows include:

- Space-Domestic, a group show curated by Jiha Moon being held at the McLean Project for the Arts
- A solo show in September at the Greater Reston Arts Center in Northern Virginia
- A solo show in April 2007 at Gallery Neptune in Bethesda, MD

Warren shows with ADA Gallery in Richmond, VA, and has work available at Burton Marinkovich Fine Art in Washington, DC.

Warren has participated in The One Word Project at Thinking About Art writing about the word "material." He also provided the questions for Candace Keegan's Artists Interview Artists Project at TAA.

Because both the print and collage are so small and easy to send, we will be making this exchange through the mail. Given how easy it is with small pieces and inexpensive too, I would be willing to continue shipping small work. That means the bARTer Project is open nationwide for as long as the pieces remain manageable in size.

Who would like to bARTer for Craghead's excellent collage?* Leave a comment or email me.

* Although the offer is extended now, I will obviously have to wait until the collage arrives later this week to go forward with the next round.

Welcome to bARTer!

In June 2004, I began publishing Thinking About Art, an art blog focused on the Washington, DC, art scene and my place in it. There I published reviews, general commentary, thoughts about my own art and posts about numerous other subjects. It has been and continues to be a wonderful adventure and I've learned a great deal about art and myself.

On Monday I read a story on CNN.com that inpired me to start this blog/project. It's about a man without much money who decided to leverage the power of the internet to get a free house. What did he want to pay for it? Just to barter a single, red paper clip for it. He began with a paper clip and traded it for something else. He traded that for something else. And this has continued for almost a year. He hasn't obtained a house yet but he has gotten a free year of rent for a duplex in Arizona. He is well on his way to acheiving his goal. His story inspired me to pursue my own goal.

As we all know, the art world is an expensive place. Sure, one can find great deals, and my collection of approximately 50 pieces has taken a lot of searching and patience to find. Because I operate on a very limited budget, I am unable to purchase some of the greatest works of art that I encounter on gallery crawls. I hope this project changes that and allows me to own ONE great piece of art. I also hope that this project allows others (artists and collectors) to own a great piece of art.

So here's the deal. To begin, I am offering for trade this digital print (by all accounts my most popular print to date):

Jail
Digital Print
8.5" x 11"
2006

Ed. 12/25. Signed & dated.

Image of the print framed here. For the purposes of the trade it will not be framed or matted.

Here's how I envision this to work. In the beginning, I would like to trade with artists who are local (to Washington, DC). I'd like to be able to meet you in person to make the exchange as this will save us all on shipping and handling, and perhaps may help in some small way to build a community. For example, say John Q. Public wants to trade me a small photograph for my print. Mr. Public lives in Silver Spring, MD, so we will meet somewhere in DC, have a drink, talk about art and trade pieces of art. I will then seek to trade my photograph (by posting it here) for something else and the cycle will continue. I hope to be able to eventually trade with people anywhere in the world but when that time comes we'll have to evaluate costs for shipping.

What do you, as an artist or collector, have to gain from this? Well, potentially a few things:

1) Exposure. By participating in the bARTer, not only will I see your work (or that of the artist you've collected) but so will anyone who reads this site (or Thinking About Art). I will post the image of your work, links to your sites, a bio, statement, etc. Additionally, by having your work in other people's collections, it will be seen by an art-aware audience for years to come.
2) Trade up. Admittedly I will be trying to "trade up," but given the nature of art (beauty is in the eye of the beholder) you may very well be "trading up" as well. Hopefully you will love your new piece of art and cherish it for years to come.
3) Community building. I love going on studio visits, meeting artists and learning more about their work. This should be a wonderful way of building a network, of connecting artists from the area, region, country, and potentially the world. Sounds romantic, doesn't it? Who knows... it could happen.
4) Help me. You will be helping me acheive my goal of owning a great piece of art that otherwise I could never afford on my own. And I will appreciate it.

So, what do you think? Would you like to trade? Do you find it difficult to buy art in today's market but you have an abundance of artwork just sitting around gathering dust in your studio? Why not trade it with me? Let's see how far we can take this!

If you're interested in obtaining Jail or have any questions/suggestions, please send me an email or leave a comment. We'll bARTer from there!