want your own gallery for a week or four?

Before I get into that, we will be closed this weekend (Friday 16/9 – Sunday 18/9) in preparation for our next exhibition. It’s an all-photography show by 6 artists and starts on Wednesday 21/9; with the opening night on Friday 23/9 at 6.30pm. You’re all welcome!

Now, back to the question at hand. Do you want your own gallery to run for a week, two, three or four? Pop-up style?

I won’t be around in January so I’m looking for artists/curators that I can hand the gallery keys to. Not just to look after, but to run as your very own space.

And no, it’s not for free… but it’s also not at our normal rates! For $550 per week you can have all 30.7 metres of hanging space and 50sqm of floor space for yourself, a group, or to curate a show on behalf of other artists.

That’s less than half of what you would pay for a pop-up space in Prahran, and only a third of our normal rates!

I’ll give you the keys and the alarm code and the rest will be up to you… the full end-to-end running of the gallery. You will have the option of opening our standard hours or whenever you want to (between our permitted hours) 7 days per week.

If you are an aspiring or emerging artist or curator, why not start 2012 by meeting your new year’s resolution in the very first month of the year?!

Please call me on 0413 00 1234 or email me at charles@100thgallery.com to discuss further.  As one hundredth gallery is still my baby, only the best submission/s will be considered. Preference will be given to artists and curators that have not exhibited before.

Please express your interest asap, as this offer is on a first come/first served basis.  To give everyone enough time I’d like to make a final decision by 31 October.

photography | 21 september – 2 october 2011

by Keith Melder, Christopher Smith, Morgana Creely, Jeff Paine, Natalie Morawski, and Alana Aphoy.

We are thrilled to present our first ever all-photography exhibition at one hundredth gallery. More than just being recognised as a fine-art form, photography is leading the way in new media when
it comes to art.

Between 21 September and 2 October, we will have over 40 works on display by six artists.

Keith Melder is an international award winning photographer. He is the recipient of the international 2011 CannesLions / CannesAlso photography award judged by celebrated photographer Rankin.

Morgana Creely’s images explore her own private vision of what lies in the shadows and in the light. With each image Morgana strives to capture a moment in a story; a single movie image.

Jeff Paine regularly shoots freelance projects in areas such as fashion and beauty, portraiture, fine art and alternative, and instructs lighting workshops at ShutterClass Studios.

Christopher Smith also regularly shoots freelance projects in areas such as fashion and beauty, portraiture, fine art and alternative, as well as landscape.

Alana Aphoy has been producing work for private collectors both in Australia and in France. This is her ninth exhibition.

Natalie Morawski’s work encompasses simplicity and curiosity. Natalie has been awarded Silver and Silver distinction in both the 2011 AIPP Victorian Epson Professional Photography Awards (VPPY) and the 2011 Australian Professional Photography Awards (APPA).

Venue: one hundredth gallery

Address: 49 Porter Street Prahran

Entry Fees: Free

Opening Night: 6.30pm-8.30pm Friday 23 September 2011

Opening Times: 11am-7pm Wednesday to Friday, and 12pm-5pm Saturday and Sunday

Contact Details: Charles Hardman  |  0413 00 1234  |  charles@100thgallery.com

new art awards 2011

Temporary Gallery is presenting the “New Art Awards 2011” in cooperation with Mark Bergin (Melbourne Design Awards and design100) and SKYS (St. Kilda Youth Service).

The Awards are a great marketing tool to increase awareness and to showcase your artwork, project or business.

ENTER NOW – Discount Art Warehouse is sponsoring one FREE entry per artist, project or business! Entries from all over the globe are welcome!

http://www.newartawards.com.au/

 

abstract expressionism extended to 11 september

We are pleased to announce that our Abstract Expressionism exhibition by Colin Topp and Rachel Buse has been extended until this Sunday 11 September.

This means that you still have a week to come along to the galery and explore over 30 artworks by these wonderful artists!

We’re open 11am – 7pm Wednesday to Friday, and 12pm – 5pm Saturday and Sunday, and are located at 49 Porter Street, Prahran.

this was the ad…

…that was supposed to be in todays Melbourne Weekly Magazine. I’m still waiting to hear from them as to why it wasn’t.

introducing colin topp

We are very excited to be currently exhibiting paintings by Colin Topp!

Colin builds up an image / shape / colour in his mind, and then releases it onto the canvas in an outpouring of energy and emotion. The colours are overlayed and interwoven to produce a canopy that depicts the raw Australian land.

The final outcome is not always what was originally conceived but it is a subconscious expression of his thoughts and feelings and how he sees the image in his mind. The process will be repeated until the final image reveals itself.

Colin’s art is full of emotion, energy and expression. He sees it as a journey through and around the canvas. When you look at the finished painting you see things below the surface that appear to be suspended and are not apparent at the first look.

This is part of the joy of discovery. Colin encourages people to lay their hands on the canvas to feel the texture of the surface, which only adds to the experience.

Colin’s aim is to create visual and physical stimulation for the viewer through his images.

Colin travelled to New York in the 1990?s to study the art of Abstract Expressionists and especially Jackson Pollock. He was taught how to plan and formulate a painting in his mind, how to use colour to express mood and how to harness emotion and energy to convey passion and feeling on the canvas.

Please click on the photo below to see examples of Colin’s work.   Many more of Colin’s paintings are at one hundredth gallery until 4 September 2011.

P.S. The photos do not do Colin’s work justice!

introducing rachel buse

We are very excited to be currently exhibiting sculptures by Rachel Buse!

In Rachel Buse’s exhibition ‘Living Vessels’, she explores the purpose of humanity, using a familiar language of the forms of ceramic pottery. Her concept stems from her personal image of God as a potter creating humanity, each for their own function in his creation.

Every part of a vessel works together to function for a purpose. When one part becomes more important than another, the vessel can’t function. If we fight against what we are made to be, we mutate ourselves from the original design. The artist, Rachel Buse, invites the viewer to contemplate themselves in the works, and their own function in the world.

Rachel Buse studied  Art and Religious Studies at Concordia University, Ann Arbor, Michigan. She   graduated in 2003 with a B.A. in art specializing in ceramics. That year she was chosen as the Art Department ‘Distinguished Scholar’, a title given to the top student of the department. After a period of travel, she has settled in Melbourne, become a member of the Valley Potters, and devoted herself to her art, full time.

Previous Exhibitions

  • 2011 Living Vessels , Solo show at Kingston Art Gallery
  • 2011 Kingston Art Blitz “Green”
  • 2010 Clay Connections, Valley Potters annual group show
  • 2010 Kingston Art Blitz “Off The Wall”
  • 2007 Hell’s Half Mile Art, Film, and Music Festival
  • 2005 Ft Wayne Art Source All Media Art Show
  • 2003 Senior Exhibition, Kreft Center Gallery, Ann Arbor (three person)
  • 2002 Empty Bowls Charity Pottery Auction
  • 2001-03 Concordia University Student Art Show, Kreft Center Gallery, Ann Arbor, (Juried Exhibition)

Awards

  • 2010 First Place 3-D, Kingston Art Blitz “Off The Wall”
  • 2005 Second Place 3-D, Ft Wayne Art Source Art Show
  • 2005 Merchant’s Award, Ft Wayne Art Source Art Show
  • 2003 Best of 3-D, Concordia University Student Art Show
  • 2003 Art Department Distinguished Scholar Award, Concordia University
  • 2002 Best in Show, Concordia University Student Art Show
  • 2001 Merit Award, Concordia University Student Art Show

Please click on the photo below to see examples of Rachel’s work.   Many more of Rachel’s sculptures are at one hundredth gallery until 4 September 2011.

abstract expressionism | 24 august – 4 september 2011

by Colin Topp and Rachel Buse

We are very excited to present a new exhibition by painter Colin Topp, and sculptor Rachel Buse. Abstract Expressionism opens on Wednesday 24 August and will run until Sunday 4 September 2011. If you are able, please join us on Thursday 25 August from 6.30pm to celebrate the opening.

Colin Topp builds up an image / shape / colour in his mind, and then releases it onto the canvas in an outpouring of energy and emotion. The colours are overlayed and interwoven to produce a canopy that depicts the raw Australian land. The final outcome is not always what was originally conceived but it is a subconscious expression of his thoughts and feelings and how he sees the image in his mind. The process will be repeated until the final image reveals itself. Colin’s art is full of emotion, energy and expression. He sees it as a journey through and around the canvas. When you look at the finished painting you see things below the surface that appear to be suspended and are not apparent at the first look. This is part of the joy of discovery. Colin encourages people to lay their hands on the canvas  to feel the texture of the surface, which only adds to the experience.

Examples of Colin’s work can be found by clicking here with many more paintings in the gallery.

Rachel Buse’s sculpture explores the purpose of humanity, using a familiar language of the forms of ceramic pottery. Her concept stems from her personal image of God as a potter creating humanity,  each for their own function in his creation. Every part of a vessel works together to function for a purpose. When one part becomes more important than another, the vessel can’t function. If we fight against what we are made to be, we mutate ourselves from the original design. Rachel invites the viewer to contemplate themselves in the works, and their own function in the world.

Examples of Rachel’s work can be found by clicking here with many more sculptures in the gallery.

Venue: one hundredth gallery

Address: 49 Porter Street Prahran

Entry Fees: Free

Grand Opening: 6.30pm-8.30pm Thursday 25 August 2011

Opening Times: 11am-7pm Wednesday to Friday, and 12pm-5pm Saturday and Sunday

Contact Details: Charles Hardman  |  0413 00 1234  |  charles@100thgallery.com

artists – how do you price your work?

Many artists are not business people. They do not come from an economics, science, or mathematics backgrounds. Some do, but many do not.

Artists are artists. They are creative people that transcend economics, science, and maths. They are people that pour their hearts and souls into their art; and into creating something that has not existed before.

Many artists would love to live off their art. They would love to give up their ‘employer derived income’ and live off the proceeds of their art. They would love to create for a living and get paid for it… not in the ‘starving artist’ kind of way, but in a more comfortable ‘I can eat and pay the rent and bills with money to spare’ kind of way.

Unsurprisingly, many of the artists that I have been speaking with during the past 6 months do not have a pricing strategy for their artwork. Actually, I lie.  Their strategy is to get as much as they possibly can for their work to ensure sales.

When you pour your heart and soul into your artwork; and when you want other people to want your work, a pricing strategy for artists is usually not top of mind.

So, here are three simple tips to help artists price their work.

1.       Start with your base costs

Art can be an expensive business.  It is very important that you keep track of how much money you spend on producing your artwork.  The vast majority of artists do not know how much their artwork cost them to produce; even though it is one of the simplest things to work out.

Keep receipts for everything, especially for the materials that you use to create your artwork. Canvases, paint, brushes, mediums, solvents, clay, wire, paper; anything that you buy or are given to use on your artwork. If you buy a whole tube of oil paint but only use 10%, then apply 10% of its cost to your base cost.

Don’t forget to count the services involved in producing your artwork. Photographic processing, kiln firing fees, canvas stretching, models, props, framing, hanging systems, presentation systems, studio fees, printing press rental.  All of these costs contribute to your base costs. You may even want to determine
how much electricity, gas, and water you used to produce an artwork.

Add all of the above costs together to determine the base cost of your artwork. If for example, all of your costs for a painting come to $100, then this is the base cost of your artwork.

You now know how much you need to sell the artwork for to break even, and how much you need to sell it for to make a profit.

There is a very simple rule of thumb that the wholesale/retail industry works on. This isn’t true for everyone but it will give you a start. Generally speaking you will multiply your base cost by 2 to get a wholesale rate and then multiply it by 2 again to get your retail rate. In other words, if you are selling your artwork direct, then you should multiply your base cost by somewhere between 2 and 4 to get your sale price.

If you are selling through a gallery, don’t forget to add their commission to your price!

2.      Calculate what your time is worth

The calculation of the base cost above does not necessarily take your time into account; and this is a very important factor in determining the price of your work.

The standard work week is 38 hours.  This equates to 1976 hours per year.  The number 1976 is important as it will help you determine what your hourly rate is.

Without going crazy, work out what sort of gross salary you would be comfortable with to do your art full time.  Is it $50,000 per year? $60,000, or $100,000?

Regardless of the figure, divide it by 1976 to get your ideal hourly rate.  Here are some examples…

  • $50,000 = $25.30 per hour
  • $60,000 = $30.36 per hour
  • $70,000 = $35.43 per hour
  • $80,000 = $40.49 per hour
  • $90,000 = $45.55 per hour
  • $100,000 = $50.61 per hour

Keep a rough record of how long an artwork takes you to produce and multiply your ideal hourly rate by the number of hours it took you.

For example, if a painting takes you 6 hours (on and off) to produce and you’re happy with $50k a year, then your time cost for the artwork is $151.80. If you’re a photographer, how long did the shoot take? How long did the post-processing take?

If you add this amount to the base cost in point one, you will have an even better ‘cost’ of your artwork and won’t need to randomly multiply the base cost as previously suggested.

3.      Research your competition

Bill Henson can sell his limited edition photographic prints for $15,000 (or more) each; paintings by Picasso sell for millions.

I’d suggest that you are probably not competing with these artists, but if you are I am privileged that you are reading this.

Go to art galleries, framing shops, furniture shops, and interior design specialists. Find out what they are charging for their pieces. How do they compare to yours? Is yours better? Is yours more exclusive because it is a one-off? Is there more work in yours? Does the artist of the other pieces have a name in the industry? Are they well known?

Knowing the answers to these questions will help you know where you and your artwork is positioned. If you are too close to your own work to know the answers, get some objective friends to help or see a gallery owner (like me!) for some independent advice.

If you have done the calculations above in Points 1 & 2, and have determined that the cost of your work is (e.g.) $251.80, but you can see other artworks that are of a similar quality to yours selling for $1,000, then maybe your artwork should be valued at somewhere between $800 and $1200?

Don’t be shy, but do try and stay reasonable.  At the end of the day, artists are responsible for pricing their work. If you don’t ask for the price that you will be happy with, I can guarantee that you won’t get it.

Artists also need to consider things like their intellectual property, their studies, their technique, professional memberships, their point of difference, their expertise, etc. etc.

Pricing artwork is not a science; it is more of an art, so artists should be quite good at it!

Use the points above as a guide to help, but please also make sure that you are always striving to achieve what you want to achieve out of your art; financially or not.