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Our archive is a rich art resource of creative content and art advice. The archive contains every one of the Robert Genn Twice-Weekly Letters and Clickbacks since the year 2000. Our system is to carefully edit a large daily volume of incoming feedback from the letters--and to reduce it to a terse and economical amount of reading. Duplication only occurs by nuance, veracity is checked, point of view is encouraged, and a balanced, timeless collection is the result. By so doing we have formed a worldwide creative art community--a brotherhood and sisterhood where all flags fly.

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2013 Robert Genn Twice-Weekly Letters

  • Summer joy
      June 18th, 2013
  • Readers might recall that my daughter Sara and I conduct a couple of painting workshops each summer--one at the Cortes Island retreat called Hollyhock, the other heli-painting in the Bugaboo mountains. Last summer at Hollyhock we were accompanied by Dennie and Peter Segnitz, owners of the White Rock Gallery where... Read On

  • How to paint intuitively
      June 14th, 2013
  • Intuition is generally defined as the ability to acquire knowledge or perform tasks without the benefit of reason. On the other hand, bright minds have had a hard time putting a finger on just what intuition is. The Swiss psychotherapist and founder of analytical psychology Carl Jung considered intuition an "irrational function." The reformed priest... Read On

  • The winner effect
      June 11th, 2013
  • In good times and bad it looks like 10% of the galleries do 90% of the business. Similarly, 10% of the artists sell 90% of the art. With the number of folks taking up painting these days and the volume of artists graduating from art schools, this figure may be closer to 1%. In comparison to some other professions, it's pretty depressing. Mind you... Read On

  • Miles of smiles
      June 7th, 2013
  • In the National Art Museum in Beijing, the walls are loaded with smiles. Mao is smiling. The threadbare peasants are smiling. The farm-girls are smiling. The new president Xi Jinping, just chosen on March 14, 2013, is smiling. A guy who's out cold and has a bunch of doctors operating on his tummy is smiling. Country folks standing in front of Mao's portrait... Read On

  • Thinking in context
      June 4th, 2013
  • A few years ago, our city fathers decided to use a simplified reproduction of one of my paintings as a decorative banner to hang from high lampposts around the city. Someone thought it might be an idea to get a newspaper shot of me actually hanging one of the banners. I was supplied with one of those self-operated lifts known as a "giraffe." I got into the... Read On

  • Immortal art
      May 31st, 2013
  • I'm laptopping you from a persimmon grove in a corner of an extensive archaeological site known as "The Terracotta Warriors." Thousands of (mostly Chinese) tourists are grabbing souvenirs and thronging into an arena–sized building known as Pit No. 1. Over 6,000 life-sized figures are in there--only a third excavated so far... Read On

  • Cropping and not cropping
      May 28th, 2013
  • When a painter paints a rugged stone with its edges not touching the frame, the stone is saying, "I am stone--a monument--see me and ponder my presence." When a painter paints a sprig of bamboo with its leaves and stalk cropped by the edges with the implication that the subject is continuing on outside the frame, the bamboo is saying, "I am bamboo, but there is more to me than might appear." Read On

  • Identical twins
      May 24th, 2013
  • Recently, Steve Koch of Gresham, Oregon wrote, "A friend experienced a situation where a painting of his was sold and then another client came forward and asked to have an identical one. I'm concerned about the artist's reputation and any problems the first client might have with the deal. What's your take on this?" Read On

  • Too much stuff!
      May 21st, 2013
  • Recently, Ed Kissane of Wantagh, NY, USA wrote, "I'm constantly fighting a flood of paper that comes into my life. I have a bedroom and a studio and I try to keep the areas clear but it grows every day like a giant amoeba. I try to downsize but I'm losing. The piles of paper diminish my time at the easel. (Magazines, book reviews, etc.) There is always something to read and once again the creative moments lose out. Any suggestions?"... Read On

  • The art of negative thinking
      May 17th, 2013
  • Recently, I had the opportunity to look over the shoulders of two painters who were giving demonstrations on the same day. The first was almost deliriously positive and bubbly about his work, his wonderful life as an artist and his prior successes... The second demonstrator spoke less and, when he did, it was mostly about problems he was having... Read On

  • Patience
      May 14th, 2013
  • Recently, Jil Ashton-Leigh of Steveston, B. C., Canada told me about a wise Chinese art instructor who looked at her painting of the Fraser River and said, "Your mind--it is too fast." He told her to sit by the river for 30 minutes each day--no camera, no cellphone. "When you observe the river then you will come to know it," he said. If you're interested... Read On

  • The disappearing blue
      May 10th, 2013
  • Recently, Barbara Hawley of Madison, Virginia wrote, "The blue colour in an acrylic painting I did in 2009 has disappeared! As I have several brands of acrylics in my paint box, I don't know which one is the problem paint. Living in the foothills of the Blue Ridge Mountains, it's important that the mountains are blue! What do you think?"... Read On

  • Daily studio rituals
      May 7th, 2013
  • Much has been written about the creativity-stimulating rituals of writers because, well, they wrote about it. Balzac drank 50 cups of coffee a day, Hemingway drank to write, prolific novelist George Simenon (400 books) made love to over 10,000 women (to be fair, his second wife said it was closer to 1200). Good stuff about regularity in painters is a little harder to dig up... Read On

  • About space
      May 3rd, 2013
  • Back around the turn of the 20th century, household gadgets, from sewing machines to new fangled vacuum cleaners, were decorated with floral or other motifs. In those days, people thought things looked better when they were covered with busyness. Sewing machines themselves were sometimes made in the form of dolphins, angels or even snakes... Read On

  • The Holmesian artist
      April 30th, 2013
  • Deducing info from minor nuances, in the manner of Sir Arthur Conan Doyle's perceptive Sherlock Holmes, is a prime skill for artists. "You see, but you do not observe," says Holmes to his sidekick Dr. Watson. Looking at the work of many artists, I'm convinced that not a few are on Dr. Watson's side of the office... Read On

  • What brainwave are you on?
      April 26th, 2013
  • It's all about how fast your neurons are firing. In Theta, it seems the neurons fire less often but more effectively, perhaps reaching out to more distant or irregular synapses. This quality firing, in theory, unlocks metaphors and unlikely combinations that are the basis of creativity and invention... Read On

  • First prize
      April 23rd, 2013
  • The other day I was rummaging through some old schooldays papers--report cards, notes from girls, etc, and I came across a blue card for First Prize in Junior Watercolour. Scratching my brain and reading the material on the card, I realized this was my first recognition beyond my family and school that I was an artist... Read On

  • Straightforward advice
      April 19th, 2013
  • Yesterday, Carolyn H. WarmSun of Montclair, California asked, "Do you ever do telephone consultations with artists? If so, at what price and how are they arranged? I am imagining us both on the phone in front of computers where you can see my website as we talk. I'm looking for straightforward advice... Read On

  • The decline of 'flow'
      April 16th, 2013
  • Yesterday, Katarina Vlasic dropped by to show me a carload of 12" x 24" paintings by her 7- and 8-year-old second grade students. Katarina is a popular art teacher who divides her time between two schools... Read On

  • A fireball artist
      April 12th, 2013
  • Cory Trepanier of Caledon, Ontario, Canada is an example of an artist who goes it alone. Cory has achieved remarkable success and popularity without benefit of dealers or galleries. He's what we like to call a rugged individualist. Like most self-made folks, he has some ideas on how to make it. In his own words, here are a few... Read On

  • When do ideas happen?
      April 9th, 2013
  • Recent research, aimed at finding specific triggers that result in good ideas, better solutions and bouts of creativity, has confirmed my own favourite times when stuff happens... Read On

  • The alchemy of art
      April 5th, 2013
  • Painting is not a witch's brew. With applied curiosity and reason, a dedicated student can grasp the processes. Often straightforward and practical, the best processes are the ones you figure out for yourself... Read On

  • Pied beauty
      April 2nd, 2013
  • After my Spinoza letter last week, a number of readers wrote directly--most of them "got it" and a few didn't. Thanks so much for extending this friendship. I'm deeply honoured. One of Spinoza's noted ideas is... Read On

  • Spinoza and me
      March 29th, 2013
  • You might wonder what a 17th century Dutch-Jewish philosopher has to do with art. For me it all started in Philosophy 101 at Victoria College. Roger Bishop, our prof, had brilliantly taken us through Plato, Aristotle, St. Thomas Aquinas, and Rene Descartes, but when Baruch Spinoza came up I found my kind of guy... Read On

  • The downside of isolation
      March 26th, 2013
  • A fellow I know, whose name will go unmentioned here because he doesn't want to be seen hanging out in lousy company, lives alone in a sunless forest. He's a regular latter-day Thoreau, and he's been at it for twenty years--never been to McDonald's, doesn't have TV, and boils his own socks. You may know the type... Read On

  • The root of passion
      March 22nd, 2013
  • "What is passion?" If all the creativity coaches put their heads together to try to figure out the main question they get asked, that would be it. If there was an easy answer they'd all be millionaires, and so would their clients... Read On

  • The arrival of the MOOCs
      March 19th, 2013
  • MOOC stands for Massive Open Online Courses. Respectable institutions like Harvard, Stanford and MIT have signed on. The benefits of traditional classrooms are being sacrificed, say some educators, and many in academia don't like the MOOC's profit motives. This argument sounds funny coming from tenured professors... Read On

  • The story in art
      March 15th, 2013
  • At the end of the remarkable film, "Life of Pi," we are given the choice of two stories. One story is believable and quite predictable, the other implausible and wonderful. It's easy to choose the wonderful, implausible version. We need good stories. "And so it is with God," says Pi... Read On

  • Current art-pricing trends
      March 12th, 2013
  • Over the last while, another raft of emails has come in from artists wondering about pricing. Some new trends in pricing also require that I update. I'm dividing my comments between artists who sell through galleries and the ever-increasing Internet-empowered artists known as "self-sellers." Two different price lists are required... Read On

  • The art of demo-doing
      March 8th, 2013
  • You need to have your stuff ready and squeezed out. Quickly tell everyone what you intend to do and how long it might take. Brief demos are best. Tell people to feel free to blurt out questions as you go along. Make it clear that a question asked by one person is often the same question on the minds of others. Keep preliminary... Read On

  • What's up in the mountains?
      March 5th, 2013
  • At a show last fall, "The Bugaboos and Other High Places," a collector briefly stood in front of me and asked, "What is it about the mystique of mountains, and why are mountains such a perennial subject for painters?"... Read On

  • The IKEA effect
      March 1st, 2013
  • The IKEA effect is a cognitive bias where time and effort enhance affection for the work. It's named after the Swedish manufacturer whose products come in boxes with "some assembly required"... Read On

  • The tribe
      February 26th, 2013
  • In "The Wandering Who?" Gilad Atzmon tells of the day in his youth when he first heard the saxophone of Charlie (Bird) Parker. It was on vinyl and from the only record store in Jerusalem. Young Gilad studied that disc night and day and then purchased his very own sax. The "miracle of music" was to take him to an International career... Read On

  • The personal touch
      February 22nd, 2013
  • I know this may sound perverse, but I think artists should consider giving their work such a personal touch that future fakers will really have to scratch their heads before they might knock one off. As I mentioned, order is valuable--primer, underpainting, glazing, scumbling, re-glazing, final impasto... Read On

  • The new switcheroo
      February 19th, 2013
  • Many collectors have favourite galleries where they tend to buy their art. Other collectors grow to dislike a dealer and prefer to buy somewhere else, even though the art they fancy is right under their noses. It works both ways--many dealers now ship stuff to other galleries and split the commission... Read On

  • Theft
      February 15th, 2013
  • My first theft happened when I was in my twenties. A thief distracted a gallery owner, grabbed my little painting from the gallery window, and fled down an alley. Close to mine in the window had been a valuable painting by one of Canada's celebrated dead artists. Mine looked similar... Read On

  • Beyond judgment
      February 12th, 2013
  • In 1975, Tom Wolfe wrote a perceptive little book called, "The Painted Word." He was trying to understand for himself what made the New York art scene so difficult to understand, and how, in his opinion, bad work could so often be touted as good... Read On

  • Generic versus specific
      February 8th, 2013
  • Exiting from the films at the Santa Barbara Film Festival, we hand in our ballots. Each attendee is asked to rate each movie between one and five--five being excellent and one being poor. I couldn't help but think of a similar system for paintings in art museums... Read On

  • Creative Darwinism
      February 5th, 2013
  • Collective crits usually don't work very well. There's a tendency to be kind, supportive, gracious, inclusive and pleasant. To grow in art you need to be a rugged individualist who pilots your own spaceship... Read On

  • Your art in the movies
      February 1st, 2013
  • Recently, a fellow painter phoned to tell me that one of his galleries had asked him to sign a "Motion Picture Exposure Agreement." From time to time the dealer might rent his work to motion picture productions, take a small fee and give little or nothing to the artist. "It's good publicity," said the dealer... Read On

  • The Matthew Effect
      January 29th, 2013
  • The Matthew Effect can be applied to art. Historically, would-be artists who didn't learn the basics of drawing, composition, colour and form, put themselves at a disadvantage. But with the widespread democratization of art... Read On

  • The weak link in the virtuous circle
      January 25th, 2013
  • Widely available programs offer systems and information to build artistic success. Well-meaning non-artist counsellors can omit or gloss over the part of the virtuous circle that deals with product quality... Read On

  • Grand Ceremonial Bonfire?
      January 22nd, 2013
  • Your key manager, working with your executor, should have the power to release work in a timely manner--over a period of years, if necessary. Your elected dealers, to be effective, need to be given a certain amount of control, long-term security and monetary benefit. Appointing several dealers is preferable to just one. Your will should also stipulate... Read On

  • The Stendhal Syndrome
      January 18th, 2013
  • The condition was first described in 1979 by the Italian psychiatrist, Gaziella Magherini, after studying more than 100 cases among visitors to the Uffizi in Florence. A concentration of particularly beautiful art can cause rapid heartbeat, dizziness, confusion and even hallucinations... Read On

  • Anatomy of a curve
      January 15th, 2013
  • In visual art, the curve helps manage the movements of viewers' eyes by keeping them within the picture. As well as making a work of art more voluptuous and appealing, the curve is the most effective device for leading the eye to centres of interest... Read On

  • A new vocabulary
      January 11th, 2013
  • English is lacking when it comes to expressions of specific situations. In the particularly rich language of Japan, for example, "tatemae" means what you pretend to believe, and "honne" means what you actually believe... Read On

  • Catatonia
      January 8th, 2013
  • Catatonia isn't the name of a Cunard liner or a Welsh rock band. Catatonia is a kind of lethargic stupor and a sense of "why bother?" In extreme cases a patient may sit or stand for hours in the same position. Even when physically moved or adjusted by someone else, these folks often retain whatever position is given them... Read On

  • Consecutive numbering
      January 4th, 2013
  • Around the turn of the year several artists wrote asking about the numbering of works. While you can start doing it any day you choose, January the first seems to be the day of choice. Questions arise... Read On

  • Over the risky cliff
      January 1st, 2013
  • Being largely self-employed, we artists don't have the problems of group stubbornness or committee incompetence. In gratitude and joy we make our private mistakes in an atmosphere of personal reflection, even in the face of self-doubt... Read On

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Last modified: Jun 19, 2013