May this season bring you
Joy, Peace and Good Health.
Wishing you and yours a
Safe and Prosperous
New Year!
"Cockatiels and Berrys"
Sumi-Ink and Watercolor
12" x 12"
available unframed
Squirrels Nest Studio, Bloomingburg, NY
•
I have entered an art competition from
Oriental Art Supplies Summer Art Challenge
Please vote for one of my four submitted paintings:
Wallkill River, Nene Birds, Stroked or Fall Carp.
Voting is free and the grand prize is a gift certificate for art supplies.
One vote per viewer. Voting ends on March 19, 2011.
Your participation is appreciated.
Grand prize is a gift certificate for art supplies.
http://www.orientalartsupply.com/summerchallenge/master-voting.cfm
•
"Foxy"
Sumi Ink and watercolor on rice paper
8.5" x 11"
Black frame white mat
Squirrel's Nest Studio
Bloomingburg, NY
•
For the holidays I am republishing a few articles
I wrote for the Delaware and Hudson Canvas Newspaper in 2009.
I hope you find them informative and amusing
regarding transporting art work and
if you're ever in an art emergency situation.
July 2009 Delaware and Canvas Newspaper, first publication
Art in an emergency Part 1 By Roberta Rosenthal
The knock on the door is a fireman and he says,”Get all of your important possessions together and put them into your car. The fire is headed in the direction of your home. Everyone on Shawanga Lodge Road is on alert.” First shock and then reality hits. What should I take and what about my hundreds of paintings, a lifetime of work? I can’t pack my entire house into a Honda Civic.
That was the scene on March 18, 2009. I was in the middle of retyping a section for the latest edition of my book on “Professional Business Practices for Artists”, a perfect place to be in an emergency. I went to my chapter on Emergency Art Storage. You can’t take all the original works with you but in today’s armory of micro technology we have the “thumb drive”, a tiny USB storage device you can plug into your computer to make copies of all of your files. This is your first defense for art storage. Even if the originals are lost, the copies could be used to create a new portfolio and giclee prints. Take photos of your work as you are creating it with a digital camera or even your cell phone. You never know when something is going to happen. If you can burn a CD on your computer make one with high resolution images in TIFF or JPG at least 300 dpi of your work.
In my bank safe deposit box I have a full set of slides, positive and negative transparencies. I have several portfolios of color photographic prints. It also contains an inventory list of my art work with size, medium and price. Insurance companies may also need a copy of prior sales where galleries which have sold my art for valid valuation. It is also useful to keep a current resume, biography and art statement in the safe deposit box or on the thumb drive too.
A friend in another country has a copy of an original manuscript for my first novel, all of the postage stamps I have designed, a complete set of greeting cards I have illustrated and several original paintings. If the worst happened in the U.S.A, I could always travel abroad and start again with those works.
In the end I put very little into the car: cat carriers, my purse with travel documents, thumb drive, cell phone, digital camera, bank key, a change of underwear, my professional illustration and design portfolio with color prints. Also several mini portfolios showing various fine art catagories. The 5 x 7 inch portfolios have ink jet prints, mini bio, brief resume and simple art statement. I also packed a rolling box containing a travel kit of art supplies, paper, small canvases and brushes. I could always paint on the road and sell the work out of my car trunk if I had to.
Fortunately there were thirty fire companies on the road. There was an engine in every other driveway, keeping the fire at bay. They did a great job and the following days brought a healing rain. There was no smoke or fire damage but the scare helped me to edit that chapter in record time. In next months issue I will suggest protective actions you can take to safe guard your work as a fine artist, gallery or collector.
****
August 2009 Delaware and Canvas Newspaper, first publication
Art in an emergency Part 2 By Roberta Rosenthal
Last month I discussed art in an emergency. This month what to look for in a protective facility and how you can turn your home or gallery into a safer environment for your works of art. Here are a few suggestions:
* A fine art storage facility must be a fire resistant or non-combustible structure, composed of concrete and reinforced steel beams, so that if there were a fire, it would be contained.
* The facility should be freestanding and distant from other buildings.
* The entry and exit point should be the same and there should be only one entry/exit. Ideally, there should be no windows in the storage areas, if there are, they should be blocked from light.
* Motion detectors, shock sensors, and fire and smoke detectors should be installed in all areas of the facility and they should be connected to central security stations that connect respectively with the Police and Fire Departments. They should be monitored 24/7.
* Fire protection should include either a wet pipe or dry pipe sprinkler system throughout the facility, especially in storage areas.
* Inspections of security and fire protection systems should be conducted regularly and maintained using service contracts with professional vendors.
* Personnel who are responsible for handling the art should be trained and bonded.
* The loading dock should be secure at all times and monitored by company staff.
* A computerized inventory system should be available.
* All access to the facility should be monitored, restricted and documented. Access should be limited to working hours.
* Private vaults should be provided for those collectors requiring a higher level of security and privacy.
Wishing you and yours a
Safe and Prosperous
New Year!
"Cockatiels and Berrys"Sumi-Ink and Watercolor
12" x 12"
available unframed
Squirrels Nest Studio, Bloomingburg, NY
•
I have entered an art competition from
Oriental Art Supplies Summer Art Challenge
Please vote for one of my four submitted paintings:
Wallkill River, Nene Birds, Stroked or Fall Carp.
Voting is free and the grand prize is a gift certificate for art supplies.
One vote per viewer. Voting ends on March 19, 2011.
Your participation is appreciated.
Grand prize is a gift certificate for art supplies.
http://www.orientalartsupply.com/summerchallenge/master-voting.cfm
•
"Foxy"Sumi Ink and watercolor on rice paper
8.5" x 11"
Black frame white mat
Squirrel's Nest Studio
Bloomingburg, NY
•
For the holidays I am republishing a few articles
I wrote for the Delaware and Hudson Canvas Newspaper in 2009.
I hope you find them informative and amusing
regarding transporting art work and
if you're ever in an art emergency situation.
July 2009 Delaware and Canvas Newspaper, first publication
Art in an emergency Part 1 By Roberta Rosenthal
The knock on the door is a fireman and he says,”Get all of your important possessions together and put them into your car. The fire is headed in the direction of your home. Everyone on Shawanga Lodge Road is on alert.” First shock and then reality hits. What should I take and what about my hundreds of paintings, a lifetime of work? I can’t pack my entire house into a Honda Civic.
That was the scene on March 18, 2009. I was in the middle of retyping a section for the latest edition of my book on “Professional Business Practices for Artists”, a perfect place to be in an emergency. I went to my chapter on Emergency Art Storage. You can’t take all the original works with you but in today’s armory of micro technology we have the “thumb drive”, a tiny USB storage device you can plug into your computer to make copies of all of your files. This is your first defense for art storage. Even if the originals are lost, the copies could be used to create a new portfolio and giclee prints. Take photos of your work as you are creating it with a digital camera or even your cell phone. You never know when something is going to happen. If you can burn a CD on your computer make one with high resolution images in TIFF or JPG at least 300 dpi of your work.
In my bank safe deposit box I have a full set of slides, positive and negative transparencies. I have several portfolios of color photographic prints. It also contains an inventory list of my art work with size, medium and price. Insurance companies may also need a copy of prior sales where galleries which have sold my art for valid valuation. It is also useful to keep a current resume, biography and art statement in the safe deposit box or on the thumb drive too.
A friend in another country has a copy of an original manuscript for my first novel, all of the postage stamps I have designed, a complete set of greeting cards I have illustrated and several original paintings. If the worst happened in the U.S.A, I could always travel abroad and start again with those works.
In the end I put very little into the car: cat carriers, my purse with travel documents, thumb drive, cell phone, digital camera, bank key, a change of underwear, my professional illustration and design portfolio with color prints. Also several mini portfolios showing various fine art catagories. The 5 x 7 inch portfolios have ink jet prints, mini bio, brief resume and simple art statement. I also packed a rolling box containing a travel kit of art supplies, paper, small canvases and brushes. I could always paint on the road and sell the work out of my car trunk if I had to.
Fortunately there were thirty fire companies on the road. There was an engine in every other driveway, keeping the fire at bay. They did a great job and the following days brought a healing rain. There was no smoke or fire damage but the scare helped me to edit that chapter in record time. In next months issue I will suggest protective actions you can take to safe guard your work as a fine artist, gallery or collector.
****
August 2009 Delaware and Canvas Newspaper, first publication
Art in an emergency Part 2 By Roberta Rosenthal
Last month I discussed art in an emergency. This month what to look for in a protective facility and how you can turn your home or gallery into a safer environment for your works of art. Here are a few suggestions:
* A fine art storage facility must be a fire resistant or non-combustible structure, composed of concrete and reinforced steel beams, so that if there were a fire, it would be contained.
* The facility should be freestanding and distant from other buildings.
* The entry and exit point should be the same and there should be only one entry/exit. Ideally, there should be no windows in the storage areas, if there are, they should be blocked from light.
* Motion detectors, shock sensors, and fire and smoke detectors should be installed in all areas of the facility and they should be connected to central security stations that connect respectively with the Police and Fire Departments. They should be monitored 24/7.
* Fire protection should include either a wet pipe or dry pipe sprinkler system throughout the facility, especially in storage areas.
* Inspections of security and fire protection systems should be conducted regularly and maintained using service contracts with professional vendors.
* Personnel who are responsible for handling the art should be trained and bonded.
* The loading dock should be secure at all times and monitored by company staff.
* All access to the facility should be monitored, restricted and documented. Access should be limited to working hours.
* Private vaults should be provided for those collectors requiring a higher level of security and privacy.
Preservation
* Temperature and humidity control is critical for art preservation. The temperature should be maintained between 68 and 72 degrees and the humidity level should be between 50 and 55 percent.
* Smoking must be prohibited.
* An active pest control program should be in place.
Finally, your personal inspection of the facility is highly recommended, as your observations during that visit are an invaluable tool in making your final protective decisions. Many of us may not be able to afford such a facility which is all the more reason to photograph your work immediately after completion. A scan or digital image is the first place to start. In September I will write about how to transport your works of art to and from exhibitions, clients, galleries and collectors.
*******************************************************************************
Transporting Art by Roberta Rosenthal
September 2009 Delaware and Hudson Canvas
After the artwork is completed how are you going to take it to and from galleries, clients, or the final collector? Careful preparation needs to go into the packaging of your artworks to minimize damage. However long it took to create your art, it’s worth taking a little extra time to protect it.
In a 1991 New York Times article, Suzanne Cassidy recounts a story told by Nancy McGary, Administrator of Collections and Exhibitions at the Whitney Museum of American Art in New York City. She sent shivers down the spines of delegates to the Conservation Conference when she told of taking a taxi up Madison Avenue one rainy day and seeing another car speed by with a painting on its roof. The car's driver and a passenger each had an arm out the window, she said, in an attempt to hold on to their cargo: "3 by 6 feet of naked painting." At the time, she recalled, "I thought we should just cancel this conference, call an international prayer meeting for art and be done with it."
When presenting new works to clients in person, show 8” x 10” glossy or matte photo prints in a Prat style portfolio first. Some galleries only look at CD’s or jpgs. Keeping the original art in perfect condition is paramount. If the gallery or client is interested in seeing or exhibiting the work then invite them to your studio or decide how to package it for transport. What to consider: medium, weight, vibration, shock, relative humidity and temperature.
I try to transport original works of art on a clear day. If it is rainy or snowing request a change of appointment if possible. Otherwise I become a fashionista stylist dressing the art for appropriate weather conditions. Bring out the rain gear, ski gloves, parka and boots. A full tracing paper covering, taped with acid free tape on the back, covers art that is not framed. If it is pastel use glassine paper, for an acrylic or oil that may still be damp, waxed paper is best. Then I put the work in a plastic or acetate bag taped shut. Put the flat work between two heavy acid free cardboards taped together and then into another carrier such as a zipped canvas or nylon portfolio. If the work is framed never put tape on the frame as it can pull off the finish. I usually bubble wrap framed works if they are dry or put wax paper over the work first and then bubble wrap. Use duct tape to secure it.
If work needs to be shipped then the above needs to go into a strong, heavy cardboard or wooden box depending upon shipping method. There are a few companies that offer special art shipping boxes and bubble wrap for artists. Uline, Light Impressions, Clear Bags are all available online or from catalogs. Having a box of self-closing large bubble wrap bags can save you a lot of time cutting and taping.
When loading work into my Honda Civic Hatchback (which can hold an entire solo exhibit of 40 pieces), I put the smaller ones in first in flat layers or inside larger boxes and then lay the larger boxed or wrapped pieces on top. I use soft blankets to layer, cushion and cover it in the car. The cover is helpful if I happen to stop in a neighborhood where I don’t want to invite a break-in. Also remember, always back to back never glass to glass. Put cardboard in between if you put two paintings together. When it comes to prints some artists roll them into tubes for cheaper shipping. I prefer flat then no damage can occur during the unrolling process. If it is an inexpensive poster print a tube may suffice. If it is a high quality limited edition signed print, shipping flat between acid free heavy cardboards, plastic, then wrapping paper and/or box is best. If large works or a large number of works need to be shipped to a museum or gallery then a professional shipper needs to be added to the budget. Wood box crating needs a pro touch especially if you have sculpture or three-dimensional works of art. Perhaps detaching the work from its stretchers, rolling the work and tubing makes sense if the dimensions of the work are large. The costs are surprisingly little for the peace of mind of having the work moved without damage. When traveling by plane only small works in a carry on portfolio should come on board. Do not ship art in luggage. It can break, get stolen, or be damaged by heat and humidity. Don’t leave slides or portfolios in a heated car all day. This will damage the plastic pages or coverings. Don’t forget properly filled out name tags or address labels with contact information. A list of inventory should be kept in the package as well as on your computer.
Some galleries refuse plastic peanuts or have regulations against it. Others only accept work glazed in plexiglass because of breakage. If work will be transported by bus, train, plane or boat then insurance is mandatory. I make sure shipped work has a trackable ID number. Make sure the insurance amount covers the complete retail cost of the work plus framing. Some home insurance policies cover transporting works.
When I myself deliver art works to an individual collector, I personally unwrap them. I offer to hang the art or at least select where it should be hung and mark the spot in pencil. I carefully repack and remove the packaging to be recycled for my next delivery or exhibit. The biggest drawback of all of this is storing the boxes, cardboards and bubble wrap in my basement. My husband gives me this look “do we really need to keep all this here” and I give him that look back nodding YES!
"Holiday Basket of Flowers"
11" x 18"
Sumi-e Ink and Watercolor on shimmer shuan
unframed
Squirrel's Nest Studio
For more information contact: Roberta Rosenthal
Web site: www.robertarosenthal.com
e-mail: rozenart@aol.com
Squirrel Nest Studio, Bloomingburg, NY
Represented locally at:
• Wurtsboro Art Alliance Gallery
open Sat. & Sun. February 12, 2011 next exhibit
"Winter Fest Valentine's Show"
73 Sullivan Street, Wurtsboro, NY
www.waagallery.org
• Catskill Soap Company
123 Sullivan Street, Wurtsboro, NY
www.catsoco.com
(914) 424-6434
* Temperature and humidity control is critical for art preservation. The temperature should be maintained between 68 and 72 degrees and the humidity level should be between 50 and 55 percent.
* Smoking must be prohibited.
* An active pest control program should be in place.
Finally, your personal inspection of the facility is highly recommended, as your observations during that visit are an invaluable tool in making your final protective decisions. Many of us may not be able to afford such a facility which is all the more reason to photograph your work immediately after completion. A scan or digital image is the first place to start. In September I will write about how to transport your works of art to and from exhibitions, clients, galleries and collectors.
*******************************************************************************
Transporting Art by Roberta Rosenthal
September 2009 Delaware and Hudson Canvas
After the artwork is completed how are you going to take it to and from galleries, clients, or the final collector? Careful preparation needs to go into the packaging of your artworks to minimize damage. However long it took to create your art, it’s worth taking a little extra time to protect it.
In a 1991 New York Times article, Suzanne Cassidy recounts a story told by Nancy McGary, Administrator of Collections and Exhibitions at the Whitney Museum of American Art in New York City. She sent shivers down the spines of delegates to the Conservation Conference when she told of taking a taxi up Madison Avenue one rainy day and seeing another car speed by with a painting on its roof. The car's driver and a passenger each had an arm out the window, she said, in an attempt to hold on to their cargo: "3 by 6 feet of naked painting." At the time, she recalled, "I thought we should just cancel this conference, call an international prayer meeting for art and be done with it."
When presenting new works to clients in person, show 8” x 10” glossy or matte photo prints in a Prat style portfolio first. Some galleries only look at CD’s or jpgs. Keeping the original art in perfect condition is paramount. If the gallery or client is interested in seeing or exhibiting the work then invite them to your studio or decide how to package it for transport. What to consider: medium, weight, vibration, shock, relative humidity and temperature.
I try to transport original works of art on a clear day. If it is rainy or snowing request a change of appointment if possible. Otherwise I become a fashionista stylist dressing the art for appropriate weather conditions. Bring out the rain gear, ski gloves, parka and boots. A full tracing paper covering, taped with acid free tape on the back, covers art that is not framed. If it is pastel use glassine paper, for an acrylic or oil that may still be damp, waxed paper is best. Then I put the work in a plastic or acetate bag taped shut. Put the flat work between two heavy acid free cardboards taped together and then into another carrier such as a zipped canvas or nylon portfolio. If the work is framed never put tape on the frame as it can pull off the finish. I usually bubble wrap framed works if they are dry or put wax paper over the work first and then bubble wrap. Use duct tape to secure it.
If work needs to be shipped then the above needs to go into a strong, heavy cardboard or wooden box depending upon shipping method. There are a few companies that offer special art shipping boxes and bubble wrap for artists. Uline, Light Impressions, Clear Bags are all available online or from catalogs. Having a box of self-closing large bubble wrap bags can save you a lot of time cutting and taping.
When loading work into my Honda Civic Hatchback (which can hold an entire solo exhibit of 40 pieces), I put the smaller ones in first in flat layers or inside larger boxes and then lay the larger boxed or wrapped pieces on top. I use soft blankets to layer, cushion and cover it in the car. The cover is helpful if I happen to stop in a neighborhood where I don’t want to invite a break-in. Also remember, always back to back never glass to glass. Put cardboard in between if you put two paintings together. When it comes to prints some artists roll them into tubes for cheaper shipping. I prefer flat then no damage can occur during the unrolling process. If it is an inexpensive poster print a tube may suffice. If it is a high quality limited edition signed print, shipping flat between acid free heavy cardboards, plastic, then wrapping paper and/or box is best. If large works or a large number of works need to be shipped to a museum or gallery then a professional shipper needs to be added to the budget. Wood box crating needs a pro touch especially if you have sculpture or three-dimensional works of art. Perhaps detaching the work from its stretchers, rolling the work and tubing makes sense if the dimensions of the work are large. The costs are surprisingly little for the peace of mind of having the work moved without damage. When traveling by plane only small works in a carry on portfolio should come on board. Do not ship art in luggage. It can break, get stolen, or be damaged by heat and humidity. Don’t leave slides or portfolios in a heated car all day. This will damage the plastic pages or coverings. Don’t forget properly filled out name tags or address labels with contact information. A list of inventory should be kept in the package as well as on your computer.
Some galleries refuse plastic peanuts or have regulations against it. Others only accept work glazed in plexiglass because of breakage. If work will be transported by bus, train, plane or boat then insurance is mandatory. I make sure shipped work has a trackable ID number. Make sure the insurance amount covers the complete retail cost of the work plus framing. Some home insurance policies cover transporting works.
When I myself deliver art works to an individual collector, I personally unwrap them. I offer to hang the art or at least select where it should be hung and mark the spot in pencil. I carefully repack and remove the packaging to be recycled for my next delivery or exhibit. The biggest drawback of all of this is storing the boxes, cardboards and bubble wrap in my basement. My husband gives me this look “do we really need to keep all this here” and I give him that look back nodding YES!
***************
"Holiday Basket of Flowers"11" x 18"
Sumi-e Ink and Watercolor on shimmer shuan
unframed
Squirrel's Nest Studio
For more information contact: Roberta Rosenthal
Web site: www.robertarosenthal.com
e-mail: rozenart@aol.com
Squirrel Nest Studio, Bloomingburg, NY
Represented locally at:
• Wurtsboro Art Alliance Gallery
open Sat. & Sun. February 12, 2011 next exhibit
"Winter Fest Valentine's Show"
73 Sullivan Street, Wurtsboro, NY
www.waagallery.org
• Catskill Soap Company
123 Sullivan Street, Wurtsboro, NY
www.catsoco.com
(914) 424-6434
