Jeanne Mackenzie was the juror for the Mountainside Art Guild's Views of the East and West Exhibit at the Lakewood Arts Council's Community Art Center and Gallery. She added so many nice touches for the artists such as being at the reception, providing individual comments on the award winners, and offering a generous 15% discount to all exhibit artists on frames through her company,
High Plains Frames.
She was also kind enough to answer a few interview questions for us, focusing on her experience as a professional artist. Thanks so much Jeanne!
"Chamisa Arroyo" 16 x 20 oil by Jeanne Mackenzie
1.I see you have your Bachelor of Fine Arts from San Diego State University. When did you know you wanted to be an artist, and how long did it take you to become a professional artist?
I knew drawing and painting was a love since early on. I was the one that was assigned to do the class posters. Although I got my degree in Fine Art I continued on with a teaching credential in Special Education.
They say that only 5-10% actually make a living exclusively from their artwork and that it takes a good 10 years to get yourself established. If it is a love and a life dedication you forge forward. I would say that the 10 years is pretty accurate in that you work hard to establish yourself and have a solid style and body of work. Artists learn to multitask to do their art. Luckily my multitasking is all in the same field- Painting for galleries, teaching art and owning a frame company.
2. What have been your biggest challenges in becoming a professional artist?
The biggest challenge has been time management. We would all like to have a Renaissance Medici family tell us to not worry about anything and just paint. But family, jobs and general life is an integral part of the picture so you must find a balance. I always recommend to my students to have their own room, corner or closet where their ‘studio’ is not moved.
Another challenge is on a more personal level- finding ones own niche in the art business/world. My love of oil landscapes led me to make that an emphasis. We all have our own personal style. As a ‘professional’ artist you need to find out who you are as an artist. Galleries do not want someone in their gallery that does ‘oil, watercolor, pencil, pastel and paints children, landscapes, floral, figurative and equine’. How do they market you? Your art name is your identity. What do you want to be remembered by?
3.
On your resume you noted you have studied with Clyde Aspevig and several other wonderful artists. What artist has had the most influence on your painting? on you as an individual?
It is said that we stand on the shoulders of giants. We do not have to worry about reinventing the wheel. There are so many great influences out there for us to learn from. I first started out as a studio painter that did detailed, controlled watercolor, pencil and pastel. My first outdoor landscape oil workshop was with Michael Lynch, a very loose oil landscape painter. It was a first for me in oils and a first for painting on location. By the end of the week I had decided to concentrate on the new medium-even though I was close to tears during the week. I loved the plein air painting in oils but had to conquer the frustrating challenge.
4.
If you don't mind sharing, how did you go about having galleries represent you and carry your paintings?
I cringe at how years ago I had once walked into a gallery with a photo book type of album filled with my painting photos. I know they weren’t impressed.
A few tips for approaching a gallery:
-Visit the Gallery as a ‘guest’. See what the prices are, lighting and how they treat a customer.
-Know the Gallery and the type of art they have-how would yours fit in?
-They will ask you what your prices are- know from memory what your framed 8x10,9x12,16x20…’sell’ for. You are the one that sets the prices for the artwork. The Gallery will then take 30%-50% of that.
-Keep prices the same for all sizes- No gallery wants to try and explain to a customer why three 8x10s are different prices (older, better frame, you don’t like it as much).
-Call and ask if the gallery is reviewing new artists work.
-Make an appointment to talk about your art – never just drop in with paintings. Some galleries only review artists 1-2 times a year because they get so many requests.
-You can have a few samples of your work out in the car if they have time to view. Have high quality frames on them as the gallery wants to know what is going to hang. Be consistent on your framing- they may all hang together. Don’t have a hodge-podge of metal, barn wood, gold…
-Make a nice simple portfolio with photo images, resume, bio and price range. Make several as you may want to leave it with them. That is good as they may want to revisit the portfolio in the future if no room in the gallery now. Slides are fine but keep in mind that they may view them by holding them up to a light bulb- not a projector. I make a glossy page with a selection of images they can see immediately.
"Wind River Morning 11 x 14 oil by Jeanne Mackenzie
5.
Many artists talk about the current economy as being detrimental to the art market. What has been your personal experience with the economic downturn? Do you have any advice to share?If you can’t drive it or eat it then there is not a big market for it. It has been a tough market for artists. A gallery wanted me to paint another large (4’x6’) aspen as had sold before. After buying a frame for the piece I was informed that things were tough and that they wouldn’t be taking the piece right now. You end up being your own best collector. It seems that smaller is better for the market and many galleries are giving discounts on the work. I hate to see that but it is often the norm to get a piece sold.
6.
What does a day in the life of "Jeanne Mackenzie" look like? Do you have lots of self-discipline, or do you sometimes find it hard to find the time to paint? There is no normal day in the life of. A week could include running to Fed Ex to send off a package, framing a piece for a show, updating the web site, making flyers for studio classes, answering emails for workshop registrations, ordering art supplies, teaching a class, attending a plein air event AND trying to fit in painting. It is a challenge to be traveling so much out of town but seems to be what is needed now. Where is that Medici Family?
7.
Having been an instructor at the Denver Art Museum on color theory, what would you say is the most important thing for artists to know about color?Color is so subjective. One person sees a green as more blue while another sees it as more yellow. To really feel comfortable with color is to know its properties and the terminology. Is this red ‘warmer’ or ‘cooler’ in temperature – is it ‘lighter’ or ‘darker’ in value. Is the chroma of the color ‘high’ (intense) or ‘low’ (more muted). Also, get to know ‘your’ colors. What does each do when you add white? Try a limited palette (red, yellow, blue and white) and really learn to mix that color instead of reaching for one of many tubes. We want to jump into color in a painting because it is exciting. Color is actually third on the list towards a successful painting. Number two is correct values and number one to a successful painting is Composition.
"Cottonwood Sentinels" 12 x 16 oil by Jeanne Mackenzie
Fiber by Ann Quinn and Lois Mool, Lakewood, and Cynthia Haase, Littleton
Decorative wine bottles by Linda Blanden, Littleton
Artwork by Charlie Casper and Jim Faulkner, Golden
Holiday decor by Barbara Williams, Littleton
Glass by Myrna Smith, Morrison
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