Lois Rule, Co-Owner



Blog Posts:

Traditions of Art Gifts

Some interesting quotes about art...

Art is an experience, not just a possession

Considerations for buying original art

Meet the next art movement: Fine Art Design

Do you suffer from “Gallery Phobia”?

Is it an Art Gallery or Art Museum?

The blog is back!



Traditions of Art Gifts

by Lois Rule, November 2015

I love the story about a grandmother who gave each of her grandchildren a piece of original artwork on their birthdays every year while they were growing up. By the time the children reached their eighteenth birthdays, they all had an art collection!

Another story is about parents who gave their daughter, on each birthday, some money just for purchasing a piece of artwork. The parents would provide some guidance, but the final decision on which piece to buy would be up to the daughter. That way, the daughter got to create her own collection.

The holidays provide an opportunity to start such a tradition, too. Think about what interests the child, and choose artwork with those interests in mind. For example, younger children may have a favorite color, animal or place. As they grow older, introduce them to different types of art: abstracts, cityscapes, collages, etc. In the teenage years, you might find that they are drawn to strange, quirky, or geeky subjects.

There will be years when it’s hard to know what the child likes or doesn’t like. Those are the years when you can spend some quality time together shopping in galleries. Discussions about artworks can lead to observations about many topics (such as life itself).

And, of course, there will be years when nothing seems to please. Just take a deep breath, and know that you are on a long-term mission. After all, art appreciation is a gift, too. Plus, quality artwork stands the test of time, long after the toys are outgrown or the electronics are obsolete.



Some interesting quotes about art…

by Lois Rule, October 2015

“Without art, the crudeness of reality would make the world unbearable.” ― George Bernard Shaw

“Art should comfort the disturbed and disturb the comfortable.” ― Cesar A. Cruz

“When bankers get together for dinner, they discuss Art. When artists get together for dinner, they discuss Money” ― Oscar Wilde

“The world doesn't make sense, so why should I paint pictures that do?” ― Pablo Picasso

“When art critics get together they talk about Form and Structure and Meaning. When artists get together they talk about where you can buy cheap turpentine.” ― Pablo Picasso

“Art is not about itself but the attention we bring to it.” ― Marcel Duchamp

“Works of art make rules; rules do not make works of art.” ― Claude Debussy

“This is Art holding a Mirror up to Life. That’s why everything is exactly the wrong way around.” ― Terry Pratchett, Wyrd Sisters

“One of the most valuable things one of my art teachers said to me was, ‘Don’t get upset by criticism. Value the fact that at least someone noticed what you did.” ― Chris Ware



Art is an experience, not just a possession

by Lois Rule, September 2015

I own a print of “L’Age d’or” by Gerard Trignac, a French printmaker. The print, done with copperplate, is from a limited edition, and it is signed. It is one of his earlier pieces, done shortly after he received a scholarship in printmaking from the Académie des Beaux-Arts, Paris. Before that, he trained as an architect at the School of architecture, Bordeaux, France.

The print is a contemporary piece to me, because the artist was born around the same time I was. However, the print reminds me of a different time. It is both dark and majestic, real and unreal, appealing but spooky. I usually glance at it as I pass by. But, even if I don’t, I feel its presence there on the wall.

It’s an architectural piece, and as far as I can tell, there’s not a person in the print anywhere. But the buildings have life as if they are watching me. It is an imaginary cityscape dreamed up from Trignac’s mind. His architectural training is very evident in the print. He invokes a sense of place that at first seems real. Then, upon closer inspection, there are elements that are out of place. There are columns and arches, but no apparent doors or windows. It gives me the sense that this is a city best viewed from outside. It also seems to me to be an abandoned city, with plants and vines taking root on the rooftops and crevices.


“L'Age d'or” by Gerard Trignac

I purchased the print at the High Museum’s print fair in 2011. So, I’ve had the print for almost four years now. However, it wasn’t until today that I noticed the sky in this print. That’s how compelling the buildings are to me. I’ve always known that the overall environment of the print is overcast— it’s certainly not a “sunny” piece. But, those clouds! The artist made the clouds as unreal as the buildings are. They are like clumps of cotton balls, and the way they are arranged around the buildings gives me the impression that the city is resting in a bed of clouds.

This is definitely a piece of art that I “experience.” It has a presence to me. It takes me to that place that existed only in the artist’s mind, but it also makes me feel that I have also been there. And, it’s a piece to be examined often as I look for secrets the artist left for me to find…



Considerations for buying original art

by Lois Rule, Jan 16, 2015

Big art, small art, blurry art, crazy art, dark art, bright art …… Yes, there is a lot of art to choose from! So, making the decision to buy a piece of original art for your home or office can be a bit confusing. Here are some “R-U-L-E-S” that can help you make that decision.

R) Does the artwork REEL you in? If so, ask yourself why it grabbed your attention. Is it compelling, nostalgic, uplifting?

U) Is the artwork UNFORGETTABLE? Does it create a good memory for you? Will you still be thinking about it days later? Will your love and appreciation for it continue to grow?

L) Does the artwork LOOK right to you? Is the work done well? Does everything in the work seem to work well together – the colors, the subject matter, the energy, the layout? Trust your feelings.

E) Does the artwork EXPRESS your personal values? Will you be proud to own it? Will you be comfortable displaying it and talking about it? Does the art help you make a personal statement? Do you enjoy being in the same room with it? Do you like what it says about you?

S) Does it match your sofa? Just kidding! If your home (or office) and your other furnishings truly reflect your personal STYLE, you will find a place for artwork you love. Don’t make the mistake of passing up a piece of artwork you fall in love with because you don’t think it matches your furniture – that mistake will haunt you for years!

Then comes the next question: should you spend money on it? If the artwork passes the guidelines above, the answer is easier. If you are in love with the artwork, it can be a good investment for you. Buying through a gallery helps with making such a decision, because galleries do a lot of the upfront work for you. A well-established gallery will have quality standards, and the gallery owners have experience pricing art.

As a final note, remember that good art stands the test of time. You can see it again and again and not get tired of it -- it continues to stimulate your senses. It’s not a fad that dies when the novelty wears off. The artwork you buy today can be enjoyed by generations to come!



Meet the next art movement: Fine Art Design

by Lois Rule, July 12, 2014

At 2 Rules, we talk a lot about design that takes function to a fine art level. It’s a hard concept to explain, but we keep trying. After all, art movements of the past were sometimes hard to describe as they unfolded, but that couldn’t hide the fact that something new and disruptive was emerging.

Let’s start by asking if you remember the traditional distinction between crafts and visual arts? The one that says that crafts can be decorative as well as functional, but visual arts have traditionally served no useful purpose other than to be visually consumed. Actually, it sounds more like an “attitude” than a “distinction,” doesn’t it? In many places throughout history, this distinction gave artists a questionable reputation and a burden to justify their existence, since craftspeople were considered “useful,” and artists were not.

It’s no surprise, either, that society can shift to the opposite attitude. I remember when homemade items like clothing or furniture, no matter how original and stylish, were looked down upon compared to the same thing that had a “store-bought” name on it. Handmade “crafts” were considered somehow inferior, mainly because you didn’t have to be educated to make them. Even today, self-taught artists have a hard time competing with professionally trained artists. And “professional” usually means holding a university degree, not just taking private study art classes or getting a trade school degree. So, this attitude shifted the questionable reputation to the craftspeople along with a burden to justify their existence, since artists were considered “professionals” and craftspeople were not.

Then, the art world began to embrace some crafts, like ceramics and printmaking, as fine art. This evolved when some craftspeople got noticed for working stunningly visual concepts into their work. Universities began to include these crafts in their fine art curriculum. These “crafts” became “fine art,” and craftspeople could be considered “professional” artists of “fine art.”

Now, replace the word “craft” with “design.” I saw a real separation long ago in my university classes, when those of us in “studio” art classes were “different” from the students in the “graphic design” (or “commercial”) art classes. Somehow, “different” meant the studio artists were better. Studio artists were purists who worked independently and created art “for art’s sake.” Their art didn’t have to be anything other than an expression of themselves or a comment on society. But, those “design” students across the hall didn’t mind working for someone else. Their artwork, gasp, was useful and functional. They even had the audacity to admit that they actually wanted to make money from their artwork! Just like “craft” before it, “design” struggled for respect from the “fine art” world.

So, where are we? Now you can find programs like “digital media” and “graphic design” in University art departments, and these programs are as well-respected as painting or sculpture. The art world has embraced commercial artists, and “design” is gaining respect as “fine art.”

The movement is to Fine Art Design, and the disruptive thought behind the movement is this: Design works that are functional can also provide an exciting visual feast for the beholder. For example, what corporation doesn’t love having the most memorable ad “design” out there? What kind of a company would try to survive today without an attractive Web site “design?” What kind of consumer would not be drawn to beautiful packaging “design?”

Fine Art Design is a vibrant art movement, but it’s not all that new anymore. In fact, as those examples above show, we have already experienced the shift. It’s just that a lot of people don’t relate what’s happening as being an art movement. In fact, a lot of people are still having trouble grasping the fact that printmaking and ceramics are fine art. Let’s spread the word, so those people don’t get left farther behind.

Some talking points: functional computer art produced by today’s graphic designers can be fine art; a woodcut that is handcut and handprinted can be fine art; computer fonts, hand-lettered calligraphy, and letterpress letters can all live in the same art world; film photography, digital photography, and oil painting can all hang together in a “fine art” gallery. Design created with function in mind can be “fine art.”

Just like everything else, attitudes and opinions about this new art movement will differ by the amount of exposure the beholder has to it… and we don’t want the beholder to be blindsided.



Do you suffer from “Gallery Phobia”?

by Lois Rule, June 13, 2014

Do you suffer from “Gallery Phobia”? Do you stand outside of gallery windows, straining your eyes to see the artwork inside and leaving nose prints on the glass, but you never actually go into the gallery?

This phenomenon relates to an interesting question that someone recently asked us at the gallery. The question was, “Why are some people intimidated by art galleries?” To put it another way, why do some people feel uncomfortable in an art gallery? Why do they hesitate to go in? Here are some of my theories.

The “money” issue:

I suspect the main reason people might feel out of place in a gallery is their notion that all art shown in a gallery is very expensive. To these folks, going into an art gallery is similar to going into a luxury car dealership and taking a test drive in a car they know they cannot afford. As one visitor to our gallery explained, “I don’t like to window shop if I can’t afford to buy anything.”

Well, in reality, most galleries today have original art available for a wide range of budgets, they offer layaway plans, and prices are posted by the artwork so you don’t have to go through that awkward step of asking to see a price list. Plus, retail art galleries provide the opportunity to see great art for free. Unlike museums, galleries don’t charge admission. And visitors to galleries are very important to artists –they want people to see their artwork while it is on display!

The “I don’t know anything about art” issue:

I’d like to think that the hesitant folks leaving nose prints on the gallery windows are just uncomfortable with art, not the place where the art is shown. Could their discomfort be akin to fear? If so, their fear of art might actually be their fear of the unknown. Perhaps, in a gallery, they see art and do not know how they are supposed to react to it or to feel about it. Because of that, they feel out of place and exposed, even vulnerable, like being in a foreign country where they don’t understand the language.

This is understandable, because, just like learning a foreign language, art appreciation takes time and practice. After all, art critics and art teachers who expound prolifically on art weren’t born with all that knowledge – they acquired it. Art history and art appreciation are not core subjects in schools. Even for those who visit museums and galleries often, the vast scope of art types and movements makes it impossible for the experts to know everything about art.

With that in mind, the best way to overcome the fear of this unknown is to treat the gallery visit as an educational experience. Feel free to ask questions. Most gallery owners are eager to share their love of art. They can help you understand the techniques used by the artists and the elements of composition that make each artist’s work unique.

The “big decision” issue:

An artist who was at our gallery this week mentioned another factor that might contribute to some people being intimidated by art galleries: some people are frightened by aesthetic decisions. Even if they know they want to buy a piece of art, they are afraid to do it. Going into a gallery to shop for art heightens their insecurities. Just like buying a house or a new car, their choice of artwork will reveal something about themselves. What will people think of their decision? How do they know they are making a good decision? Even if these worries don’t concern them, they may find the vast amount of art styles available to be overwhelming and exhausting.

The best way to deal with these intimidations is to visit reputable galleries who show quality work by skilled artists, and to deal only with the galleries where you feel comfortable. Find out all you can about the qualifications of the gallery owners and the artists they show. A good place to start is to attend show openings and other events offered by the gallery.

The “elite” issue:

Movies and well-publicized art auctions give the impression that the art-buying world is made up of very wealthy and elite persons, who are very knowledgeable about the value of art, who buy art as an investment to be bought and sold, and who treat art as a status symbol. Some people are hesitant to step into a gallery, because they don’t fit that typecast. They think they will be judged by their appearance or their demeanor, and they expect to be “snubbed.” However, in reality, most gallery owners and their staff members are considerate and will not pressure or judge potential customers.

Plus, a lot of artwork is purchased and owned by people who buy it because they like it, not because they are treating it like an investment or are trying to impress someone by spending a lot of money. The art they purchase gives them something to look at after a long day at work, it serves as a conversation piece when guests visit, it expresses something they can’t find the words to describe, or it simply adds color and a nice design element to their homes. Again, a visit to show openings at galleries is a good way to observe that art lovers and art buyers come from all walks of life.

Please don’t suffer with gallery phobia! The next time you pass an art gallery, don’t hesitate. Don’t leave nose prints on the windows. Don’t be afraid. Go in and enjoy the art experience.



Is it an Art Gallery or Art Museum?

by Lois Rule, May 22, 2014

Is it an Art Gallery or Art Museum? How do you know if an art venue is an art museum, an art studio, an arts center, or an art gallery? One distinction is what you can do there. Can you create art, see art, or buy art there?

In an art museum, the main visitor activity is to “see” art. Museums acquire art for their permanent collections, and the art that is on display in the museums is from these collections. The collections are owned by the museums and are not for sale to the public. (You won’t see price tags on the artwork.) Collections vary widely depending upon each museum’s mission. For example, the collections may focus on a particular subject (like portraits), or be by particular artists who have achieved extraordinary recognition in their art careers (like Warhol and Picasso), or be from a specific time in history (like Medieval art).

Typically, a museum is a not-for-profit institution, so admission is charged to help cover costs. Other revenue comes from donors, memberships, grants, gift shop sales and fund-raising events.

Museums may offer educational classes, lectures, art competitions and other arts-related programs if their space allows. They may also show temporary exhibits from other museums’ collections or hold art shows by local artists or arts groups. Examples of museums include the Marietta/Cobb Museum of Art in Marietta and the High Museum in Atlanta.

In an art studio, artists “create” art. The studio is the workspace where artists keep their supplies and equipment and produce their artwork. Studio space may be rented by the artist from a landlord, but some artists have studio space in their homes or garages. In some cities, you can find arts districts where several artists have working studios in the same building or on the same street. Atelier is another name for a studio or group of studios. Some artists exhibit their art in their studios, but most artists rely on commercial art galleries to introduce, show and sell their work to the public.

Most artists do not have their studios open to the public. However, a studio you can visit in Marietta is J.King Artworks. A group of artists’ studios can also be visited at the TULA Art Center in Buckhead.

In an arts center, you can “create,” “see,” and sometimes “buy” art. An arts center is a multi-arts facility that offers not only the visual arts, but also other disciplines such as music, theater and dance. Arts centers are cultural centers of activity for the communities where they are located. They typically are not-for-profit and rely on local grants, memberships, donors, class fees and fund-raisers to sustain their programs.

While sizes and programs vary from community to community, art centers typically have classroom facilities for educational purposes, galleries for exhibits, and theaters for concerts, plays and dance performances. Some examples of larger arts centers in Atlanta arethe Woodruff Arts Center (the High Museum is part of this Arts Center) andCallanwolde Fine Arts Center. Some smaller community examples include the Art Place – Mountain View in Marietta, the Mable House Arts Center in Mabelton and the Spruill Center for the Arts in Dunwoody.

In a commercial art gallery, you can “see” and “buy” art. Commercial galleries are retail for-profit businesses. They do not charge admission. In a contemporary art gallery, the gallery typically does not own the art. It exhibits the art as consignment pieces, and takes a commission of sales.

A gallery will have a mission statement or a focus that determines the type of art it shows. The gallery seeks out artists who are creating high quality art that fits the gallery’s mission. The artists may be “emerging” artists that are still in the early part of their careers, or “mid-career” artists who have created a large amount of work over several years and have been published or presented by galleries and museums, or they may be “established” artists based on the market value of their work and widespread recognition of their achievements.

The gallery promotes art and artists through advertising, publicity, social media, newsletters, opening night receptions and other special events like art walks. It displays the art in the gallery showroom as well as online websites. The gallery is the bridge between artists and art buyers. Having artwork in a gallery is an important career step that not only helps artists sell their work so they can produce more, but it also helps artists gain recognition in the art world. Galleries are a great place to see new art, and the art show openings at galleries provide an opportunity for the public to meet artists.

Local contemporary art galleries include 2 Rules Fine Art, dk Gallery, and Avery Gallery in Marietta as well as Gallery 4463 in nearby Acworth.

So, here’s a quick summary. If you want to see historical collections or very famous collections of art, head for an art museum. If you want to take an art class, check out your community arts center. If you want to see artists at work, visit an artist’s studio. If you want to keep up with what’s new in the art world and find art that’s available for purchase, visit galleries.



The blog is back!

by Lois Rule, May 22, 2014

After a long hiatus, the 2 Rules blog is active again! Check back often for updates!