2 Rules Fine Art Gallery

July 13, 2012
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On work by Pedro Gonzalez

I love the work by Pedro Gonzalez that we have on display right now.

I love it because these paintings and prints are not just pretty pictures. They are stories. They have layers and layers of meaning. You walk by Atlanta, offering it a glance, and it grabs you. It pulls you in, and holds you in its immense, multi-textured gaze. You have no choice but to stare and contemplate, trying to unearth the reason, the message.

Gonzalez has quite a few prints for sale at the gallery right now, ranging from $120 to $350. He also has paintings. And these paintings are something to behold. He coats the canvas in marble dust, which he then carves into. And then he paints on top. The carvings and brushstrokes are precise, perfect.

I like to verbally pull Gonzalez’ work into the rest of the typography exhibit by describing it as “type yet to be invented.” However, that definition implies a futuristic outlook; Gonzalez’ work, conversely, feels as if it is steeped in the archaeology of an ancient, unknowable language. Or is it truly unknowable? As one might stare at ancient pictograms for hours, hoping to gain some understanding from absorbing the symbols at length, so, too, does the viewer stare at Gonzalez’ work, eventually starting to decipher the emotion between each carved glyph.

If you talk to Pedro, or come to one of his printmaking demonstrations (there will be one tomorrow, July 14 at 11am), you will hear him speak of his fascination with how printmaking brings the very old and the very new together. That fascination is certainly reflected in his paintings. His inspiration, his process, and the textures in his final paintings feel ancient, drawn from a culture so distant that it has all but been forgotten; the colors, though—the paint that lies on top of the glyphs he carves into the marble dust—those are bright and modern. As much as I hate to use the word “juxtaposition” when talking about art, that word is completely appropriate here. Gonzalez puts the old and the new, the knowable and the unknowable, the carved and the painted, and the rough and the smooth together so flawlessly that you can’t help but stare. And contemplate. And absorb.

This work is amazing.

June 14, 2012
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Do you suffer from “Gallery Phobia?”

by Lois Rule

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.

March 22, 2012
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Is it an Art Gallery?

Author: Lois Rule

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, some studios you can visit in Marietta are J.King Artworks  and Surace Art Studios. 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 are the Woodruff Arts Center  (the High Museum is part of this Arts Center) and Callanwolde 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, Avisca Fine Art 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.

January 3, 2012
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Wake up and meet the next art movement: fine art design

Author: Lois Rule

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. That is why we show “art you need to know about” at 2 Rules Fine Art gallery.

October 12, 2011
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Don’t know much about art history…

So you don’t understand the art.

Well, that’s okay. It’s a process. Much of Modern Art, Post-Modern Art, and beyond, is an acquired taste. But like that well-honed appreciation of fine wine or gourmet coffee, the benefits of developing that taste are well worth the efforts. If you will, allow me to walk you through the process.

Step 1: Figure out what you DON’T like.

So you’re in a museum, or gallery, or studio. Everything on the walls looks like a three year old threw up some green peas on a raw canvas. You clearly don’t like anything you see.

Okay, now try to understand why you don’t like it, and see if there is anything, anything at all, that you do like.

Maybe there’s one piece where the puke/paint actually looks like an ocean wave. Okay, realism probably wasn’t what the artist was going for, but it’s a good starting place for you. This painting holds something familiar for you, something you can grab hold of. So look closer at the painting. See all those brush strokes, the details you didn’t notice before? Now it doesn’t look so amateurish–you can start to recognize the amount of work that went into the construction, the application of paint, the composition. Step back. You probably still hate it and wouldn’t dream of spending $5K on it, but now you feel like you can appreciate the amount of time and thought that went into it. You don’t like this art, but maybe you can understand why someone would. Congratulations. You’re on your way.

Step 2: Figure out what you DO like.

I like to see art appreciation like developing a taste for wine. Most people start with sweet desert wines such as a Moscato or a port; then move onto the sweeter whites, then buttery chardonnays, then drier whites, and then venture into the lighter reds (maybe taking a detour through the blushes and roses) until finally coming to enjoy the spiciest and most robust reds.

Most people like realism (i.e., paintings that look like something you can recognize) right away. People generally like abstracts, too, that have a nice balance of color and negative/positive space (if you don’t know what that is, it’s okay). Now, push yourself a little bit—look for something that isn’t exactly your run-of-the-mill realistic painting but that you can still find pleasing. When I was first developing my appreciation for contemporary art, I found comfort in abstract paintings that seemed to speak to my need for good design. I looked for clean lines, patterns, and solid shapes, and I used that as my jumping off point. It wasn’t long before I fell in love with the work of Paul Klee and, of course, Bauhaus painter Josef Albers and de Stijl master Piet Mondrian. I recognize that these artists aren’t for everyone; for me, however, it opened the door for me to understand what I did like, why I liked it, and which similar artists I might find appealing as well. It wasn’t long before I found I could also appreciate Mark Rothko and Frank Stella.

For you, you may hate the artists listed above, but I bet you can find something you do like. Use that as your jumping off point. Find out which artists are similar, but that you don’t like quite as much; now get to know their work, and try to like them as much as the first group of artists. Continue onward, and before you know it, you’ll find yourself with quite a repertoire of artists that you can enjoy, and that can enhance your life.

Step 3: Get a good grounding in art history.

I’ll admit it. I hate Monet. And Renoir. And Cezanne. Especially Cezanne. It’s safe to say I hate Impressionism. But billions of people don’t hate it. Love it in fact. So, it was important for me to understand why Impressionist paintings are so necessary to the development of contemporary art. I took graduate level art history classes in Impressionism, read books, spent hours in front of Monet’s Haystacks and Renoir’s portraits (yes, actually sat in front of the actual paintings, on the floor, staring). Not everyone has the time or the energy to make that kind of commitment to appreciate something they hate, but I wanted to make sure I gave it my best shot.

You can achieve a condensed form of this education by reading an art history text or two. There are many wonderful books out there–choose any one (or start with Arnason’s History of Modern Art. Begin your education with something that brings you up to speed on Modern art (starting at around 1870), and then work your way forward toward present day.

Even if you still don’t like a certain type of art, at least you’ve given it a fair chance. I still hate Impressionism. But at least now I appreciate it, and I understand its importance in the entire art history schema.

 

September 7, 2011
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The design of space

Our consumer behavior textbooks are coming to light in the design and curation of our first show.

Our gallery is about all things design, so of course we could not ignore environmental graphics in the design of our space. But in creating the layout of our first show, I needed to design more than just banners, nameplates, and, yes, experiences; I also had to take a good hard look at the design of traffic flow.

No sooner had we opened our doors then the words of Paco Underhill in Why We Buy came ringing through with a vivid “I told you so.” Allow me to explain.

If you have been to our gallery you know we have about 24 feet of show windows facing the street with an entrance to the right of those windows. We have some of our largest, brightest works in those windows. Logically, then, you would think that a person would enter the store and immediately be drawn toward those images he saw outside through the window. But that is oh, so wrong.

According to Underhill’s observations, when you first enter a store, you veer toward the right. Well, our windows, and the works in them, are to the left of the door.

Of course, the first few days before our opening allowed me to sit back and watch how people moved through the gallery. And, true to Underhill’s predictions, almost everyone eschewed the window works to instead follow the wall to their right. They walked all the way to the back of the gallery, did a U-turn and walked toward the front, and then, if they were so inclined, perhaps headed toward the works hanging in the window. In almost every case, people encountered those works last. Sometimes they were even surprised when they happened upon them, as if they had forgotten they were there during their visit to the back of the gallery.

I immediately realized what was happening; I had read of this in b-school. Of course, not wanting those works in the prized window location to be overlooked, I tried to find ways to convince people to go to the left of the gallery upon entering. First, I added some bright lighting to attract the attention of patrons and passersby in attempt to bring them over to the left. Secondly, I put several shiny freestanding objects just to the left of a person’s vision for when they have just passed through Underhill’s so-called “Landing Zone.” And last, I put a very friendly-looking bench in front of the window works as if to say “come, sit, linger.”

The result? Well, now about 30% of visitors actually go to the left when they enter the gallery. Coincidence? Possibly. Left-handedness? Well, apparently only 10% of the population is left-handed and my left-veering percentage exceeds that, so perhaps no.

Next time you enter 2 Rules, pay attention to which direction you walk in. Which paintings do you notice first? What catches your eye? What pattern do you walk in? Let me know. Your feedback will help us design a better experience.

July 26, 2011
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2 Rules Fine Art to offer design classes (among other things)

And why not?

Our goal is to bridge the gap between fine art and design, so what better way than to teach design-oriented classes in our beautiful, art-filled space?

The first design-oriented class will be focused on teaching the basics of 2D design. Now, how to do this at first seemed to be a challenge. As a former undergrad instructor at an art and design college, I am no stranger to teaching graphic design at all levels. However, these days most students are used to learning 2D design skills on a computer. And while older generations claim this method represses the creative process, a digital way of learning is now more the norm than the exception.

The 2 Rules Fine Art Principles of 2D design class is a chance for us to return to the classic methods of teaching 2D design, and present these methods in a way that is (unfortunately) being taught less and less these days.

The class is geared toward adults and teenagers that have little or no experience in design; perhaps these are individuals considering a career switch, thinking of enrolling in art school, or who have been asked to do small in-house desktop design projects in their jobs. The class is a great opportunity for these individuals to learn the basics of design in a classroom environment that is both enjoyable and affordable.

The class is divided between lecture and hands-on activities. And yes, you can have hands-on graphic design activities without a computer. After all, graphic design was practiced for many, many years before Emigre began experimenting with fonts on an Apple. Activities students will complete include constructing grids, creating thumbnail sketches, working with marker sketches, and ultimately creating a (hand-constructed) design that they can then transfer to a digital format outside of the class.

The lecture portion of the class is more focused on design terminology and methodology as opposed to history (though the intensive History of Typography course, offered later in the year, will cover a large chunk of graphic design history).

In teaching this and other courses, I pull from my own field experience as a graphic designer as well as the undergraduate courses I used to teach. Though no book is used in the course, students are encouraged to look at Robin Landa’s Graphic Design Solutions and Ellen Lupton’s Thinking with Type as additional resources.

Registration is still being set up on our Web site for this and other courses. In the meantime, interested students can contact me at info@2rulesfineart.com and I can get them set up.

July 18, 2011
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Our new site is up!

The 2 Rules Fine Art Web site has finally been updated and uploaded; but it’s not finished yet!

Check back from time to time as we add our artists’ bios, statements, and samples of work. We will reveal more and more as we get closer to our inaugural show, Function: Repurposed.

July 9, 2011
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Submit to the Student Art Show!

Our mission with 2 Rules is to be a leader in the presentation and promotion of art work that makes use of or references commercial processes and themes. In doing so, we seek to bridge the gap between what is considered fine art and what is considered great design.

In pursuit of this goal, we are having a student show this December through January. Our aim with the student show is to provide a place for art students to exhibit work in a venue that focuses on their particular media. Therefore, we wish to feature student work from BFA, Post-Bacc and MFA candidates in visual communications, graphic design, printmaking and photography departments. We are willing to review artwork from students in other disciplines as long as the work fits with our mission statement. We would also like to encourage industrial design students to consider submitting to the show.

We only wish to display limited edition or original work that students are willing to sell. Selected work will be displayed from the first weekend in December 2011, with an evening opening, through the end of January 2012 in our 2800 square foot gallery in historic Marietta, Georgia.

Eventually we’ll have a submission site set up; however, until then, interested students can send images of their work to us here. Include name, major, school, medium, and size.

Post any questions here. Thanks, and good luck!

July 6, 2011
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New storefront display

We papered the windows! Thanks to 2 Rules artist Stanford Ashcraft and his wife Julie, we were able to cover our entire storefront with a work of art. Stanford and Julie were sign artists in former lives and generously devoted their time and talents to turn a construction zone into a visual experience. The artwork went up on July 3rd and was up for the Marietta 4th of July parade that was very close by.

However, sometimes things are beyond your control. After many long hours of creating the art and then hanging it, the painters in our space decided they would prefer to remove it instead of turning on some lights. Thankfully, we were told that they took the artwork down very carefully and hung it up, so we will be re-hanging it. Will keep you updated!