Persistence Anyway If you need to know something, anything, Ask someone online They will surely have some sort of answer Probably disappointing I sent an email to a friend who as far as I know never showed her work She said only 4% of artists sell their art And usually that dries up She has an MFA and publishes art by others So she should know In her opinion few of that 4% have shelf-life Beyond ten years Perhaps there is a following each of this 4% Gathers as supporters Then, in time they all age and that audience Ages in the usual way Which is to say they die just as the 4% artist Will as well Frankly, isn’t 4% a bit overblown a number Better odds than the Lottery This put me into a gloomy mood and there is Little else I can do Except to head back to the studio and paint For the person I always delight visit Sandy Kinnee.com

Two Very Old Artists Looking at the Same Thing I watched as two older artists talked about that thing called painting One said she was amazed at how the paint hopped from her bucket onto the canvas dripping this way or that as it would Surprising her the next day by how it had dried She said she never wanted to be a famous artist just a really great one that let the paint do the work while she took the credit The other artist spoke of rolling paint over slippery glue Dictating situations in which the paint would dry into chance patterns Nudging chaos in lovely and mysterious ways Surprising him the next day by how it had dried He said he never wanted to be a famous artist just a really great one that let the paint do the work while he took the credit I watch these older artists talk about this activity this phenomenon called painting This fixing of paint to canvas into shapes and forms regardless of the excuse of which or whom is in control of how the pain...

Over-Splatter and Photographic Support While the concept of using splotches and drips, on front and backs of Jackson Pollock’s painting, to ascertain the sequence of creation may seem intuitive at best, photographic evidence supports the veracity of the over-splatter tool. Three specific paintings photographed during their sequential creation provide a baseline that makes clear the numbering method used to assign inventory control is clearly not an indicator of sequence. Both photographic evidence offered by the Namuth images and examination of over-splatter establish the following order of creation. The numbers assigned to the paintings by Parsons are 30, 31, 32. 30 is the MoMA (Number One) painting, 31 belongs to the MET (Autumn Rhythm), and 32 is in Dusseldorf. Not only is it irrefutable in the Namuth images, but supported by the over-splatter on the completed works that the order in which these three artworks were painted is: 31, followed by 30, and lastly 32. Since...