fbpx

Category: fundraiser

Posted on

Support the Center for Maine Coastal Fisheries

 It’s time for Stonington’s nautical auction again, but this year the selection has gone wild.
Two Boat Rock, Jill Hoy
Regular readers know that I’ve supported the Maine Center for Coastal Fisheries since before I moved to coastal Maine. A viable fisheries industry is crucial to Maine’s economy, but it also is the bedrock on which our tourism rests.
In past years, the Nautical Auction featured painted buoys. I enjoyed doing them, but I’m not a craftsperson. When they expanded their auction to include non-buoy items, I jumped at the chance to submit a conventional framed canvas. This year’s submission was painted off the deck of American Eagle last summer, and is of Scott Island off Stonington.
Fish, Peter Beerits
I like to leaf through the items on offer. This year the catalog includes more than 80 items across a wide range of categories, only tangentially related to buoys. There are gift certificates for seafood, and there’s pretty jewelry. You can get a one-year membership to the Farnsworth Museum. If that’s a little too arty for you, bid on a 3.3 HP Mercury Outboard Motor instead.
Andrew Gove’s, Bobbi Heath
There are B&B stays, personal boat tours and a sea-kayaking eco-tour. There’s a sail on the ketch Guildive out of Castine, or if you already work on the water, a gift certificate toward your boat’s lettering or a certificate for haul out or put in.
Cod Fishing, Siri Beckman
One lucky winner will see his or her name in Katherine Hall Page’s next mystery. There are antique, contemporary and cookbooks on offer, and an Opinel fishing knife.
Scott Island, High Tide, Carol L. Douglas
And of course, there’s art and a selection of buoys as well. But don’t take my word for it: the whole crazy array can be viewed here. The proceeds of the sale go to support sustainable, human-scale fisheries on the Maine coast.
Two Daughters Papercut, Larry Moffet
The bad news, for me, is the timing: the auction is Monday, August 7, at Opera House Arts. The preview starts at 5:30 and the bidding starts at six. I’ll be at Acadia National Park teaching my annual workshop.
However, we can also place silent bids by emailing Bobbi Billings or phoning the office at  207-367-2708. Bids will be accepted until August 4.
Posted on

No side deals

"Ice Cream Parlor," 12X16, is one of three pieces sold at last night's show. The remaining four are on display at Jakeman Hall for the rest of the summer.

“Ice Cream Parlor,” 12X16, is one of three pieces sold at last night’s show. The remaining four are on display at Jakeman Hall for the rest of the summer.
A very nice Canadian lady contacted me about buying my painting of Ocean Park’s ice cream parlor. Art in the Park doesn’t permit advance sales. One can, however, leave one’s credit card information with the office and the organizers will make the purchase when the sale opens.
I explained this to her. “But why can’t I buy it directly from you?” she asked. “Why do I have to go through the Ocean Park Association and pay them a commission?”
My final paintings displayed at Ocean Park's Temple.

My final paintings, displayed at Ocean Park’s Temple.
Ocean Park, I told her, is an historic Chautauqua Assembly. The Ocean Park Association is the group responsible for its preservation, educational and cultural programming. They guard the special charm that makes Ocean Park a place people want to return to, summer after summer.
In addition, we artists couldn’t afford to paint there without the hospitality of residents who open their homes to us. The cost of a weekly rental would undo even the best art sales.
“I had no idea,” she answered.
To me, the work done by the non-profits who run plein air events is obvious: land preservation, historic preservation, arts education, community development, and more. But I work with these groups frequently. For someone who doesn’t, or someone from a country where they are funded in other ways, the importance of their fundraising may not be clear.
Anthony Watkins confers with budding driftwood artists.

Anthony Watkins confers with budding driftwood artists.
It was a sweet last day of painting. Anthony Watkins was so tired he was barely standing. Still, he took time to counsel some young admirers on how to paint on driftwood. “We’ll pay you 25% of our profits if you let us use your paints,” they offered.
He deflected them graciously. “The trouble is,” he said, “these are the wrong kind of paints. You need to go home and see if you can find some house paint.”
Russ Whitten and I painted right up to the bell. Not that we were tired, but he lost his painting and I forgot to photograph mine.

Russ Whitten and I painted right up to the bell. Not that we were tired, but he lost his painting and I forgot to photograph mine. (Photo courtesy of Pamela Corcoran)
Russ Whitten sat on a bench painting a delightful nocturne from memory. (Sadly, he managed to lose it between there and the Temple.) A group of developmentally disabled adults surrounded us, enjoying their ice cream under the maples.
The carillon pealed the mighty opening bells exactly at 5. Sales were good, and we finished promptly at 7:30. Some painters headed home to a well-deserved rest. Anthony and I, however, loaded our respective cars and turned north toward Castine Plein Air.
I was approaching Belfast when I realized I hadn’t eaten since morning. After a quick stop, I pulled back on the road. Ahead of me was an old SUV with Maine plates. Despite the late hour, its driver was being annoyingly punctilious about speed limits.
Castine dreamed under a full moon as I finally arrived.

Castine slept under a full moon.
“Maybe I should crawl up his bumper to goose him up,” I thought. As I drew close, the vehicle looked awfully familiar. Was that Anthony’s old truck? I’ll never know for sure, but I followed it almost to Castine. The village slept in the gentle glow of the full moon. My hosts had left the light on for me.
By the time you read this, I’ll be on Castine’s village green, greeting old friends, making new ones, and discussing where we plan to paint. In short, it’s the start of a new event. This is a peculiar life: unpredictable, peripatetic, and often exhausting. Still, it’s a beautiful one, and I wouldn’t change it for the world.
Posted on

The large, angry crustacean is on his way to Maine.

The finished buoy. You can buy this!

When I blogged last month asking for suggestions about what to paint on my 2014 buoy for Penobscot East Resource Center’s fifth annual lobster buoy auction, I received four texts in rapid succession:

“Mom! Paint a giant lobster battling the Kraken!”
“Mom! Paint an enormous lobster destroying a city!”
“Mom, paint a big lobster eating New York!”
“Mom, paint a lobster battling an army in the style of the Bayeux Tapestry.”

The major change I made was adding Black Hawk helicopters.
When your four most severe critics all come up with the same idea at the same time, you have to run with it. And it fit with the idea that I had been turning over but wasn’t sure how to paint.

Signed and titled by the artist, as always.
It’s no secret to Mainers that lobster prices steadily tanked from 2005 to 2014. At the same time, restaurant prices for lobster remained high. That’s a fascinating disconnect—one I think is beautifully explained here—but the bottom line is that lobster costs more in New York because consumers haven’t a clue what’s happening in local commodity markets.  That means there’s an artificially big profit being made, and it isn’t happening on the docks of coastal Maine.

When you live in a Magical Duchy, you don’t need to go to the Post Office. You just put your package on the back of the truck and it miraculously gets mailed.
A situation that needs fixing but seems to be out of the range of mortal ken calls for a superhero. Who better than a large, angry crustacean from the Atlantic depths?

I like painting from life, but that’s a little difficult in this case.
Last week I was reading about the influence of 19thcentury Japanisme on western art and thinking I was absolutely free of it. But I have to admit that I owe a nod to Godzilla, and maybe to King Kong as well. (After all, the Empire State Building is somewhere in that mish-mosh.) The Black Hawk helicopters, however, are just modern America.

Looking around for pictures of lobsters last month, I came across this rhyton from the Met, c. 460 BC, in the shape of a lobster claw. Good to know lobsters are an eternal verity.
The auction will be held Tuesday, August 5th, 2014 at the Fishermen’s Friend Restaurant in Stonington, ME. If you’re in Stonington this summer, you can stop by and see all the buoys and vote for your favorite (as long as it’s mine). You’ll also be able to bid on your favorites online. Watch this space for more information.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. My Belfast, ME, workshop is almost sold out. Click here for more information on my Maine workshops!

Posted on

Give it to me, baby… for free!

Rye’s Painters on Location is a well-run art fundraiser, one which I’m honored to participate in.
Recently, Tim Kreider wrote a screedin the New York Times about a problem every artist experiences: the endless requests for donations of work to non-profits.
Having a bit of the Blue-Haired Church Lady in my makeup, I’m pretty free and easy about this, even though I know that paintings often sell at fundraising auctions for a fraction of their value. The ones where they ask for a painting are, frankly, the easiest—I just pick something from my inventory, send it, and forget about it. The ones where I’m asked to do something are a bit harder, since time is always in short supply. At one point last summer I was juggling three such requests. It was, frankly, a bit much, especially as I looked around a crowded banquet hall and realized the caterer, the band, and the staff were all being paid, while I was doing my thing for free.
Marilyn Fairman, Brad Marshall, and yours truly painting at Rye’s Painters on Location.
These events are often pitched to artists as “career-enhancing” but in truth they are usually the exact opposite. Our work sells for a fraction of what it commands in the private market, depressing our overall sales record. Often, it’s the wrong audience anyway. I’ve seen PGA tickets go for several times their value while paintings languish at their opening bid. That’s really no surprise when the crowd at the event is a golf-watching rather than an art-buying one.
Another well-organized fundraising event: Camden Plein Air.
Despite this, there are in fact some excellent fundraising art sales out there. These treat artists like professionals and pay them a legitimate price for their work. Rye’s Painters on Location and Camden Plein Air are two such events. (It should come as no surprise that both are organized by arts professionals.)
Ask yourself:
  • Does it raise money for something I really care about? I forgive a lot when the cause is near and dear to my heart. Likewise, I bend rules like crazy for my friends;
  • Is it an art-specific auction? You can’t expect a general auction to bring out many art-lovers, so paintings never sell well at these events;
  • Are they giving a percentage of the proceeds back to the artist? It costs money to participate. If the staffer organizing the event is being paid, you should be paid too;
  • Is it juried? You want your work showcased with other work that is as good as or better than yours.

And remember: you, the artist, cannot deduct the fair-market value of that painting you donated. (I’m not an accountant; I just speak from the bitter experience of an IRS audit.)

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
Posted on

I’ve never painted in a little black dress before

Carey Corea’s mural for ABVI

On Saturday, June 1, I will be painting a live plein air painting for the Association for the Blind and Visually Impaired’s (ABVI) Play It Forward hosted by Macy’s. This event is to celebrate ABVI’s construction of an Outdoor Mobility Training Area, which will help visually-impaired children and adults learn to more easily navigate their world.
ABVI, founded in 1911, provides vision rehab services to the Greater Rochester, Finger Lakes, and Southern Tier areas.
ABVI will be able to provide outdoor
mobility training on a variety of surfaces
in their new outdoor area.
The new garden area includes adaptive equipment for children that will allow them to climb, jump, run and play just like their sighted peers. A decade ago, I helped design gardens around handicapped-access modifications at St. Thomas’ Episcopal Church, so this project is exciting to me.
The painting I do of this garden (and I pray it will be fantastic) will be auctioned off to benefit the project. I urge my fans to attend; it’s a fantastic way to get an original painting by me and support a great project, as well as to see me with my hair combed and struggling to keep paint off my clothes.
In addition, ABVI will be unveiling a mural by Rochester artist Carey Corea, a very fine non-objective painter. He’s an RIT graduate and long-term commercial artist in Rochester. I haven’t seen his mural in person, and I’m excited to do so.
Just the facts:
Saturday, June 1, 2013
6:00 – 9:00 PM
ABVI’s New Vision Rehabilitation Center
500 S. Clinton Ave.
Rochester, NY 14620
Emceed by radio personality and friend of ABVI, Steve Hausmann
Open bar
Hearty hors d’oeuvres to tempt the kid in all of us
Games
Silent and live auctions
Cocktail attire suggested
Event tickets are $100 per person.
Tickets are also available for a VIP reception from 5:00 – 6:00 PM for $150 per person. VIP Reception attendees will have an opportunity to pre-bid on silent auction items.
RSVP by May 17, 2013. For more information, please call Debra at (585) 697-5711 or e-mail: [email protected].

There are still spots open in our mid-coast Maine plein air workshops! Check here for more information.