Giclee Print Light of Day by Denise Macgregor

How else do you market your Giclee or art prints?
Besides my website and exhibitions I have been steadily finding art shops to sell my work. My local art shop has a mini exhibition every three weeks and I was asked to display in there. I sold eight gilcee prints in that time. I have also found another three retail outlets that have been willing to frame my work for their own display. Obviously, they need to make a profit too, and I offer them a discount. Of course, once my initial costs have been covered, then the profit margin will increase. I am also considering venturing on to E-bay.

How did you choose the paintings to print?
As I had to be selective because of the cost involved, I asked people who came to my exhibition which paintings they thought would sell the best, and made my decisions based on the response. My first one was Wild Tulips. Many liked that one. I hung a print beside the original in the exhibition, and it did quite well. The colours matched perfectly, although you will never capture the energy of the original in an art print. I then went on to make another three (Two’s company,Silver Dollars, Light of Day all of which fitted on to the drum scanner, and then another, Weathering the Storm, which I had to have photographed.

Exhibit showcases Art Director's work

By homericus6

Raton : NM : USA | about 1 month ago

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NOTE: This article originally appeared under my byline in the Raton Range, February 5, 2010 issue.

A few years ago, Ray Wolf began making a major change in what he does as an artist. A few months ago, he also began adjusting to his role in helping lead Raton's arts community.

A one-man show of Wolf's abstract paintings--a style he transitioned to in recent years--went on display Thursday at the Old Pass Gallery.

Wolf is the executive director of the Raton Arts and Humanities Council. He moved to Raton from Kansas City, Mo., assuming his new position late last year. A reception for what Wolf believes is probably his first full-fledged one-man abstract exhibit was held at the gallery starting at 6 p.m. The show will be on display through Feb. 19.

"Another exhibit we had hoped to have fell through, so there was an opportunity for this show," Wolf said. "It's good timing, and it is another way for me to introduce myself to the community."

The largest of the paiExhibit showcases Art Director's work ntings featured in the show is 5 feet by 6 feet, with three others being 4 feet by 5 feet and the smallest about 25 by 25 inches. One of the paintings is a triptych, consisting of three panels, placed side by side.

Denise MacGregor at the opening of one of her exhibitions

Photo copyright Denise MacGregor

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It’s one thing being an established and famous artist, where all you have to do is paint the pictures and hand them over to an agent, then show up for the preview evening. It’s another to be at the beginning of your career as an artist.

Most of us have to plan our own shows, as I have done over the last few years, and there is a lot of work involved if you want to get the most out of your art exhibition. I was fortunate in that I worked as a gallery assistant for artist Nerys Johnson when I was at Durham University, and assisted her with preparing for her shows. Even though she was an established artist, there was still a lot to be done.

After you have planned an exhibition of your work, you will see that the commission galleries request is well worth the effort they put in!

SYED Siddique Hossain, a homoeopath based in Kurigram in the 1930s and possibly the first Muslim in the subcontinent to write a seven-volume book on homoeopathy, would wake up every day at 4:30am, light up a lantern and write non-stop till late morning. The eldest of his eight children, Syed Shamsul Haq, then barely seven or eight years of age, would peer through his half-open eyelids at his father’s illuminated face, absorbed and striking, and listen, in a dreamy half-awake, half-asleep state, the scribbling noise the pen made on the paper. Not books, the act of writing fascinated the little boy most. ‘The scene that I woke up to every morning had immense power – I wanted to conquer the feeling,’ says Haq. ‘Reading wasn’t much of a possibility anyway.

HOW would he like to be remembered? Pausing for moments, in his measured enunciation typical of his classroom lectures, Serajul Islam Choudhury, on a definitive note, said, ‘a committed intellectual.’
   A man of commitment, or rather public commitment, Serajul Islam went on to define intellectuals as people who could rise up vertically in knowledge and achievement, but could also spread horizontally towards society, but for which they are reduced to mere scholars or professionals, or even mere social beings when they are inclined more towards society. This responsibility, shouldered out of volition, is to understand society and to strive after social transformation.

THIRTY-SIX years ago, on the day when Bangladesh won her freedom, a woman in her late thirties broke down – her tears were of pride and inexplicable joy. The end of humiliation, the end of not being able speak up, the end of the seemingly endless struggle to survive the bloody war had come. ‘I had held them back for so long and it was time that I let them out,’ says Sanjida Khatun.
   Samjida has made a long and arduous journey – from being one of the first women to speak in public meetings to being under constant surveillance of the government of the erstwhile East Pakistan and its cohorts; from the formation of Bangladesh Mukti Sangrami Sangstha to the foundation of Chhayanaut.

Dear son,
   Only the other day I was walking along the street when this really large and impressive looking vehicle stopped right in front of me. A handsome fellow dressed up nicely stepped out and immediately bent down and touched my feet. He informed me that though I may not recall him he was a good friend of my son’s. He was now the district commissioner of Jaipurhat and I burst into tears, both happy for his success and sad at my own predicament.
   Your father
   
   MAMUNUR Rashid bursts into laughter, as he reads out the letter sent to him by his father. ‘Till this day, my father refuses to believe that I am good for anything. He often pesters my son – ‘Tell your father to do something fruitful and worthwhile.”’
   Rashid, at 59, may have failed to live up to his father’s expectations; however, for his fans, well-wishers, the world of Bengali theatre and television, in acting, directing, and scriptwriting, he has left an indelible mark.
   Brought up in a conservative family – his father looked down upon any form of performance art – Rashid nonetheless had a fairytale childhood in Mymensingh. His father was the local postmaster and the family lived at the feet of the Garo hills. The little boy grew up in close proximity with the indigenous culture and amidst sights, sounds, shades and smells of the six seasons.