The Remaining Drawings

My Kickstarter project "Renderings of Historic Saratoga Race Course" for the 150th Anniversary is nearing completion. Four of the eight original drawings are available. They're 11"x14" and created with pen and ink followed with a wash of watercolor on paper. They can be purchased framed or unframed.

Sanford Stud Farm

The history of this farm and Saratoga Race Course are closely woven together. Located just north of Amsterdam, New York, three generations of the Sanford family bred and raced some of the country's best horses beginning in the 1870's. On the Oklahoma side of the barn area is a section named “Sanford Court” in honor of the farm. The Sanford Stakes is still run today (the only loss for the great Man O' War by a horse aptly named Upset). I visited the few remaining buildings and took this reference photo of what were once the mare and foal barns, adding my own horses and grooms in period dress from my imagination. It's said that the horses were walked from the farm to the race track...about twenty-six miles...and people would line the streets to watch them go by.

The Paddock

Circa 1910's, notice the paddock is comprised of gentlemen only, all wearing straw-type hats (very in-style) as they observe the horses entering for saddling. African-American grooms walk their charges through thick grass with no gravel paths such as those that exist today. The trees in front of the stalls are mostly gone now, and the few that remain are fairly large. The red and white striped awnings were added much later.

                                                              Harrowing the Track
Before it was mechanized with tractors, the harrows that comb the surface of the track between races were pulled by draft horses. The starting gate was also moved around the track with teams of horses. Many years ago when I was a young teenager, my dad would take me to Narragansett Park in Rhode Island and I remember being awe-struck by the massive size of these reliable horses. Take note of the trees in the infield. Most are gone now but there are a few left that have grown huge and momentarily block out the field of horses from the cameras as they race down the backstretch.  

The Loose Horse 

This is my take on a drawing that appeared in the Daily Graphic newspaper in 1877. Long before photography became a staple tool in news reporting, illustrators had to quickly sketch out the day's events. Note how all the horses are all in the same extended stride and the two horses with riders behind the loose horse were drawn much smaller, a means of creating spacial perspective. I think these artists did a great job back then, drawing quickly and effectively to capture the essence of a story. 

If you are interested in acquiring any of these, please email me: sharon@sharoncrute.com

Truths and Others Vagaries

I subscribe to Seth Godin's blog. Seth just published an impressive 5000th blog post. He's also written twelve marketing best-sellers in a thoughtful, philosophical voice that I personally resonate with, especially when he intentionally includes us arty types who tend to be a bit remiss regarding our business savvy (or woeful lack of). Here's a link if you'd like to subscribe: Seth's Blog.

I hope I don't get into trouble but I'm re-posting a particularly apropos piece from a few days ago on Seth's blog:

"The tried and true is beyond reproach. It's been tried, and of course, it's true. True because it worked.
In times of change, though, most of the tried is in fact, false. False because what used to work, doesn't, at least not any longer.
Sure, it might be what you've always done. But that doesn't make it true, or right, or best. It just means that you already tried it.
The nature of revolutions is that they destroy the perfect and enable the impossible. Seeking out the tried and true is the wrong direction for crazy times." - Seth Godin, June 2, 2013

I am not just an artist. I'm not just a painter struggling to recoup from a disastrous economy that harshly impacted all of the arts and then some. I'm in the art business and I've made it one of my priorities to educate my clients and potential clients about what that means.

As a business person, I've become a bit aggressive. Okay, very aggressive. I have something to sell that I believe is a desirable, quality product and I'm not shy about getting the word out. Art is a tough sell during good times, never mind the "crazy times." Some admire my determination and others are repelled by it. Most fall somewhere in between.

No, this is not a hobby. Yes, I deserve to get paid well for my time, my ability and my now vast experience. It's been said that to create art is a gift from the heavens. No, it isn't. It's more like a lifetime of perseverance and never-ending study and a burning desire to achieve excellence. The pro shows up in the studio every day and gets to work. There's no time to wait for heavenly inspiration to strike.

So, if I've come on like a used car salesman and you've been offended, I'm no longer offering apologies. My tried and true is also false, spurring a search for new truths.

Hey you! There's no better time to buy a painting!
Sharon

Derby Pining

This is the time of year that I really miss the track life. I don't miss the grind: the seven day work week, getting up way, way before sun up and the constant physical demands of very hard work on a human body. But man, do I miss the horses.

Moi on the shank, Bay Meadows

I hold my stories sacred...and I have lots of them. Spending twenty-five plus years in the microcosm of this community yielded a perspective of life in extreme. Now that I view this milieu from the outside I honor the membership I once held. My participation is from an artist's viewpoint and I'm okay with that as I was privy to this demanding lifestyle for over half my days.

Ponying at Bay Meadows, 1993

But I still miss the horses. Their beauty humbles me. The chiseled, cocked heads, the streamlined movement and poetry of an innate intelligence. Like a ticking time bomb, their power and danger vibrates perilously, barely contained, seeking release. Exhilarating and terrible combine to create a thrill undefinable.

Running a nervous filly, Golden Gate Fields

There are several directions I can go with this. Oh yes, I have an opinion about every facet, nook and cranny of this game. As I grow older, I prefer to simplify and be grateful for my time spent in this exclusive club. Aging often makes one yearn for the past, a past not applicable to present conditions. So I'll stay here and paint.

Michael & I in the paddock, somewhere on the California Fair Circuit. Great times.

But man I miss the horses.
Sharon

Fundraising in Our New Economy

As artists, most of us have learned to manage our own careers out of necessity as a result of all this economic turmoil. Fortunately, there's lots of marketing advice targeted to our field that's readily available. Social networking tools are a godsend for getting our work "out there" and we're quickly learning the value of engagement. And best of all, most of it is free! We're making these changes out of necessity if we want to keep making our art and keep making sales to support our efforts.

We're only a tiny part of the huge shift that's occurred in most business practices and models. Life as we know it has changed and change we must if we want to survive.

May I suggest that fundraisers and charities embrace the changes as well? Silent auctions and $150. a ticket soirees (most are comped) are quickly becoming passé. It's the same old, same old. Very unfortunately, most attending these functions are bargain shopping instead of sincerely supporting the cause of the fundraiser. I get requests for donations weekly and I'm usually amiable about helping out. However, when my donation is "purchased" at an underpriced bid, it's hurtful to my clients, my pricing structure, my life-long career of building my reputation and my efforts to continuously pursue excellence with my skills as a painter. Also, the fundraiser is usually unaware that we as artists cannot write off the retail cost of an item...only the materials used in it's production. So, let's see, I've had this brush for X years at a cost of Y and used it Z times.Get the picture?

A bill introduced by Sens. Patrick Leahy (D-VT) and Robert Bennett (R-UT) called Tax Fairness for Artists and Writers  has never gotten passed the introduction phase. Why? I realize the pressing nature of this bill is far down the list of priorities for the greater good of this country. However, with all the funding cuts adversely affecting charities, it's a win-win situation for both artists and fundraisers. In a nutshell, an artist would be able to deduct a fair market value for a donation of their art enabling such artists to generously give something of much higher value thereby enhancing the fundraising capabilities of charities.

And as an aside, I personally believe that fundraisers must now also embrace the said changes. I think creativity in fundraising is necessary to generate renewed interest in their efforts from would-be supporters. Instead of the tiresome silent and live auctions with the same predictable items offered, why not try to create something like an online treasure hunt where registrants participate (for a fee of course) in a game similar to a poker run. They could be directed to websites of like causes to obtain "keys" (purchased, of course) that over a set period of time ultimately ends with a grand prize for the winner. This could also create partnerships and networking opportunities with similar organizations. Hey, I'm just brainstorming...the point is: get out your thinking caps and do something interesting and different and fun to attract the givers. The auctions are not working and in any business, when something isn't working, it's trashed to allow new ideas to come forth.

Just offering my humble opinion,
Sharon

The Studio Expands

My new work space is larger. I now have room to exhibit and help promote a few special artists whose work I admire. I'm very excited about this new direction as I now get to play the role of gallery director.

Let me introduce "my" new artists!

Robert Stebleton

Fresh Snow, acrylic on panel, 11"x14"

I have tremendous admiration for artists who are adept with acrylic paints. Bob's masterful control of the medium creates an exclusive style of fluid brushwork that builds on multiple layers of transparent glazes. With a wide range of subjects, he skillfully documents his observations. This is the artist that mentored me this past year as I diffidently stepped out of my equine-only paint box. So there you are. Check out Bob's website here.

Sue Clark

I Can Read! print photograph, 12"x18"

Sue is a multiple award-winning photographer (really). In this series, she examines the macabre world of dolls and mannequins...those plastic objects that are meant to mimic humans, mostly female. These strange effigies become subject for her exploration that creates an edgy and provocative exhibit: "Valley of the Dolls." To visit her website, click here.

Jools René

Forest Fire, oil on canvas, 11"x14"

Jools lives in the Ozark mountains of Arkansas. We met several years ago when I was exhibiting in Hot Springs. Over the years, we've stayed in touch as Jools' paintings have evolved into abstractions of harmonious, sumptuous color and painterly form. His compositions appeal to my sense of movement and intensity. Oh yes they do.


Welcome to my gallery dahhhlink,
Sharon

The Process

The process of making art is as infinitely varied as the art itself. Every artist has their own way of finding inspiration and transforming it creatively. That's the magic spark, the beginning. From that moment of scintillating insight, a series of actions follows that will eventually produce a piece of art - be it a painting or a theater production of whatever the end result is desired.

Many people are not aware of the tremendous work the process often entails. It can be a long road from idea to completion. There is the preparation of materials which includes lots of trial and error in first choosing the supplies that suits the artist and at the best price. Highest quality paint is not cheap.

I prefer to stretch my own canvas simply because commercial pre-stretched canvas is awful. We begin with a textured 11 or 12 ounce canvas that has adequate tooth to hold my thick paint application. I say "we" because my husband Michael has blessedly taken over stretching duties at this point. He pulls the canvas over wooden strips, or stretcher bars and staples it in the back leaving the sides of the canvas smooth (known as a gallery wrap). Once he's finished, I begin applying the first of three coats of gesso creating a barrier between the paint and raw canvas. Coat one is mixed with a bit of water to penetrate the canvas fibers and given a day to dry. Coat two is mixed with an acrylic medium to provide flexibility and given another day to dry. Before applying coat three, I lightly sand the surface to create a bit of tooth and then apply gesso full strength. After another day of drying the canvas is ready for a ground (a neutral wash of color to eliminate the stark whiteness). Yet another day to dry and then I'm finally ready to paint! It's a labor of love...really... but you get, um, the picture.

Before beginning the painting - and this is assuming the artist is clear about what they want to express - there is usually some preliminary sketching. Sometimes a lot of sketching. Perhaps the artist requires photographic material or is compelled to research the subject that further demands untold hours at the library or on the internet. When finally proceeding into art-making, that process often takes on a life of its own that doesn't always cooperate thus requiring the artist to make time-consuming changes and other adjustments throughout.

My point is that making art is diligent work. A beautiful finished piece is a joy to behold but know that it doesn't gracefully manifest by divine intervention as some have naively intimated. Yes, we've all heard it. This is about process and I've haven't even mentioned the time (years) and effort (extraordinary) to develop skills and techniques that continues throughout the career of an artist. Please consider this before gasping at the price of an artwork next time you're in a gallery.

With a heavenly sponsored talent (!),
Sharon

Sanford Stud Farm

This short road trip was inspired by my latest project - creating eight historical renderings of Saratoga Race Course for the upcoming 150th Year Anniversary.

I heard that a few barns of the original Sanford Stud Farm remained intact. Formally Hurricana Farm, the impressive facility was established by Stephen Sanford in the 1870's. Located on the Perth/Amsterdam border here in New York, I can't believe that I've driven Route 30 right past the huge mare barn without noticing it. Sadly, it's now surrounded by encroaching strip malls and parking lots.

The result of his physician's urging to buy a peaceful place in the country with a couple of horses, Sanford built a farm of over eleven hundred acres with an impressive roster of thoroughbred champions. That would include the 1916 Kentucky Derby winner George Smith and the first American winner of the Grand National Steeplechase, Sergeant Murphy. I guess some people are not wired to do things in a small way.

This was the mare barn, looking more like a factory, as viewed from the parking lot of a store I can't remember.

The old feed bins are visible through a window.

This lone barn sits behind the mare barn, possibly once housing a stallion. Notice the Walgreens in the background. Constant traffic travels an access road.

I'm walking down a row of mare and foal barns that have remarkably weathered the years. Even the paddock fencing still stands. This is on the other side of the access road. 

If you look further back behind the row of mare and foal barns, neglected remains of other buildings are visible in the distance. We could feel the ghosts of so many horses, hear their calling and footfalls as they're led to and from the barns. Can you imagine the tales and secrets contained within these sturdy walls that stubbornly hold fast against the ensuing years? It eerie and bittersweet but it's hallowed ground to me. I'm grateful to the Friends of Sanford Stud Farm who work to preserve what's left of this very historical farm.

It's been said that the horses were walked to the Saratoga Race Course. That would be almost thirty miles!

A little history for my horse peeps,
Sharon

The Deed is (almost) Done!

My studio has successfully been moved across the street to:
73 Beekman Street, Saratoga Springs, New York.

We've hung my paintings, set up the office and tested the printers and computers. It's presentable and we're open for visitors on the weekends. This week we'll empty the storage unit (my exhibit tents, grid walls, display tables, etc.) and haul all that stuff to the new place. After that chore is completed, we'll tackle the living quarters, moving from the apartment we now occupy to upstairs over the gallery. After settling in, the visiting days and hours will be expanded. As always, if you need me for something - I'm always available.

There's good energy here. I'm feeling very optimistic.

I've selected a bright, sunny room upstairs to use as my workspace. It's a bit smaller than I'm used to but the big canvas is completed and I've got ample room to work on my Kickstarter project.

So clean and uncluttered. Consider this a "before" picture!

Embracing change and moving forward,
Sharon

Relocating (again)

Across the street from my studio on Beekman Street in the Saratoga Arts District, a live/work space became available. We grabbed it - enabling us to combine the gallery/studio and living quarters in this good size house. Apart from the obvious fact that we'll save money, I'm excited to be so physically close to my work. Just think of what this insomniac can accomplish into the wee hours!

Moving is such a chore, even if it's just across the street. As a former race tracker, packing and shipping is a routine part of the biz. Let's say I've grown weary of it...really, really weary. And where did all this stuff come from? Amazing what material things we accumulate. A mere year and a half ago we moved into the old studio with my paintings, art supplies and a few computers and printers.

"A house is just a place to keep your stuff while you go out and get more stuff." -George Carlin
 I swear I had no stuff-collecting intentions. I despise clutter. But there it is, all sprawled out and spilling into three rooms in the new place, requiring lots of effort to organize and find a place to put it.

In other news...

My Kickstarter campaign will end on Friday, March 22nd. I'm overwhelmed and humbled that I not only surpassed my goal, but that so many are willing to support my artistic efforts. What a blessing to have believers in me and my artwork. FYI...there are still four of the eight originals available: Click here: Kickstarter if you're interested.

With deepest appreciation,
Sharon

Studio News

My monster of a canvas is finished.

Phew!

There were effects that I wanted to play with after acquiring interesting new skills with my landscape experiments. However, because this piece is commissioned by a great client who loves my racing work and has certain expectations, I thought it best to be reliable in that respect. The entire background was applied with a palette knife providing some interesting texture that I further rubbed with thinned pigment. A very difficult angle to portray, I couldn't find any reference photos except for one very dark and blurry pic. That said, I enlisted Michael to model and did lots of preliminary drawings.

Oil on canvas, 7'x5'

In other studio news, my Kickstarter project is almost completely funded. I have only $125. more to go to reach my goal. If there are any art angels out there who would like to help me get there, please click here. Did I mention there are rewards?

More studio news: We'll be moving the entire kit and caboodle across the street on Beekman and will be in an authentic live/work environment combining the studio/gallery with living quarters. This workaholic is thrilled! Stay tuned for a more detailed update.

Mwah!
Sharon