Israeli Jewelers at the Toronto Outdoor Art Exhibition
By Moshe Mikanovsky
Shalom Toronto, July 8, 2010
ShalomLife.com, July 10,2010

Now in its 49th year, the Toronto Outdoor Art Exhibition (TOAE) is one of the largest, if not the largest, juried art festival, featuring contemporary fine art and craft that takes place on Nathan Phillips Square every July. This year, more than 500 selected artists will gather July 9, 10 and 11 to showcase their contemporary artwork, in all media and styles.

Amongst them will be two Israeli artists who focus their artistic creativity and career to the art of Jewelry making. For Sarit Assaf, it is the first time showing in Canada. With her will be Nirit Dekel, whose 2008 TOAE success made the decision easy for her to join again this year.

I interviewed both Assaf and Dekel over the phone and emails, just before taking their trip to Toronto. Both were excited for this opportunity, and they shared with their background, inspiration and hopes.

Sarit Assaf confessed that growing up she didn’t have any hand in making art. But while on her studies to become a special education teacher, Sarit realized that it wasn’t for her, and she looked for something different. After some trial and error with many different design courses she studied at Omanit College in Jaffa, encouragement from her teachers, and some apprentice work with another Jeweler, Sarit started working at the management of the museum store of the Eretz Israel Museum in Tel Aviv, where she works till today.

The store manager, Aviva Ben-Sira, pushed Sarit to become more professionally savvy with her work. But the breakthrough came about 7 years ago, when AIDA, the Association of Israel’s Decorative Arts was created.

Charles Bronfman, and his wife, the late Andrea Bronfman, with their friends Doug and Dale Anderson, were so impressed with the level of artistry and creativity in Israel, that they decided to start the association as a way to support Israeli artists in areas of ceramics, design, fiber, glass, and metal & jewelry. The support is mainly achieved by helping the artists find new worldwide venues such as art shows and galleries, educational programs and scholarships in leading art schools abroad, and museum and galleries exhibitions.

Sarit was one of the first artists to join, and since then had the opportunity to show at the Philadelphia Craft Show, which led to representation at stores and galleries in the USA. But more than that, the experience she was exposed to through AIDA pushed her to become even more professional in all she does – her designs, products’ quality and business endeavors. She is so grateful for AIDA for sponsoring her in this trip to the TOAE.

Sarit Assaf, knitted bracelet, silver.

Sarit’s creations are painstakingly made by metal thread knitting. Some of the metals are precious, like gold and silver, and some are not, but all retain their metal colors, with no additional colors or stones added. Sarit does play with the juxtaposition of the crocheted metal, with its complex perforated look, with smooth metal that lies next to, or peeks from within, the knitted areas. Her works are not small, but they are making an immediate impression. She said it is very much fitting her personally – clean, organized, focused, subdued color palette.

Sarit Assaf, knitted rings, silver, gold-filled, coloured copper

On the other hand, Nirit Dekel’s glass jewelry bursts with colors. Also a member of AIDA, Nirit loves returning to Toronto and the TOAE again. She had an amazing experience two years ago, and can’t wait to come again. 

Nirit started her career with couple of degrees in Social Studies which then changed to working in the hi-tech industry. But when she saw Chihuly’s 2000 art installation at the Tower of David in Jerusalem, she felt her wakeup call, like an alarm clock just woke her up and showed her real life calling. She immediately started taking glass beading workshops, and completely immersed herself, after quitting her hi-tech job, in the work of glass beads making.

In the beginning her beads were “perfect” and “by the book” – round, colorful, dotted, a complete change from her personal style of black and grey outfits. During the following years, and since these days, Nirit developed her beads in many ways. The Ballerinas, with their countless “legs”, who dances and play pure sounds, like tiny bells. The Containers and Pomegranates, which are not closed, ball-like beads, but open at some sides, with design and interaction between the outside and inside, showing and hiding from different directions you look at them. Then there are the flat disks, two dimensional beads. Only their gathering together on the string made them into a three dimensional object. Her latest work includes bead-less beads – their shape is created by the heating process of the glass, but they do not have a pinhole for the thread to go through like beads usually do.

Nirit Dekel, Ballerinas necklace, glass

For Nirit too, AIDA became the catalytic in launching her international career. She participated at SOFA Chicago, the International Exposition of Sculpture Objects and Functional Art, Philadelphia Craft Show, Boston Craft Show, and is selling at the Eretz Israel Museum in Tel Aviv. “The most important thing for me was the feeling that I joined a family, and like any family they take care of you and want you to succeed. Their support and encouragement throughout the way, my desire to improve in order to fit the North American standards, and the constructive criticism only pushed me forward. Each show that I have been in, with all the preparations involved, contributed to my development and professional advancement. The work towards this type of show frees the functional thinking and allows creative freedom.”

Nirit Dekel, necklace with disk, container and pomegranate beads, glass

I also asked Nirit what influence her work as an Israeli: “I don’t know if my pieces can be define as “Israeli”, but I am sure that the place I am coming from, living in Tel Aviv’s centre close to the Mediterranean, the weather and the Israeli sun, all influences in one way or another who I am, and thus on my creations. I think that the colorfulness, boldness, humor and lack of ancient tradition in glass allow me to break many boundaries.”

Appreciating Dekel’s and Assaf’s unique jewelry through pictures is one thing. Seeing it in person is a whole different story! I hope everyone from our community will show their support and visit Sarit and Nirit this weekend. They will love to see some friendly faces! Below is the information on the show, opening times and where to find Sarit and Nirit.

Toronto Outdoor Art Exhibition (TOAE), July 9, 10 and 11, 2010, Nathan Phillips Square. Friday and Saturday 10:30 am – 7:30 pm. Sunday 10:30 am – 6:30 pm. Rain or shine. Free admission. www.torontooutdoorart.org

Sarit Assaf will be at booth 615 in the Yellow section. You can also contact her at saritassaf@netvision.net.il

Nirit Dekel will be at booth 531 in the Turquoise section. You can also contact her at nirit_dekel@hotmail.com or through her website at http://www.niritdekel.com/

AIDA, the association of Israeli’s decorative arts, can be reached through their website at www.aidaarts.org

CIC, the Canada-Israel Committee, are also sponsoring Dekel’s and Assaf’s visit. http://www.cicweb.ca/

Moshe Mikanovsky writes for Shalom Toronto on Israeli Art matters in Toronto.  (moshe@mikanovsky.com, www.mikanovsky.com)

You can also read this article in English as was published at Shalom Toronto:

English Article

I am from here. The Train. The Suitcase. Singer Sewing Machine. There is No Hope. Wierzbnik Synagogue. Neighbors. Death of the Hassid.

These are some of the titles of the artwork of polish painter Maciej Frankiewicz presented this month in Toronto. The Al Green Gallery and the Ashkenaz Festival jointly sponsored and arranged Frankiewicz second showing at the GTA in the past two years. A prelude to the upcoming biennial 8th Ashkenaz Festival, which will take place August 31^st to September 6^th at the Harbourfront Centre Frankiewicz participated in the last festival in 1998, when he also visited and participated in meet-the-artist discussion session with festival’s visitors.

I am from here, tempera and oil pastel on paper, 100 x 67 cm

What makes Frankiewicz story unique, is that as post-world-war-II child, born in 1968 to a Catholic family at the town of Starachowice, which was known to its Jewish community before the war as Wierzbnik, his body of work is mainly depicting this same Jewish life and their plight and complete elimination from the town, both physically, and for most, from memory as well. In “I am from here”, the show’s namesake, a house in the shteitel (Yiddish for small village in East Europe), along with its inhabitant, are raised above the rest of the houses by larger-than-life bearded figure, whose identity (whether Jewish or gentile) is unclear. One person is running away from the scene while another lady is waving from a balcony. In “The Suitcase”, the entire shteitel is neatly tacked into a suitcase, ready for a trip. And in “The Train”, a transport train is moving away from the town, leaving behind Jewish symbols, while many anonymous hands are reaching to the skies from all directions.

The Suitcase,tempera and oil pastel on paper, 70x100 cm

Although these images might look like dealing only with the terrible ending of the Jewish life at Wierzbnik, Eric Stein, Artistic Director of the Ashkenaz Festival, told me that Frankiewicz deals with the life of the Jews as well. Stein met Frankiewicz in 1999 while on a roots trip to Poland with his brother. Before the trip he consulted with the Wierzbniker Society, a group who initially started by immigrants to Canada who supported and helped other immigrants in their immigration and accommodation process. The Society members recommended him to search for Maciej Frankiewicz, the Jewish cemetery custodian. After showing them the cemetery and the restoration work he did there, Frankiewicz invited the Steins to his home, and that is where they first saw his artwork. Both quality and subject matter touched Stein immediately. And the rest of the story is unfolding a piece at a time, with this beautiful show.

The Train, tempera and oil pastel on paper, 100 x 70 cm

Stein continued telling me: “His art ranges from Idolized and Nostalgic to abstract with strong imagery. He sometimes wake up in the morning with a vision of a dream he just had, which he then put on the canvas. In other cases, he meets and interviews people who survived the war, and were originally from Wierzbnik, and then they appear in his paintings. His body of work is an historical recording, like a documentary.”

Last Wednesday the show opened with a special event of The Polish-Jewish Heritage Foundation of Canada and the Wierzbniker Society with a special program featuring Howard Chandler, a Wierzbniker survivor who told the guests about Jewish life in Wierzbnik before the war, as well as a representative from the Polish Consulate in Toronto.

Maciej Frankiewicz (middle) with Wierzbnikers and Holocaust survivors Howard Chandler (left), and Martin Baranek (right) at the 2008 Ashkenaz Festival with his paintings at the back (photo by David Kaufman).

Frankiewicz, father of 12, could not come this time to Toronto to attend the show. But his presence was much felt with the strength of his artwork and his technique. Most of the work is tempera and oil pastel on paper, where he is using recycled and reconstructed layers of paper for the support of the work.

The show is open until July 8^th at the Al Green Gallery on Merton Street. The Al Green Gallery was founded by Canadian real-estate developer, sculptor, and philanthropist, Al Green. The newly renovated gallery continues to embrace Al’s dedication to sculpture, but has broadened its focus to include a range of artistic disciplines. The gallery provides a venue for artists, many of whom have limited opportunities to exhibit their work, while also raising awareness and funds for diverse charitable causes.

The co-sponsors, Ashkenaz Festival, are a community-based non-profit organization dedicated to fostering an increased awareness of Yiddish and Jewish culture through the arts. Through its biennial festival and an expanding slate of year-round programming, Ashkenaz showcases the work of leading contemporary artists from Canada and around the world working in music, film, theatre, dance, literature, craft, and visual arts.

The Al Green Gallery address: 64 Merton Street, Toronto, ON M4S 1A1. 416-440-3084
www.thealgreengallery.com Gallery hours: Wednesdays, Fridays, Saturdays 12-5pm; Thursdays 12-7pm; Closed Sunday, Monday, Tuesday.

Ashkenaz Festival: contact: 416-979-9901. www.ashkenazfestival.com The 8th Ashkenaz Festival will take place Aug 31 to Sept 6, 2010 at the Harbourfront Centre.

Moshe Mikanovsky writes for Shalom Toronto on Israeli Art matters in Toronto.  (moshe@mikanovsky.com, www.mikanovsky.com)

You can also read this article in English and Hebrew as was published at Shalom Toronto.

Hebrew Article

English Article

Last time, in My First Art Fair Checklist – Follow Up, I promised that I would dedicate this post for the display system at the art festival (or art fair, whichever term you prefer). My display system was of the “Made in Home Depot” variety and couple of readers commented that I should really invest in proper, professional display system.

I do agree that professionalism is key and important in displaying yourself as an artist, the respect you give your creations, and the respect you want to get from everyone viewing, and more importantly, buying your art.

But, and here I want to list several reasons, there are quite legitimate reasons why you may want to go a different route, not the most conventional or “academically” professional:

• The budget factor. Not trying to raise the worn mantra that we are starving artists, therefore we can’t afford spending money on a professional system, some of us still have budget constraint. Whether it is your first experience doing an art festival and you want to try it out before you spend into it, or you honestly prefer to spend your budget on quality art materials and framing to create the best art you can possibly do, your budget might be squeezed and not much left for the display system – which is really, just the background for your artwork.
• Do it differently. We like to say that artists can break every rule and still make great art. So why not with how you display your art? I have seen several displays that were just different and unique and that made me want to look at them. But maybe that’s not the best thing since the idea is to focus on the art really…
• Practical means. Some DIY display systems are much easier to carry and transport and therefore could be ideal for artists who travel far, don’t have a car, live in the city and use the subway/taxi/bicycles, or all of the above. Imagine trying to carry around on top of your art also a big display system, professional as it might be.
• Everything works. I have seen it myself, and I am sure many of you can testify, that also without the professional display system, artists sell their art! There are many reasons why art is sold, or not sold, at art fairs and festivals. But not having “the right” display is only one piece of the puzzle.

OK, so with no further due, here are few of the display systems I have seen during my first art show. I was amazed with the varied options I saw with only 90 artists showing in the park! I am sure there are many more excellent ways and when I’ll find more, I will keep you updated. So here we go:

The Double Twines

Couple of simple twines tied to the tent’s frame at the top and to the artwork’s back wire at the bottom. This is the simple version of The Double Chain (see below).

Pros: Very inexpensive and simple.

Cons: Can only carry one painting, which should be fairly light. Paintings sway in the wind.

 Julia McNeely www.juliamcneely.com

The Double Chain

Couple of metal chains hang from the top of the tent’s frame. The hanging of the chains can be by cable ties (as seen in the pictures) or by double length of the chain wrapped around the frame. The artwork is hung on S hooks suspended at any of the chain’s links.

Pros: Inexpensive and simple. Can hold more than one painting on long chains.

Cons: I have seen paintings sway in the winds.

 The Clothes-Lines

Two clothes-lines or similar twine is stretched across the width of the tent’s wall. The artwork is hanged off the clothes-lines using clothespins. Suitable for non-framed art on paper.

Pros: Inexpensive and unique look.

Cons: Might look too DIY/crafty. Doesn’t fit for all type of artwork. In this case the artwork are prints on wrinkle-free “peel and stick” cloth, so they are well protected and suited for this hanging system.

 The Leaning Boards 1

Two 1”x2”x8’ wood strips, attached at the top with metal hinge. The top is leaning on the tent’s frame and the bottom is open couple of feet wide. Throughout the entire length of the wood strips, angled grooves were made in order to hang the art from. The wood can be pre-primed with white paint, or you can paint or leave natural. For extra stability, the top is tied to the tent’s frame with some twine.

Pros: Inexpensive and simple look. Can fit several paintings.

Cons: Stability might be an issue, but it seems quite stable. Need some DIY know how to make the grooves properly.

 John Visser, http://johnvisserart.com

The Leaning Boards 2

Wide boards, in this case old barn boards (over 100 years old!), leaning on the tent’s frame. To protect the frame, a foam material was used to wrap around the frame where the board is leaning against it, and the board is secured with some twine. For hanging the artwork, wooden pegs were installed in equal intervals.

Pros: Looks really nice! Old barn boards are not a must, although they make the difference, having a very unique look. More than one piece can be hanged on each board, and as extra touch, another board was made into a narrow table.

Cons: I won’t go out of the way to find or purchase these old boards, only if I happen to have them lying around. Stability might be an issue if someone kicks the bottom of the board. Quite bulky to carry and transport. Some DIY know how is required to install wooden pegs.

Jennifer Toliver, www.jennifertoliver.ca

The Leaning Boards 3

This one is made of metal railing that already comes with some holes in them. The railing was tied to the tent’s frame with bungee cords. S hooks are used on the holes to hang the artwork.

Pros: Inexpensive and easy to install. More than one painting can be hanged on each railing.

Cons: The look is quite cold and industrial.

 Nicky Hindmarsh, nickyhindmarsh@hotmail.com

The Fencing 1

A metal fencing stretched across the width of the tent’s wall, attached at the side with some cable ties. In order to make the fence more stable and not buckle in, a long and narrow strip of hard plastic was inserted throughout a section of the fence. S hooks are used to hang the artwork.

Pros: Metal fence is durable and can carry multiple art.

Cons: Also a cold look and a bit industrial.

Scott Brewster

The Fencing 2

Similar to Fencing 1, but using a plastic fencing. I have seen someone using the orange color fencing in the past and it looked terrible. So if you opt to use this option, try black or white.

Pros: simple and inexpensive.

Cons: Wear and tear might be high. Looks like a construction area.

 The Framed Fence

In this more elaborate usage of the fencing, they were stretched over wooden frames, stapled all around with a staple gun. The frames are attached to the tent’s frame, and to each other, with cable ties. In this example the frames are quite tall – taller than the lower portion of the tent’s roof structure. The frame panels had to be separated with a gap in the middle to fit in.

Note the special feature of this setup – the noodles. In each wall mid-section, a twisted noodle in inverted U shape is attached to the fence with cable ties. The purpose of the noodles is to stretch the tent’s roof outward, so that any rain falling on the tent will immediately spill over and not remain on the roof. I believe this can be achieved with other systems as well.

Pros: Can hang many paintings in many configurations. Not too expensive to setup.

Cons: Seems bulky to carry and transport. Require DIY know-how.

 Steven Crainford, www.stevencrainford.com

The Fencing Rollup

I personally loved this system! In this display the 3’x15’ plastic fencing roll was cut to 5’ lengths. Each length of 3’x5’ was attached to a 1”x2”x3’ wooden strip on each side using washers and screws. Couple of eyelet screws were attached to one of these wooden strips. These were used to hang the fence from the tent’s frame, using a couple of large size S hooks. Similarly it can be hanged with cable ties or bungee cords. The nice thing about this system is that each fence is rolled up nicely around the wooden strip for carry and transport.

Pros: Light and easy to carry. Inexpensive and fairly simple to assemble. Can hold several paintings, depends on the size.

Cons: Need to make quite a few of these to cover all three walls, which might defer the size advantage. If it is not required (as in the picture), then it’s less bulky.

 Jon Muldoon, www.jonmuldoon.ca

The Concrete Wire Mesh

Concrete enforcement wire mesh size 4’x8’, hanged from the tent’s frame with twine. The artwork is hanged using S hooks.

Pros: Inexpensive and light weight. Can hold many paintings, depends on the size.

Cons: the wire mesh rusts very easily, so it must be treated somehow beforehand, either painted over with rust resistance paint, or some anti-rusting spray. Edges can poke and scratch you. Not heavy but still bulky to carry and transport.

 Moshe Mikanovsky, www.mikanovsky.com

The Gallery-in-the-Park

A gallery hanging system is attached to a 1”x4” board of similar length. Eyelets screws are attached to the top of the board, which is suspended from the tent’s frame using cable ties.

Pros: Small and simple.

Cons: Depends on the gallery hanging system, only one row of paintings can be hanged. Might be more expensive than the average DYI system, but needed to be compared with other professional systems.

 The Coat Hanger

This DIY coat hanger style system is constructed of a 1”x1”x8’ wood strip attached to a small board for a base. The base is held with a small weight and the top of the strip is attached to the tent’s frame with wire. Hooks are attached to the front in intervals.

Pros: Simple and inexpensive.

Cons: Does not look very stable or fit for big and heavy paintings.

 Sheetal Sehgal, www.sheetalsehgal.com

The Stained Glass Window

This system is quite unique. It is constructed of a wooden frame, and metal construction built together especially for this purpose. It’s easier to have a look at the picture and see what I mean. The final look is of a stained-glass window without the glass. The artwork is suspended off the metal-work with S hooks.

Pros: Special look that gave the booth a unique design.

Cons: Need to be very handy to create. Heavy for carry and transport.

 Liz Menard, liz.menard@utoronto.ca

 As you can see, there are so many creative ways to hang your art in a tent! I didn’t even mention The Easels Field and The Professional Grids. I am sure there are many more ways out there. True, being professional is very important and everyone should strive to present their art in the most professional way possible but if you are on a tight budget, want to try what an art fair is all about, or just want to be a bit different, why not try one of these displays? And if you have more ideas, please share them with us; we would love to hear from you.

Cheers

Moshe

PS Thank you to all the artists who allowed my wife and I to take pictures of their displays and use them in this post.

This article was published on FineArtView blog on July 1, 2010

Related posts:

• My First Art Fair Checklist – Follow Up
• Riverdale Art Walk 2010 Pictures
• My First Art Fair Checklist

Children are so special. They are honest. Their views are pure. They are not afraid to use their imagination. They are natural artists. They don’t conform to rules or restrictions. And the younger they are, the  purest they are.

My 5 years old reminds me that almost every day. But in the past few weeks, she reminded me who I am, and she made it so easily and effortlessly, as it was a matter of fact. I am writing this mostly so that I will not forget. As a reminder for the future. My own mental and virtual bookmark.

About two or three weeks ago, she asked me: “Aba,” (that’s how she calls me, its Dad in Hebrew), “what do you want to be when you grow up?”

So I said, “I want to be an Artist”.

“But you are already an artist! What do you want to be when you are bigger?” she insisted.

“Well, I do other things now, and I really want to be an Artist”, I replied.

So she asked, “Do you want to be a chef?”

“No, I don’t really want to be a chef…”

“Do you want to be a waiter?” was her next suggestion.

“No, I don’t want to be a waiter. I want to be an Artist!”

“But Aba, you are really an Artist!”

I smiled… and gave her the biggest hug ever!

Then, last week, I started a new day job, which is not in the art world at all, but in technology and software development. When I came home after work, everyone was excited about my new job, and asked me how it was… but my 5-years-old sweetheart had only one question:

“But Aba, why do you need another job, you already have one, you are an Artist!!”

And again, I squeezed her and covered her with kisses.

Is there anything else to say?

Yours truly

Moshe

When I entered couple of weeks ago the Engine Gallery at the Historic Distillery District, joining visual artist Myriam F. Levy, gallery owner, director and curator Steven Schwartz, and friends, at the opening of her solo exhibit “Desert Rhythms”, with African music playing at the background, I couldn’t stop thinking about this connection. And when I talked with Levy and Schwartz, both told me in their own words, how musical the paintings are.

Left: African Market, 36” x 48”. Right: Soft Wind, 48” x 12”

As an abstract painter, Myriam’s medium of choice is encaustic. Encaustic is an ancient technique also known as hot wax painting, which involves using heated wax to which colored pigments are added. The encaustic medium has a unique ability to be worked and reworked. Modeling, scraping, incising and incorporating different materials are some of the exciting possibilities this medium can offer. I had the unique opportunity to learn from Levy at her studio the technique, medium and tools of Encaustic art, and saw firsthand how she constructs her images, layer by layer, listening to her inner music and rhythm.

Myriam F. Levy at the opening of Desert Rhythms, Engine Gallery. Behind her: Hoodoo , 18” x 36”.

“Desert Rhythms”, the name of the show, gives us few clues to Levy’s influences. As a hobby, she loves playing the Djembe, an African skin-covered hand drum, which she plays regularly with a group of friends. The rhythm of the drum’s music, with the beat and off-beat sequences, where one feels not only the sounds, but in between them, is like breathing. The same in Levy’ art – each painting has its own rhythm, constructed by vertical or horizontal lines, in different width and spaces between them, breathing with colors, tones and under tones. Using the encaustic technique, Levy creates layer after layer of colors, some hidden and some revealed by incising and scratching.

This leads to Levy’s major influence – nature, and for this show,  the desert of the silk road (which led through Israel), especially the hidden mysteries, history and stories of the ancient people that rode it, and left behind traces such as trading stations remnants. On the surface the deserts always look lifeless, but underneath they are full of life. Water marks are everywhere, with canyons and wadis created during centuries of sudden floods. Animals live under rocks and underground. Bare and knotty acacias standing twisted by winds and exposure to the element. In the artworks, we can find in the details similar traces, shapes and marks, that each one of us can interpret differently and individually, based on our imagination and personal experiences.

Engine Gallery at the Distillery District

This is Levy’s first solo show at the Engine Gallery, but she has been represented by the gallery for some time now, participating in several group shows. Gallery owner, director and curator Steven Schwartz told me about the immediate connection he had with Levy’s work. Representing many Canadian and International artists, including several Israeli artists, each with their own style, Schwartz must feel the art to be able to fulfill his commitment for both artist and collector. He is privileged and excited to exhibit Levy’s art, show it to the gallery’s clients and enrich the art scene in Toronto. Engine Gallery, in its central location at the artistic Distillery District is the perfect background for the colorful massive pieces.

Left: Yellow River, 60” x 24”. Right: Incense Road, 60” x 20”

Levy’s solo show just ended this week, but her works can still be viewed on regular basis at the Engine Gallery. I encourage all art lovers to see Levy and her art – it will definitely lift your spirit!

Engine Gallery’s current exhibits feature artist Diana Bennett, who dealt with her grandaughter’s cancer through her resin pieces, and artist Costa Dvorezky’s “Adam and Eve”.

Engine Gallery address: 37 Mill Street, Building #37 (Distillery Lane), Distillery District, Toronto ON M5A 3R6. (416) 531 9905. www.enginegallery.ca. Gallery hours: Tuesday-Sunday 12PM-6PM

You can also contact Myriam F. Levy: (416) 627 0182, mflevy@rogers.com, www.mflevy.com

Moshe Mikanovsky writes for Shalom Toronto on Israeli Art matters in Toronto.  (moshe@mikanovsky.com, www.mikanovsky.com)

You can also read this article in English and Hebrew as was published at Shalom Toronto.

Hebrew Article

English Article

 

Related Posts:

• Two Israeli Artists, Two Worlds of Arts featuring Myriam F. Levy

Wow! The time I had preparing and doing my first art fair was just amazing!

After writing “My First Art Fair Checklist”, I received many comments with some great tips, encouragements and well wishes. And it was well received. I felt that many of you were there with me, if not in presence, then in mind and spirit. I also had several visitors to my booth who commented on the previous blog post. That was awesome!

Right hand side wall, with Zodiac, the Seen by an Angel series and the Holidays series

Ok, so now let’s get to business. Many of you were waiting patiently for my report about the show and how it went, so with no further due, here it is, my Lessons Learned:

Artwork

• I believe that my artwork spoke for itself. I received many excellent comments, so that was good.
• I didn’t sell anything though. Yes, I am not afraid to admit it, the same as I would not be afraid to tell you how successful I was selling million of dollars worth of paintings… I wish. Trying to understand though why I didn’t sell, I came up with a few ideas:
• My niche art didn’t fit most of the buyers. My art is based on religious subject matter or inspiration from my upbringing in Israel. Although I have paintings of trees and of the Zodiac, the other paintings might be a turn off for some.
• My unique style (which I did receive many comments on it) is still needs to be “understood”. Presenting for the first time, it takes time to build followers who not only like but also buy my art.
• Work on paper. I was told that people buy more art on canvas rather than on paper. All my art is watercolor on paper. I did have 4 small paintings in watercolors mounted on panel and covered with resin, which many people really liked, so I am thinking of creating more of these in the future.
• The show itself. Although the organization of the show was outstanding, I heard comments from other artists that were disappointed with their sales. One even told me that the show attracts many dog-walkers and baby-strollers and not the real art-buyers. But, I did see people buying art. So it might be only personal observation.
• Not enough marketing on my part. As much as I tried to market the show to everyone I know, only a few of my existing contacts showed up. I relied too much on the exposure of the new crowds that had never seen me before.
• Attraction of my tent. Although I really liked the end result of my tent, which you can see in some of the pictures I took, I did get some feedback from my mentor that my tent was “too clean” and not strong enough in a way of attracting people in. Maybe it’s true, I still have to think about it a bit more…
• People like to “find hidden treasures”. I saw how everyone loved sifting through boxes of matted artwork. The art that they didn’t see on the walls but had to go through in the box was hidden from them and attracted them. I will definitely try to have some in the future.

Tent

My tent worked out really nice! We did have prediction for rain, so I sealed the seams of my roof several days beforehand. I was very anxious about it, because I didn’t know if I did it right or not, but in the end, it was great. We only had rain at night between the two days of the show and water did not leak through, so I was very happy. One of my neighbors though had water leaking into her tent and she realized that the tent was not water resistant.

Putting up the tent and taking it apart was not too bad, although in hot and humid weather it was quite steamy inside. I kind of envied the artists who came to a ready tent that they rented. On the other hand, I saved few hundred dollars by borrowing mine and putting it up myself.

Although the organizers asked everyone to bring a white tent, several artists opted for other colors. Either they had the tents already or borrowed them. I still think white is the way to go.

Very important – before going home, always make sure that not only your tent is secure with weights in all 4 corners, but also all your neighbors on ALL sides are secure. And if they are not, insist that they don’t leave before they make sure it’s secure. Otherwise you might come the next day and see that your tent is standing nicely but the tent next door just moved a bit and maybe even collapsed on yours… So do yourself a favor, don’t be shy, befriend your neighbors, and insist that they do their job to make everything safe.

Display system

Hmmm, well, what can I say? As this was my most challenging item before the show, it was also most challenging during the show… Let me tell you why. The wire mesh I used was easy to install and looked quite nice. The problems started with the overnight rains and humidity in the air. The iron mesh rusted very quickly. At the morning of the second day I had to wipe all three meshes and the rust stains on the wall of my friend’s tent will never come off (we tried CLR but it didn’t work… maybe washing it somehow?)

I still got poked and scratched by the pointed edges of the wires.

The S Hooks had a mind of their own and it was sometimes a challenge to straighten the artwork. Drove me a bit crazy all the time, especially when it was windy and each painting was a bit tilted.

I saw many other excellent ways to hang the art. My next article will be dedicated for the other great display systems. It’s a topic that needs its own post.

Marketing

I handed out many business cards and postcards, so I am happy about that. I am sure I will have some returning clients for my paintings and/or my Giclee and licensed products (mainly the Ketubahs).

Many people looked through my portfolio, so I was happy to have it.

My little “marketing surprise” was the shirts my wife and I wore during the show. That goes to one of the discussions in the last article’s comments, regarding what to wear (professionally vs. fitting the crowds). I opted to do it like in trade shows – wear a white shirt with my logo and name, and my website on the back and sleeve. I also had a 3^rd shirt on the table, which I put out for a drawing for all the people who signed my guestbook for my newsletter.

And speaking about a logo – the image of the Leo from my Zodiac painting was everywhere – my business cards, my tent’s sign, my shirt, the cover of my portfolio, and online it’s on my blog , newsletter and my avatar as well.

Other supplies

In addition to the list I published last time, I got some new items: 4 weights to secure the tent, work or garden gloves, first aid kit with band-aids and Polysporin, business cards’ and fliers’ holder, pouch for money and other valuables, bungee cords, camera, paint-pen to fix scratches on frames, measuring tape…

I want to thank everyone for their support. As a way of appreciation, I put together a checklist form, “My Art Fair Packing List”. Feel free to download it and use it for all your future events. And be nice, play it forward, and share with others.

Cheers

Moshe

This article was published on FineArtView blog on June 17, 2010

Related posts:

• Riverdale Art Walk 2010 Pictures
• My First Art Fair Checklist
• Art Show Invite – Riverdale Art Walk (RAW) 2010
• Art Show Invite – Everything OLD is ART Again at the Hang Man Gallery

I will be starting a new course next Wednesday, June 23rd:

Title: Tech Tips for Artists: Save you time and money

By: Moshe Mikanovsky, artist, software and websites developer and social media marketer

5 sessions, 1.5h each

Start Date: June 23, 2010

End Date: July 21, 2010

Time: 7:30-9:00 PM

Location: ShaKed’s Centre. 360 Enford Rd # 6, Richmond Hill, Ontario L4C 3G1 (map)

Cost: $100 per person

Description:

This course is intended for artists who are familiar with computer usage, but want to get some great tips on how to utilize the computer and the Internet for much more than just sending emails! Some of the covered topics are:

• How to take images of your artwork for the Internet
• How to organize work for show submissions
• How to use links to promote your art
• What is a URL and Domain? Do I need one?
• What is Search Engine Optimization (SEO) and why is it important for me?
• What are Facebook, Twitter, LinkedIn, Flickr, art forums, YouTube? How can they help you sell your art?
• How can PayPal help me sell my art?

Please join me. Please forward to your artists network.

Please RSVP to confirm your participation to Moshe@Mikanovsky.com by Monday, June 21^st.

Cheers

Moshe

I have several of my Ketubah designs licensed to Ketubah.com, previously known as KetubahKetubah. It was very exciting few years ago to work with Michael Shapiro and the team at Ketubah.com, being one of their first Signature Collection Ketubah designer. And I am glad to continue offering my Ketubah Giclee prints through them.

Rejoicing Ketubah by Moshe Mikanovsky

Following is an article that was published at the Toronto Star yesterday. I am just quoting the beginning of the article. To read the full text, please visit the Star’s website.

Ketubah.com marries religion and artwork
Toronto company has become world leader in Jewish marriage contracts
By Naomo Carniol
Toronto Star, June 14 2010

Michael Shapiro knows a lot about happily-ever-afters. The Toronto resident has helped thousands of couples begin their married lives.

In Canada, Jewish weddings usually involve two written documents. One is a civil marriage licence. The other is a Jewish marriage contract called the ketubah, where the text is often surrounded by colourful artwork.

Shapiro, 44, is the president of Toronto-based Ketubah.com, an online store that sells limited edition ketubah prints and has become the largest ketubah company in the world. In 14 years, it has created ketubahs for more than 5,000 couples.

Read more…

Related Posts:

• Ketubah, Art, Love, and the “Moshe Was in Our Wedding” Lifetime Promotion
• Zodiac Ketubah – old tradition in new contemporary way

When I was preparing for my recent art fair, I spent quite a lot of money on traditional framing to all my watercolors. At one point, I was a bit “tired” from this investment. Not that it doesn’t worth it – on the contrary – good looking framing for paintings could be one of the best ways to show professionalism and to attract buyers. But, I wanted to try a different way, something that will not cost me so much, and will still be attractive to the buyers.

At the same time I remembered what my mentor always told me, that I should start painting on canvas or board instead of on paper because work on paper doesn’t sell as well as work on canvas. It is not that people don’t appreciate the amount of work put into a watercolor or a fine art print, but people still love the look of a painting on canvas better.

So, I decided to try something for the show. I thought “if I want to cover my watercolors with protective layer similar to glass, and present it as work on canvas, maybe I should try resin?”

I never worked with resin, and I also wasn’t even sure that this is what it’s called. In the past, whenever I saw artwork covered with resin, I was not very excited about the look. But now, it sounds like an interesting solution for an old “problem”. I also had no idea if watercolor paintings on paper can sustain the resin, and what effect the resin will do to the surface. So I started researching online. I googled “watercolor paintings covered with resin“, “resin artwork“, etc. I couldn’t really find anywhere discussing resin on watercolors. But I did find eventually few YouTube videos. One of them was of artist David Zak’s, “LESSON: How to Resin your Artwork (clear coat)“. After watching the video, and finding David’s website, I find that he lives in the Greater Toronto Area, so I contacted him with questions about resin and about using it on watercolors. Couple of days later, David sent me a detailed email with pictures of samples he did with a watercolor painting. And few more emails after, I found myself at David’s studio, resining 4 small pieces!

Resined watercolors mounted on panel. The Seedlings series

Resined watercolor mounted on panel. Blue Chamsa.

David was very helpful showing me and letting me use some of his resin to try it out. Thank you David for all your help!!!

So here is what I did:

1. I got four 6″x6″x1.5″ beech wood panels at DeSerres. I am sure you can get them at any art supplies store next to you.
2. I painted the panels with two layers of white acrylic paint. This is in order to prevent the wood’s color and grain pattern come through the watercolor paper after the resin is applied. I wanted to leave the sides of the panels with its wood finish, so I protected them with painter’s tape.
3. Once the paint was dry, I glued on it a watercolor paper, a bit larger than the panel size. I used regular white glue. Once it was dry, I cut it to size using a utility cutter. This is very easy using the edges of the panel as a guide.
4. Then I painted my watercolors. That was the best part
5. Once everything was ready, I came to David’s studio to resin the work.
6. You can watch David’s Video on how it’s done. It was basically the same way: Mixing very well the equal parts of resin and hardener, leveling the artwork on something high so it will not touch the table’s surface, pouring the mix on it and spreading it all across, and then trying to get all the bubbles out. That was probably the most tedious part of the entire process…
7. We then covered the work with some boxes and plastic, so dust and cat-hairs will not fall on it while it dries.
8. It takes about 4 hours to harden, and another 8-12 hours to fully cure. So I met David the following day and got the dried work.
9. Last thing I did was to file down some of the drips at the bottom of the work so it will lie flat. Then I installed the wire at the back.

The edge of the resin

Filed drips at the back of the panel

More edges

Side of the panel

Surface of the resin

The back of the panel

Few comments for future resined watercolor artwork:

• I think I will try to first spray the watercolor with clear acrylic to fix the colors and protect the paper. If you notice in the pictures, there is a very small yellowing of the white paper around the edges. David showed me that also white oil paintings can become yellow after covered with resin, so it could be an effect of the resin. But, it won’t harm to try it.
• I will probably cover the bottom of the panel with some painter’s tape, so if I get drips, they will be on the tape. Once removed, I hope it will look cleaner.
• I will try to use a paint brush for the sides of the panel to make the coverage more even.
• David mentioned that heat blower can work very well for removing all the bubbles. At the show I talked with another artist who resins all his mixed media panels, which are quite large, and the result looks just like glass, with no bubbles at all! He told me he is using a simple blow-torch. But he also mentioned that it takes a lot of practice to make it perfect…

Few comments about resin:

• Resin is a Polymer Coating. Here is a product I was recommended to use: EX-74 
• It is an hazardous material. You should be careful when using it, mainly not to inhale it and not to touch it. Use gloves, good ventilation, and a mask. See more details in this link at the SAFETY DATA SHEET information.
• If mixed well, the resin pours quite evenly. Even if touched while in its liquid form, it will return again to a smooth surface. That’s why its important to level your artwork.
• if the artwork is not smooth it might need couple of coats to get everything covered.

So, that’s it. Let me know if you have questions, and I will be more than happy to share.

Cheers

Moshe

Related posts:

• Check out the post “The Frame Game” on FineArtViews. It has many good ideas, and also the comments are great. Especially check Lori Woodward’s comments. She suggested the following alternative method for framing watercolors:

I don’t use matting or glass at all to frame my watercolors. I paint on 300lb paper, glue it to MDI board, birch panel, or gator board. Then I spray it with Krylon Crystal Clear acrylic spray to fix the watercolor.

When it’s dry, I brush on gloss UV resistant acrylic varnish (I like Golden brand). I let it dry completely. Then I pop it in a frame that is used for oils. The acrylic varnish protects the watercolor and it can even be wiped off with a damp cloth.

Collectors who’ve purchased my varnished watercolors have said they have no fading – some even from more than a decade ago.

I use acrylic matte medium as a glue which I apply to both the back of the paper and the board I’m gluing onto. Then I set the painting on the floor, put a piece of paper over it with a piece of cardboard over that and stack heavy books on it overnight. In the morning, Voila!

Also, I make sure the paper is 1/8 to 1/4 inch larger than the board because when the glue dries the paper shrinks. When everything is dry, if some of the paper edge extends past the board, I cut that off with a matte knife.

I try to work in regular oil frame sizes so that I can save money on frames.

Israeli Art blossoms in Toronto
By Moshe Mikanovsky
Shalom Toronto, June 2 2010

If you had a chance to visit the Israeli Artists Group’s art show, you were probably impressed with the beautiful art and the show that represented many art disciplines, all practiced by local artists, all Israelis. In this article I wanted to introduce one of the newer artists in the group, who showed for the first time, and had a great success!

Ziva Lepsker was born in Haifa. For her entire professional life she was a kindergarten teacher. After moving to Canada, and retiring from teaching, Ziva looked for a new thing to do. By chance, and not even knowing she has it in herself, she found watercolour painting. Four years ago, very hesitantly, she used this tricky medium for the first time, and the rest is history.

Watercolours, as a painting medium, can create amazing results, with transparent washes, bleeds, pigments that blend into each other, bright whites and darkest colors. But when overworked, or with too much thinking, they are very unforgiving. Muddy areas and mess are results that no artist likes, and that’s why many artists turn away from it.

Ziva Lepsker, Flowers, Watercolours

But when looking at Ziva’s flower fields and landscapes, you can appreciate the richness of the medium, and her playful control of it. Her flowers are especially powerful, jumping off the paper with bright and strong colors. Ziva explains that as “painting what she feels rather than what she knows”. Her love to the Israeli flowers and landscapes, combines with the excitement of experiencing new sights here in Canada, inspires her daily work. She paints every day, and is never tired or out of artistic expression.

In the show Ziva presented her art for the first time. This is not an easy task for any beginner artist, and Ziva received many encouragements from her family, friends, and the members of the group and the community. And her success at the show, with many visitors commenting on her style, buying her art, and supporting her, gave her the boost to continue and grow. I am sure we will hear more about her in the future!

Ziva Lepsker with one of her paintings

Another artist who was a member of the Israeli Artists Group for many years, is now on her way back home, returning to Israel this summer.

Esther Etigson, also a sabra, moved to Toronto 40 years ago, to improve her English and return to Israel as an English teacher. As happens to many, Esther married a Canadian, and stayed in Toronto, where she built her family and career. She always drew or painted, with trees being her favorite subject, but only 14 years ago she pursued her artistic talent and started learning painting professionally, in parallel to her teaching at Associated Hebrew Schools.

Esther learned with the best local artist, such as Margaret Roseman, Pauline Holensin, Jake Mol and Art Cunanan. She was a member of the Toronto Watercolour Society, the Willowdale Group of Artists, and the Israeli Artists Group of Toronto. She participated in many of the groups’ shows, as well as single shows of her art at her home in Thornhill.

Esther Etigson, Sun Eclipse

Esther’s love for nature and its beauty is evident in her paintings. “The surprise and unexpected always excite me when I paint. I love Canada and I am in awe every time from its wonderful nature and the abundance all around. The Canadian landscape and the many trips I take in the nature influence my work.”

Esther Etigson, Birches on the lake, watercolors

This year will be Esther’s last art show and sale in her Thornhill home, since being homesick to her family in Israel won over her love to Canada. She will be returning to Israel this summer, and will continue her painting career there. Please show her your support and congratulate her for her return to Israel, by visiting her studio on her 5^th annual art show and sale. Please see details below.

Ziva’s art can be viewed online at http://zlapsker.awardspace.biz as well as at her studio. To contact Ziva, please call  905 886 4111 or send an email to zlapsker@gmail.com

Esther’s 5^th annual art show and sale will be June 13^th, at her home: 163 Gailcrest, Thornhill (Bathurst and Clark area), between 10AM – 6PM. To contact Esther please call 905 886 8085.

Moshe Mikanovsky writes for Shalom Toronto on Israeli Art matters in Toronto.  (moshe@mikanovsky.com, www.mikanovsky.com)

Read other articles by Moshe published in Shalom Toronto

Read this article in Hebrew and English as PDF files from printed paper: