[artforceminneapolis]

September Artist of the Month Tracy Frizzell

Growing up in a small rural town in northern Minnesota, artist Tracy Frizzell felt blessed to be able to spend so much time on the lakes where the water always fascinated her. At a young age, her grandmother taught her basic painting skills and how to paint reflections in water. They did most of their painting at the kitchen table while they baked cookies.

Now living in Minneapolis, her work has been expanding to include less rural landscapes and more elements of the urban industrial history of Minneapolis and St. Paul that have captured her imagination. She enjoys incorporating elements of storytelling and whimsy in her recent work. Tracy took the time to answer a few of our questions on how she evolved as an artist and her process for creating a piece. Here is what she had to say...

How did you become an artist? My dad and my grandma are both artists so I kind of grew up into it. We use to go on family exploring trips in my grandparents’ Ford Econoline van where we would find the most obscure, hidden, dusty dirt roads and then stop for sketch breaks if we found an interesting spot.

How and where do you find inspiration? I find a lot of inspiration when I’m out biking or running. On days I have free, I like to get out a map, look for an interesting trail or area I’ve never been to before, and then plan a route.

“Field of Poppies”

What is your process for beginning a piece? I’ll have an idea and then get out my large newsprint pad and start with some quick drawings to work out the composition. Sometimes I like to do this at the coffee shop, a lot of times I put on a movie and let my mind wander a bit and it helps me relax and get some ideas flowing. I’ll make notes in the margin as ideas come to me. Many times I’ve started with an idea and arrived at something quite different because there were problems with balance or flow or story-line that only became apparent when I committed it to paper.

On average, how long does it take you to complete a piece? It all depends on the size, style, and intricacy. My most popular pieces have been in the 3’x6’ to 4’x6’ size range and they can take anywhere from 50 to 300 hours.

We love your works with trains. What was the inspiration behind your pieces with the out of control trains? I’ve been asked this quite a bit, and I have to admit that I’m actually not quite sure! One of my studio mates has made the observation that many of my most recent works have embodied two major elements: fantasy and chaos. My laughing response was, “Maybe that’s just a reflection of how my life is going right now!” Trains have always fascinated me. I like the romance of riding the steel rail across the open country. I like the history and stories that surround them. I like the motion that they imply.

“Fuel for Progress”

You have a real talent for painting waterscapes. Is it hard to get the water to appear so realistic? It has gotten easier with each new piece that I have painted. I guess I just had a knack for it in the beginning and have stuck with it to try to master different types of scenes (waves, ripples, glassy reflections, etc). I grew up on a small lake in northern Minnesota, and I can’t tell you how many hours I’ve spent on the water. I think that proximity has helped me to “see” how waves and reflections work—how even though it all seems completely chaotic at first glance, there are definite patterns in the chaos, and seeing those makes it easier to realistically paint.

“Glassy Waters”

“Archimedes Library”

What are your goals or hopes for this next year in what you create? I’d like to paint more train scenes—I’ve got a couple of ideas in mind! I’m traveling to an artist residency on Lake Michigan in October and I’d like to do some plein air landscape/waterscapes if the weather holds out.

When someone walks into your studio, what will they find? Cats, lots of cats… just kidding! Well, on a good day I’ll be working away, the air is perfumed with the tang of oil paints and the record player is playing something old and nostalgic. On a not as good day (because there aren’t any bad days when I get to be in the studio and do what I love!) I might be sitting on the couch, staring at the latest painting in process and wondering when the tide will turn and the painting is going to go from looking awful to something great.

Get Tracy Frizzell’s work and many other original art pieces in your space with a subscription to the SmartArt Rotating Program.

[artforceminneapolis]

New Art Exhibit at Minneapolis Convention Center

Art Force’s SmartArt Rotating Art Program recently installed its fourth exhibition at the Minneapolis Convention Center. Minneapolis is a hotbed for creativity and artistic talent. This exhibit introduces visitors of the Minneapolis Convention Center to rich artistic offerings from local visual artists living and working in Minneapolis. 

(L to R -  “Liquid Tongue Severed Stone”, “Life Long Bird With A Quite Strong Grip” by Jonathan DeDecker)

(”Crossing” by Hilary Greenstein)

This rotation is exemplary as budget amounts allowed an increase to 42 pieces of fine art! (last rotation was 36 pieces). 

(”#15-584″ by Lisa Fertig)

You will find the selected works on all four levels of the Convention Center. Maps for the specific locations are available at the information desk. The Convention Center is open to the public, but don’t wait too long to stop by, as these wonderful pieces of art will only be there until January 2016!

[artforceminneapolis]

Project in Process at the University of Minnesota

Art Force got in on the ground floor of the fabulous new 300,000+ square foot Ambulatory Care Center at the University of Minnesota. One of the custom pieces commissioned for the project is being created by locally based and internationally recognized artist, Alexander Tylevich. The piece will feature suspended ribbons of dichroic glass similar to the work pictured below:

(“Through the Safety Lens”)

Art Force coordinated with the general contractor and construction crew, the installation of the supports for the sculpture prior to the completion of the ceiling.

Art possibilities are limitless when you engage Art Force during the design phase of a project. 

Talk with us now to get your project started.

[artforceminneapolis]

August Artist of the Month Joan Bellin

Artists use all sorts of imagery as part of their process. Joan Bellin often taps into images she has stored in her brain as far back as when she was one year old. The imagery comes through her mixed media process both subliminally and intentionally and provides a real sense of place in her work. Art Force had the pleasure of asking her more about her evolution as an artist and her integration of imagery into her work.

What's an unusual, non-artist job you've worked?

I was a janitor in my college dorm, which was a satisfying counterpart to being a student in art and design. And a full time job via bicycle in the summer.

How did you become an artist?

I've thought of myself as an artist since I was five years old. I got a degree in design in order to have a 'real' job. But art won.

All your pieces are so unique. How and where do you find inspiration?

Images get stored in my head, often without my being aware that they are there. Those images surface when I work. When I heard artist Chuck Close speaking about not needing inspiration, that an artist just has to start working, I could relate. Working subliminally is part of my process.

“Full Circle”

You've been an artist-in-residence at several elementary schools. What do these experiences involve?

In the realm of arts advocacy, and with a desire to improve the scope and sequence of arts learning, I taught mixed media that combined printmaking methods. This helped to fill a need in several public schools until certified arts educator positions could be secured.

What prompted you to move from a career in textiles with Close at Hand to full-time fine art making?

The run-off from my design work kept beckoning! (screen printed partial images on my table drop cloth) These unintentional layers commanded my attention, and then became intentional. Eventually, I had a portfolio of work that buyers were asking to see.

“Two Harbors”

What are your goals or hopes for this next year in what you create?

Images from a riverboat trip are rising to the surface. I'm not sure how the natural world will merge with the manufactured world on my panels, but my goal is to manage these images on a large scale.

When someone walks into your studio, what will they find? 

They will find me, an artist who can take myself much too seriously. Temporarily located in my home, my studio is a modest space with lots of light, and a storage room full of silk screens. I work on a flat surface, seven feet wide, and have squeegees, pigments, and drawing mediums at hand. I'm lucky to live in a space that feels like a gallery. And I look forward to my next studio in Duluth.

“Shift Key”

Get Joan Bellin’s work and many other original art pieces in your space with a subscription to the SmartArt Rotating Program.

[artforceminneapolis]

Artwork and Millennials Part 2: Recruiting

There’s a statistic floating around out there about the future of the workforce that has a lot of employers nervous. According to Wired, “The U.S. Bureau of Labor Statistics predicts that by 2015 millennials will overtake the majority representation of the workforce and by 2030 this hyper-connected, tech savvy generation will make up 75% of the workforce.”

The reason this is nerve-wracking is because many employers are finding it difficult to recruit and retain millennials as employees. Per a recent survey from Elance-oDesk and Millennial Branding, “more than 50% of surveyed Gen X hiring managers said that they’re struggling to find and retain millennial talent.”

Wait, there’s more.

According to the same survey, 58% of millennials expect to leave their jobs in three years or less. 

(Photo courtesy of nextgov.com) 

Turnover is unkind to budgets and company success, so what’s a hiring manager to do?

When Art Force conducted our HR-related survey, we asked a few intentional questions that related to millennials being satisfied at work. From what we found, artwork might be a huge tool in recruiting and retaining talented employees from the millennial generation.

Once again, we (Adele and Zoey), Art Force’s resident millennials, took a litmus test of our generation’s thoughts on art, and scaled it down to some measurable answers for how you can use art to recruit millennials: the three B’s.

Build Community: In general, millennials want to love their jobs and have community in them. 

Art Force was working with one client who had three different departments—each with its own distinct personality. To build community within each department, the president suggested buying a SmartArt Rotation Program subscription for each department. That way, the identity of each department was represented, creating intradepartmental loyalty, which could waterfall onto the whole company.

(“Conan” by Shawn McNulty placed in a client’s office)

Brag on your workplace: In the words of Dice.com, “Show what it’s like to work in your office.” A unique sculpture, or brilliant paintings are easy things to put on your Instagram and other social media outlets. Before applying, millennials want to know not only what you do, but where you do it. In our survey, when asked “how does artwork in your workspace benefit you?” 71% of respondents said “It makes me want to be in my work environment more.”

Bank on a desire for creativity: Whether you’re a marketing firm, hotel, or in the insurance business, your employees need inspiration. This is especially true of millennials. 83% of respondents to our survey said that the office aesthetic was something they considered when choosing a job.

(Commissioned photography by M.J. Heubach installed in a client’s office)

Millennials want to be change-makers, and they’ve been bred on the idea that creativity is inherently valuable. Having a unique, original piece of art in the office inspires creativity which leads to innovation. Which leads to happy, purpose-filled millennials.

Millennials will value a little splurge on a unique piece of artwork in the office space. Learn more about how to leverage artwork as a recruiting tool in your office space.

[artforceminneapolis]

Artwork and Millennials

mil·len·nial (noun): a person reaching young adulthood around the year 2000; a Generation Y-er

Millennials.

Demands for flexible hours, perpetual business casual, “creative” office spaces. You can’t peruse the business news today without seeing something about how millennials are changing the landscape of the workplace. According to the Huffington Post, “a full 86 million millennials will be in the workplace by 2020—representing a full 40% of the total working population.” 

(Graphic courtesy of Speakerbox)

And executives are taking notice that this generation of workers isn’t motivated in the same ways their parents were. In the words of Shara Senderoff (CEO of Intern Sushi, and all around genius), for millennials in the work environment, “It 100% comes down to culture.”

(Zoey & Adele)

We’ve got a few millennials working at Art Force, and so we (Adele and Zoey) decided to investigate how millennials view artwork in the workplace. With the help of SurveyMonkey, we got 100 responses and discovered quite a lot about what our generation (or, at least 100 of them) think of art.

1. Millennials would much rather work in an office with art, than in an office without art. When shown two pictures (#1 featuring an office sans artwork, #2 featuring an office with four pieces of art), 97% said they would rather work in the office with artwork.

(Office #1)

(Office #2)

2. Millennials put a high value on the aesthetic environment of their workplace: When asked if having artwork in the office space was evidence that employers are interested in providing a better work environment, 94% of respondents answered that they agreed with the statement.

3. Millennials have taste, they don’t fall for cliché branding techniques: When shown two photos, #1 with an office space that had generic branding imagery, and #2 with an office space with fine, original art pieces, almost 92% responded they would rather have the fine art in their office space.

(Photo #1 Stock photo)

(Photo #2)

This survey uncovered a lot about how artwork impacts the people in a space. We’ll have a few more posts to expand on what we’re finding. In the meantime, connect with us at artforce.org to find out how you can have art that all your employees will love--millennials or not.

[artforceminneapolis]

Healthcare Artist of the Month  Jodi Reeb

Being an artist is a tough gig. Even in Northeast Minneapolis, where we’ve been nationally recognized for our Arts District, most artists have a difficult time quitting their day jobs, so to speak.

Jodi Reeb is a notable exception. With 20 years of full-time artmaking under her belt, Jodi knows a lot, about art, printmaking and painting, and even selling cars (we’ll get to that bit). Jodi has partnered with Art Force since the beginning, so we sat down to hear a bit more of her story.

(Jodi at work in her studio)

What is your idea of an artist’s super breakfast?

Scrambled eggs with spicy salsa and avocado

Were you always a visual artist? When and how did you start? I knew I wanted to be an artist when I was about five years old.  I had made several crayon drawings of animals on large newsprint paper and rolled them up with rubber bands. I put the drawings in my wagon selling them through the neighborhood for $1.00 each.  A few people bought the drawings, and one person just donated a $1.00 to the cause. 

That day, I knew it was possible to sell my work, and five-year-old Jodi had a dream of becoming an artist.  My friends would always groan when I said I wanted to draw when we would get together as children.  It's all I ever wanted to do. 

(“Illuminated” an encaustic/mixed media painting by Jodi Reeb)

What is the most interesting/strangest non-art job you’ve had?

I worked at a car dealership while I went to art school because of the flexible hours.  I worked in the service department, financed cars, sold aftermarket products and eventually I sold cars, too. I met so many people from all walks of life and it was natural to begin selling my artwork after that.

Encaustic pieces, abstract paintings, landscapes, dimensional discs…it seems like you do it all. How do you keep all your mediums straight, and how did you learn to do all of them?

I started as a painter at the Minneapolis College of Art & Design (MCAD), but graduated with a Bachelors Fine Art degree in Printmaking after also experimenting with sculpture and photography. My work has been about nature and I have experimented with this subject matter over the years in the form of landscapes as representational to more abstract. 

(“Conversion” by Jodi Reeb)

I paint in layers of color and love series of works that are dimensional with depth from the wall.  I'm constantly developing my repertoire of techniques and have followed many whims of artistic mediums to discover new ways of expression. Now, I am currently painting with encaustic (beeswax) paint, which works well for collage or can be carved into to create amazing textures. 

What is your routine for beginning a piece? 

I start by making marks on the blank canvas or wood panel using paint or charcoal so I have something to react to or even cover up. I can begin making decisions about the composition editing or adding as I go.  I also work in series of at least three paintings at a time. This way I have lots of room for experimentation.

(Two of Jodi’s abstract paintings--far right and second from the left--on display at the Saint Paul Saint’s CHS Field)

What do you find valuable about creating art for the healthcare industry?

Artwork in healthcare settings can be one of the most important aspects in a healing environment. 

My mother had breast cancer while I was growing up and we spent many afternoons in clinics while she would have chemotherapy.  Most of the artwork at the time seemed to be an afterthought. I feel so honored to have my work included in healing spaces now because of this early experience.  I appreciate that the healthcare industry understands that artwork is an important aspect of creating a healing environment.

What are your goals and hopes for this next year in your artistry? Are there specific scenes or topics that you want to address through your work?

I will be applying for the Minnesota State Arts Board Grant again this fall.  I want to create large-scale paintings with encaustic paint and am inspired by a recent large painting commission through Art Force measuring 6 x 10'. Winning the grant would allow me time to work on larger pieces with financial support and time to develop new work.

(Jodi swinging in her gallery/studio)

When someone walks into your studio, what will they find?

Lots of paintings on the walls! My studio is set up as part gallery for displaying my work and part working space. I also have a swing installed which I use as a fun little break from working. The space is my home away from home.

Jodi Reeb has had pieces commissioned through Art Force, and is also part of the SmartArt Program. Visit our website to find out about how you can have Jodi Reeb’s pieces in your space!

[artforceminneapolis]

Meet the Team: Joseph Sullivan

If it takes a village to raise a child, it definitely takes a team to frame, install, and maintain art. Art Force regularly gets raving feedback from clients about our production team’s professionalism and thoroughness. So, we decided to catch up with one member of the team who is an artist himself.

Meet Joseph Sullivan.

(Joe with one of his recent paintings, inspired by the movie Labyrinth)

Stats: Joseph “Joe” Sullivan

Hometown: Sacramento, CA (and everywhere--Joe grew up a “military brat”)

Education: BFA from the Kansas City Art Institute in Kansas City, MO

Specialties: Photography, painting, framing.

What did you have for breakfast this morning?

Oatmeal, 2 pieces of toast, 3 strips of bacon, 3 eggs over easy, a banana, and hot tea. I had to fight my cat over the bacon.

Favorite city where you've lived:

So far, Minneapolis, but I have a tough time making art here. I often travel to be inspired which at first made me want to move. Now I have found a kind of peace with the city, and I just love the fall season here.

Why do you do art?

Tough question. Making art is not an action of joy or glory. If I am not making some kind of art, I feel very ashamed. I have a large peer group of artists that set a high standard, and I feel the need to keep up. 

Besides that, I have a personal need to make things. This often leads to some ugly drawings and destroyed prints. It isn't always fun or easy with a working schedule, but it has to happen.

(Joe at work in Art Force’s manufacturing facility)

How did you get into framing/installing?

I started taking framing more seriously during the opening of my first solo show. I was trying to listen in on what people had to say about my work when I heard someone say, "Love the photos, hate the frames." That was a real wake up call. 

I have always loved hanging art work. As an undergrad, I ran a student gallery with the artist Courtney Andrews. We called the space “The Untitled 2004 Gallery.” We had tons of fun repainting the walls almost every month, and we caused plenty of trouble with our curatorial decisions and were chewed out by contributing artists all the time (we had a wall that was in poor shape and everyone hated seeing their work hang there). 

(A photograph from Joe’s “Surrounded By” series)

Explain your fascination with perspective in photography:

I started taking pictures on the ground or against walls as an act of rebellion against studio photography and to get away from the tripod. I saw traditional photo equipment as constraining and as a sign of surrender to a standard. 

After a few dozen pictures, I started looking for certain compositions and wanted to build a body of abstract landscapes. These landscapes became about photographing the feeling of a city more than its landmarks. 

(Another piece from the “Surrounded By” series)

I know it's a good day when…

A good day involves a cup of coffee and a perfect avocado. Everything else is easy.

Which TV character do you most identify with? 

The secret agent John Drake from Danger Man. He has that Irish temper and is unlucky in love (often outsmarted by clever women). Great character: bitter, melancholy, and kind.

What would you tell your 21-year-old self? 

Get some sleep! Learn how to say no. Eat something!

(A photograph from “Self-Portrait Series” by Joseph Sullivan)

I am always fascinated by… 

I can't get enough of old houses. I have to stop myself from exploring homes without permission and taking pictures of peoples' walls. 

If you were a superhero, who would be your sidekick?

My cat Scout would be a fearsome ally. She just needs to be able to pick locks and drive a flying car, then she would be unstoppable.

Joe is one of the fabulous members of our framing/installation team. See more of his artwork at his website.

To learn how you can get a custom piece installed in your space, chat with us at SmartArtProgram.org.

[artforceminneapolis]

New Installation at the Minnesota Center!

Although Northeast Minneapolis is our home base, Art Force often ventures beyond, to the great suburbs surrounding us. One such suburb is Bloomington. Three weeks ago, we completed an installation at the Minnesota Center.

(The Minnesota Center, courtesy of Loopnet.com)

At 214 feet, this beauty is the fifth tallest building in Bloomington. The exterior light blue facade is stunning. But the interior walls needed a bit more color, which is where Art Force came in. With a few, strategically placed fine art pieces, the Art Force installation team gave the walls a fresher, more elegant feel.

(Blown and fused glass and metal wall sculpture by Bonnie Hinz)

We installed several pieces in the main lobby of the first floor. 

(Prints of work by Maeve Harris, L-R: “Kaleidoscope 5,” “Weathering the Ages,” and “Kaleidoscope 6″)

(Acrylic paint on discs by Jodi Reeb)

Even the installation team needs a lift sometimes.

This is how the completed installation near the main entrance turned out.

Finally, we finished up with some bright panels in a waiting area near the parking garage. Yes, even entrances to parking garages can be made beautiful. 

(Multicolored ceramic panels by Susan Piazza)

Whether you need a Rotating Art Program, Comprehensive Art Management, or a few specific pieces strategically placed to fit your space, Art Force has the expertise and professionalism to make the process easy for you. Learn more at our website.

[artforceminneapolis]

June Artist of the Month Emily Donovan

Avocado pits make peach. Lilacs make green. Onions make orange. This is the pattern of Emily Donovan's art, as she creates plant-based dyes, stains thick cotton paper, and combines the pieces to make rich, textured multimedia pieces.

(“Hekla” by Emily Donovan)

Recently a recipient of the Artist Initiative Grant from the Minnesota State Arts Board, Emily is currently crowdsourcing plants for her project "Ornaments of a Minnesota Growing Season." Via social media, word of mouth, and walking up to people in their gardens, Emily has collected dandelions, wild ginger, iris, lilacs, peonies, ferns, and avocado skins and pits from the local Mexican restaurant’s guacamole refuse.

Art Force interviewed Emily about her humble career beginnings, the “dye life,” and her fascination with antiques.

What's an unusual, non-artist job you've worked?

First job, no joke, was cleaning fish for a restaurant that was called Trout Air at the age of 14.  It was a kitschy kind of place, now long gone where the man-made pond next to the restaurant was stocked with fish. Customers could catch their own trout and then send it on to the kitchen where we would prepare it for them. For a young girl, it wasn’t a glamorous position but most likely started my love for cooking.

(“Tansy”)

In addition to your artwork, you're an antique dealer. How did you get in to that, and what keeps you invested in it?   

I love history and well-crafted objects. Primarily, I  work with architectural pieces, which are bigger, full of patina, texture, and built to last centuries. I’m always thrilled to see new treasures, and sometimes these objects influence what I create.

How did your fascination with gardening and plants begin? 

My fascination with gardening and plants is kind of a family affair.   My mother is the best gardener I know and my husband is my partner in hiking, camping and foraging in the wilderness.  Both have taught me about plants, ways to create beauty and appreciate the outdoors while sustaining our environment.

(Dye strips)

How would you explain "batik" to a non-artist?

Batik is the process of using wax as a resist when dying materials.  The ‘resist’ is a way to block out portions of the painting from absorbing color.  You can add color directly, mask off portions with the resist or let more than one color blend together, to create multiple hues.  Traditionally it is used with fabric, but I use a thick cotton paper with a variety of dyes and waxes to find rich colors and interesting textures. 

(River birch bark soaking for dye)

(River birch bark dye near completion)

Practically speaking, how often do you permanently stain clothes, carpets, wood, and any other materials by accident in your dying process?

What suffer most are my hands.  Gloves are only so good and every once in a while you make the quick decision to go without.  Black walnut hulls will leave your hands and cuticles brown for weeks. I’ve discovered this the hard way. The dyes are natural- so I am not worried about toxicity, but a little embarrassing to the point where you feel like you should keep your hands in your pockets until the color finally fades. 

(“Lilac Series”)

With family keen to gardening and exploring the outdoors, Emily has wonderful support as she dives into her artwork, preparing for her first solo show at the Bloomington Center for the Arts. She’s also one of the many artists who submitted work for the upcoming Minneapolis Convention Center SmartArt Rotation Program installation. 

(Emily’s studio at the end of day)

[artforceminneapolis]

Meet the Team: Robert “Bobby” Crumpton

With a staff of 21, Art Force employs a diverse range of expertise and personality. Panache. We have a lot of panache in our office. Director of Business Development, Robert Crumpton (everyone calls him Bobby), keeps his marketing/sales team going with throwback phrases, a love for Johnny Cash, and jokes whenever we need a pick-me-up. 

Bobby also played football for the Minnesota Gophers, so you could say his wheelhouse is sports. And art, of course.

Stats: Robert “Bobby” Crumpton 

Hometown: Chicago, IL, and Reston, VA

Education:  United States Military Academy at West Point and the University of Minnesota-Twin Cities

Family: Wife, Jan; daughters: Avery, Zoe, and Phoebe; and two dogs, Rosie and Teko.  

How do you start your day? Cuddling with my dogs.

Best career move? Jumping from AT&T, one of the biggest companies on the planet at the time, to itty bitty Wam!net, a first stage start-up, with barely enough cash to make the next payroll.  In three years, we grew it into a powerhouse company, generating about $70M in revenue and with a valuation of more than a billion dollars!  I was the Managing Director of Sales, and I learned more about sales and business in those few years than the rest of my career combined.

I know it's a good day when: Just about every day is a good day.  But I especially love those slow days, when I can enjoy having absolutely nothing to do but sit around and enjoy a laugh with friends.

I am always fascinated by … the things that man can create.

What would you tell your 23-year-old self? Patience, don’t be in a big rush to grow up.  Don’t make decisions too quickly.  Find mentors and lean on them for advice.  In business, find your niche and go deep as quickly as possible.

What do you hope to be doing 10 years from now? Enjoying lots of slow, boring days while laughing with friends.

Favorite song? “We Belong Together” by Mariah Carey

I am, hands down, one of the best _____ that I know. Friends

If you were a superhero, who would be your sidekick? Super Woman

Bobby is just one integral part of the team we have at Art Force. To meet more of our team, check out our website.

[artforceminneapolis]

The Problems with Your Office Aesthetic

If you’re an office manager, president of a company, or wear any other decision-making hat surrounding the appearance of your office, this post is all for you.

At Art Force, we talk a lot about the intrinsic and extrinsic benefits of artwork in spaces (from nephrology clinics, to insurance agencies). But we don’t often bring up the hazards of putting together a space without art--and what you (and your competitors) often choose to use in place of art.

So, three cheers to pitfalls in office design:

1). Too clean to be livable (or workable): Modern office design tends to weigh heavily on the side of clean, functional space. This is great for stock photos and robots, but not much else. Employees, particularly millennials, want their workspace to represent their unique personalities and interests. 

2). The dreaded whiteboard walls: Whiteboards have their place, no one is arguing that. However, designing large portions of offices with just white space throws around the subliminal message that your employees are only as great as what they can produce. The focus becomes entirely on output, rather than building up incredible, skilled individuals.

3). Everything is branding: Again, there are spaces where branding fits perfectly. But we’ve found that more subliminal messages about company identity go a lot further in enhancing productivity and office atmosphere. For instance, you could put up a sculpture emphasizing your company’s commitment to the community or environment. You could source a series of pieces that strategically use your company’s colors.

At Art Force, one of our primary objectives is to make spaces brighter, happier, and more effective at delivering the messages of your culture and identity. Visit our website for more details on how we do this, and photos of what we’re currently up to.

[artforceminneapolis]

May Artist of the Month Clare O’Neill

The crew at Art Force runs across a lot of interesting ways of making art in our Northeast Minneapolis home. Take Clare O'Neill. 

(Clare O’Neill, self-portrait)

Clare begins her pieces with original photographs. Then, she textures them into unique pieces using the encaustic process--the same process shipbuilders in Ancient Greece used to caulk and waterproof the hulls of their vessels with hot beeswax. 

Back then, the shipbuilders liked beeswax because they figured out that if they added color pigment to the wax, they could create patterns on the hull's surface for when the warships sailed into battle.  

(Illustration courtesy of fotolibra.com) 

However, Clare O’Neill’s pieces are a far cry from the hefty Greek warships. With trees, horses, and abstracted models in vintage dresses as some of her key subjects, O’Neill’s work is both varied and classic.

Art Force chatted with Clare O’Neill to find out more about her photography, favorite places in Ireland, and how badly she’s been burned by beeswax (say that fast eight times).

Where do you find your greatest inspirations for your artwork?

I look at a lot of images of others’ work--in Facebook groups, galleries, and students’ work. Occasionally an image stops me and I find myself saying "I wish I had created that." This is when I know to pay attention. I stop to figure out what the pull is. Over time, I have realized it’s usually about color + texture, timelessness of the image, movement, obscurity, or otherworldliness. 

(“Refuge” by Clare O’Neill)

How did you get started with photography?

I got my start in photography when I owned a small tour company specializing in Ireland and needed to take promotional images for brochures, and other promo materials. It started as a necessity and turned into a passion.

What's your favorite spot in Ireland?

Coumeenole Beach on the Dingle Peninsula is my favorite spot in Ireland. For me there is something spiritual about the beach and I feel like I'm truly home when I'm there. 

What's the most interesting moment you've photographed and then turned into an encaustic piece?

My most interesting shoots have been those for the "Below the Surface" series. Both my model and I had to be in the water, which has many challenges. The biggest is that I didn't have weights to weigh me down so I kept floating to the surface. I also couldn't see the display on the camera when I was underwater, so I finally gave up. Now, I hold the camera underwater at my waist and shoot blind. Needless to say I take a lot of images. 

(“Paulette” before and after the encaustic process)

Practically speaking, do you get burned frequently when you work with hot wax, or are you somewhat of a professional by now with avoiding that?

I've only been burned once in all the time I've been working with wax. I was cleaning a palette knife with my torch and it got too hot. The wax itself isn't hot enough to burn your skin. 

(“Talin”)

What do you hope to accomplish artistically over the next year?

Artistically over the next year I'm hoping to work much larger. My goal is to work 60+ inches. My focus will continue to be on horses and the 'below the surface' series. 

Art Force has access to hundreds of unique artists, including Clare O’Neill. Visit our website for more information.

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3 Perks of Rotating Office Art

“Get art in your office space!” 

“It’ll make employees more productive and creative!” 

“You’ll like going to work more!”

“You’ll be inspired!”

Art Force preaches all of these, and you’ve probably heard them more than once from us. But that’s because we believe them, and we’ve seen them happen time and time again. Just to convince you, we’ve got a free 30-day trial going on now for our SmartArt Rotation Program. Once you’ve fallen in love with the free trial, you might want to keep it.

This post has a few perks to the program (and some photos of real installations we’ve done), in addition to the phrases we keep throwing out there.

You get your money’s worth: The SmartArt Rotation Program starts out at $99/month, for a minimum of three art pieces.

One more time: $99/month for three art pieces. This is insanely cheap for fine art. No prints. Nothing cheap. Except the cost.

(Pieces like “Futile Pull” by Stephanie Molstre-Kotz can make a bland workspace something more dynamic)

You’ll never get bored: The SmartArt Program allows you to rotate out art pieces every six months. This allows you to have a “fresh start” feel in your office space at least twice a year, without disrupting workflow like other innovations like new furniture or new technology tend to do.

(You can get mixed-media work, like “Pepperwood” by Dick Simonson)

You can start team-building: One of Art Force’s recent clients asked if he could select one rotating art subscription for each of the three departments of his company. He wanted the IT crew to have more modern, abstract stuff. The marketing department was all about sports. And accounting wanted original, local art. You can use art to build team identities within your business. Inviting key employees on each team to help choose art is a fun, collaborative way to build morale. 

(We’ll even come in and install everything for you)

For more information on our SmartArt Rotation Program, visit our website. We’ve already got a lot of pieces up for your to peruse. Enjoy, and let us know when you’re convinced about how great art could be in your space. 

It shouldn’t take long.

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Pieces from the Art Force Vault: “Honesty” by John Ilg

Much of the art that Art Force installs functions as decoration. That’s not a bad thing--we’re all about those landscapes and abstract pieces that light up rooms. But every once in awhile, a client asks for something a little more edgy. Two years ago, Radisson Blu at the Mall of America did just that.

(Radisson Blu at MOA, photo courtesy of Parsons Corp)

The Radisson staff chose a lot of original artwork for their spaces, but one piece in particular was unique. It’s called “Honesty” by John Ilg.

This piece is made up of 316 one dollar bills rolled into a wire mesh. The bills obviously spell “Honesty.” The catch with this piece is that there’s no glass over it. The bills are completely open to being taken, and that’s what many people have done.  

This sculpture isn't the first of it’s kind by John Ilg. Back in 2008, he had an almost identical piece at the Minnesota State Fair. According to an article in the Star Tribune, Ilg created the piece so he could tell when the bills were tampered with. He rolled and folded the bills so the words “In God We Trust” were visible. New bills or replacements weren't rolled that specifically. 

That venture was an incredible testament to good faith in people, and at first it paid off, literally. According to an article in City Pages, “after hundreds of thousands of guests passed by, the piece was returned to [John Ilg] stuffed with $150 worth of additional bills. Not a single one of his original $316 was out of place.”

However, when the piece moved to the Normandale Community College Fine Arts Gallery, Ilg’s luck ran out. Towards the end of the exhibition, a visitor walked off with the piece, and it hasn’t been found since.

However, the duplicate at the Radisson has survived. Although, the general manager informed the Art Force Team on our recent visit, that every week, bills go missing from this piece. You could say it’s a constant investment.

Art Force can do more familiar pieces for your space, or quite unique ones such as the John Ilg “Honesty” sculpture. Take a gander at our website for more information.

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Art Force Goes to FAB

Artwork holds an important niche in the world of interior design. Often, designers partner with Art Force’s Art Consultants to create incredible aesthetics to spaces, bringing the artwork into the overall design of the rooms. 

Each year, the Northland Chapter of the International Interior Design Association (IIDA) hosts the FAB Awards that recognizes Fresh, Artistic, and Brilliant approaches to interior design. This year the awards fell on April 23rd, and Art Force was an event sponsor, and presented the Community & Civic Award.

We got some gorgeous photos from the event, courtesy of IIDA and Joe Krummel Photography.

(The Art Force Team L-R: Steve Brumbaugh, Rachel Davis, Greta Tacke, Shelly Rosett, Jennifer Lindgren, and Robert “Bobby” Crumpton)

Art Force’s team of art consultants, Bobby Crumpton (Director of Business Development), and Shelly Rosett (Sales Director) attended, and they had a lot of great things to say about the event:

Steve Brumbaugh: “I was really impressed with the open, collaborative atmosphere that Cuningham [Members Choice Award Winner] designed at Alexandria Area High School.”

Shelly Rosett: “I think it’s really important to our team to stay current in design and I believe the FAB Awards provides us with a nice glimpse of a number of different concepts, keeps us refreshed and inspired.  Also – the networking is a blast!”

(L-R: Greta Tacke and Jennifer Lindgren present the Community & Civic Award)

Art Force presented HGA Architects with the Community & Civic Award for their work on the Northrop Auditorium Renovation. 

According to Art Consultant Jennifer Lindgren, “The FAB Awards is like a class reunion every year, to see what everyone has been doing. I love being reminded that all the aesthetic work really contributes to a greater good.”

(L-R: Rachel Davis and Shelly Rosett peruse the FAB award winners display)

We worked hard to get the backdrop printed for the red carpet. We’re thrilled with how clean it turned out, and proud to have our name next to FAB and IIDA.

(Obligatory food photo)

Art Force works hard to partner with designers to create beautiful, fresh spaces for small businesses, Fortune 500 clients, and everyone else in between. Our website includes information on some of most recent projects, as well as more information about each art consultant’s special skills.

(Until next year, FAB Awards)

[artforceminneapolis]

Art Consultant Profile Rachel Davis

Art Consultant (n.): An expert who understands how to match a person, business, or mission statement with a piece of art; a professional business storyteller; (see also well-dressed human).

The Art Force Art Consultants are an integral part of our team. Here are their specs:

Backgrounds in printmaking, watercolor, art history, arts administration, business, and branding

6 BFA’s

100+ years of combined experience

Because of how talented and unique this team is, we decided to find out more about their stories and share them via Tumblr for your perusal.

(Rachel with two pieces by Jill VanSickle in the Art Force showroom)

First up to bat is Rachel Davis. Rachel has been a part of the Art Force team for one year and two months. She has a background in retail management, and even had a stint at the Mall of America working in custom framing. 

In addition to managing all manner of commissions such as 150 yards of hand-painted fabric for an upholsterer, Rachel also has the most enviable collection of shoes in the Art Force office.

Here’s a little more about Rachel:

What is the most interesting non-art job you’ve had?

Bartending at Dean’s Tavern on Rice Street in Saint Paul.

What’s your favorite project you’ve worked on so far?

Good question! One of my favorites was the Cannon Falls Hospital. Jenn [another Art Force Art Consultant] and I were brought in as art consultants early on. It was a huge learning experience conceptualizing the placement of art by walking through a construction site with floor plans.

(Rachel on site at the Cannon Falls Hospital project)

(A piece by artist Dolan Geiman that Rachel placed for a client)

Share an art experience that impacted you.

One of the most impacting experiences I’ve done was a theatre set for the Fitzgerald Theatre. The set I designed and built was for the Grand Avenue Business Association’s First Annual Fashion Show. It is the type of project that brings community together, and many local businesses contributed by donating warehouse space, scaffolding, and building materials.

I also had volunteers scheduled regularly to help with the painting of the set. This turned out to be a very popular activity, and the volunteers were always expressing gratitude for the opportunity to do something creative! What I found most rewarding was that we had created a positive collaborative experience.

(A piece by Mary Longley that Rachel placed in the 701 Building)

Imagine that you are in charge of the Art Force showroom for a day. How would you change it?

That one’s too easy--I would improve the lighting!

Art Force’s Art Consultants are highly skilled at conceptualizing the art that will fit any space. Find out more about these incredible professionals at our website.