Saturday, August 12, 2017

Woman Artist as Subject, not Object

I don't smile on command. I don't smile just because it's expected. I don't smile if I don't feel like it. I very rarely smile in photographs with my art because it's not part of my job – you don't see photos of Picasso standing in front of his work and smiling like he's selling Coca-Cola.

Even when artists Salvador Dali and Andy Warhol posed for advertisements (for Old Angus Scotch, Pioneer and Sony) they didn't smile. They were there because of their accomplishments, not to be decorative. I rarely smile when standing next to a man in a professional environment because I'm there as an artist – not to be mistaken (or worse, falsely claimed) as someone's date or sexual conquest.


My smile is a gift. I don't hand it out carelessly. But that doesn't mean I never smile or I'm unhappy. I understand that because of my troubled past some comments about the rarity of my smile are made out of concern. To ease your mind, this is my smile in a private moment with friends earlier this week (celebrating a bachelorette party with a little pisco, followed by dancing to Latin music at a Salsa club).

Above: From left, Kate, bride-to-be Pía, Midori, me.
Below: Salvadore Dali for
Old Angus Scotch, Andy Warhol for Pioneer and Sony (click image for larger version).



Friday, August 11, 2017

Natural High, Babe


Career Babe: High Court Judge was sold at auction by Menzies last night for $A17,182 in total ($A14k hammer price + buyer's premium). The result exceeded their estimate of $A12,000 - $A16,000. You can view details at Menzies' August 2017 Prices Realised (see Lot 117).

I'm delighted. The buyer now owns a classic, beautifully executed example of my work for a reasonable price. The vendor made a profit – I'm happy for collectors of my work see a return on their investment. The result is beneficial to other collectors who have invested in my work as it increases overall value. Although I was not directly involved in the sale, the result is beneficial to my primary market pricing.

I view a strong result on the secondary market as a "win-win" situation for everyone. As long as the market develops naturally, over time, without interference. And I've always made an effort to ensure this is the case with my work. 


Above: Photograph taken after a phone call to the auction house. I corrected the amount later, using Photoshop, when Menzies' Prices Realised list was available online. Click for larger image.

Monday, August 07, 2017

© Hazel Dooney























At the back of Menzies' printed catalogue for their forthcoming Australian & International Fine Art & Sculpture auction, on 10 August, is a page noting the copyright of artworks. I am the only artist credited by my name alone – one of my conditions for granting copyright permission.

I have always preferred to handle my own copyright and licensing. I don't want someone else making these decisions for me, especially without my knowledge. I want to know when and where my work is reproduced and assess each copyright permission individually. When it comes to auction catalogues, this approach allows me to ensure details such as the title and media are correct and, if necessary, address any issues regarding provenance long before a work is publicly offered for sale. It is also a protective measure against art fraud. It's important that information in auction catalogues is correct because they create a public record of the title, media and provenance of an artwork. To me, handling my own copyright is logical because I have the most information about my artwork. It is also logical that I am credited using my name alone.

I'm intrigued that I seem to be the only artist who takes this approach. Though I notice some of the artists' estates (entities which, among other things, manage an artist's copyright after they're dead) do the same.


Above: Page 216 of Menzies' print catalogue for their auction titled Australian & International Fine Art & Sculpture 10 August 2017. Highlight added. Please click image to view larger version. 

Career Babe at Auction

As mentioned previously, my high gloss enamel paintings are now only available on the secondary market. Career Babe: High Court Judge is a classic and particularly well executed example of my work in the medium.

The painting will be offered by Menzies at their forthcoming Australian & International Fine Art & Sculpture auction this Thursday, 10 August at Menzies Gallery, 1 Darling Street, South Yarra, Melbourne. The auction begins at 6:30pm.

Please note that the estimate is very reasonable – these days, works of this size and quality sell privately for $A20,000 or more.

Above: Career Babe: High Court Judge (Lot 117) in Menzies' print catalogue. You can also view the work in their online catalogue.