Unexplainable? Jackson Pollock’s painting, Number 17, 1949 … ‘The pictures I contemplate painting would constitute a halfway state’, he said. Photograph: Reuters

It is a vice of second-rate art to come with its own eloquent explanation attached. If an artist can translate the meaning and purpose of a work into easily understandable words, it means one of two things. Either the artist is lying, in order to ease the way with patrons and funders; or the artist is a fool. And if dishonesty is the reason, that too is something that vitiates art. No serious art is easy to interpret. Nor is there ever a single valid interpretation of art. If art is good, there are many things to be said about it and much that will remain unsayable.

Yet, there are more and more pressures today on artists to explain themselves. Once, an artist was allowed to hide behind a vague and mysterious aura. The American abstract expressionist painters made grand pronouncements about their work that are so enigmatic they give away no hostages – nor do the kinds of epigrammatic comments made by Francis Bacon. Yet artists in Britain today are always offering explanations for what they do.

If you’re looking for the root cause of anything annoying, silly or spurious in the culture of art in 21stcentury Britain the source of the problem is never hard to locate. Once again the culprit is … public art, in which the popularization of art, the determination of institutions from parks to to local councils to be associated with it, and a lingering British Puritan visual clumsiness produce a lot of guff as artists try to promote the accessible virtues of their ideas.

Jackie Battenfield’s new book, The Artist’s Guide – How To Make a Living Doing What You Love, is an excellent resource for visual artists at any stage of their career.  Battenfield writes in a professional and yet easy manner and provides invaluable information, inspiration and resources on making a successful career in the art world.

Battenfield’s words do more than just dictate the “how to” and “why for” of the business end of art.  She speaks from the heart and addresses such topics as knowing when you are ready to circulate your art (the difference between nurturing your artistic soul and preparing for business), how to take charge of your professional life, your marketing kit, creating your own opportunities, Introducing your work, building relationships and maintaining your practice.

This former gallery director, artist and teacher has supported herself for over 20 years through sales of her art.  She and her husband (also an artist) have successfully paid the bills, purchased life insurance, funded their pension plans, took vacations and put their son through college.  Jackie attributes this success to diligent planning and pursuing opportunities.  She freely shares this wealth of experience and knowledge with her readers.

Inspiring quotes and advice from dozens of art world professionals are sprinkled throughout the pages providing a “reality check” for the reader.  Real life examples and step by step exercises will teach you how to self promote, network, build relationships, broaden your funding resources and explore a wide range of exhibition, commission and sales opportunities beyond the walls of the traditional commercial gallery.

I highly recommend this book as someone who works on a daily basis with artists and as a graphic designer seeking opportunities for myself. Battenfield’s advice was helpful and smart.  The biggest praise I can give is that in reviewing the book I found a new resource which helped me help a client submit to a call for entry in NYC.  This book should be on every artists desk!!

So begins the introduction to artist Casey Shain’s latest exhibition, Local Colour – The Past Presented Today, now on display at the Keyes Gallery, Stony Creek, Connecticut.  What better way to spend a lazy summer afternoon, then visiting the Keyes Gallery, on Thimble Island Road and taking in a little art after a day at the shore.

Keyes Gallery presented approximately 80 of the artist’s works.  The Sunday afternoon opening was well attended indeed and despite the gloom and doom of the economy red dots were going up on the walls.

It isn’t painting, it’s not sculpture and it’s not typical New England landscape/still life gobbledegook.  Bits of parchment, silver foil, flowers and vintage photographs lovingly culled and affixed to barn board, shingles, and antique board. The work is etched, scratched, buffed and burnished and titles include such descriptions as Hoohoo’s Honeymoon Harley, Left Behind, Roses are Green, American Beauty Goes and Thank you, Nut Lady.  All works are personal to the artist and each one has a story and historical message.  Shain’s mixed media works range in palette from the most subtle pastels to bold saturated color and the subject matter takes the visitor back to perhaps our parents or grandparents time.  For those of us past that 60 year old set… a reminiscence of youth.  Perhaps we too, have photographs and love letters tucked away in our attics but never will they be so kindly displayed as when artist Casey Shain brings history to the present and reminds the visitor of a time not so long ago.