In defiance of the recession, CSUC art student Charlene Abinante declares: “I’d have more economic stability if I worked in a bank, but I love making art and I’m optimistic about my future as an artist.” Abinante is also a realist who knows she needs effective tactics to survive as an artist. Her six survival strategies are:

Strategy One: Foundation Skills

Abinante credits her CSUC art history and studio classes with challenging her intellectually and preparing her to practice a wide range of skills in her mediums.

Strategy Two: Versatility

Abinante practices two art mediums–glass and ceramics. She is also able to create both fine art and functional art.

Strategy Three: Flexibility

Abinante is eager to seize any art-related opportunity that comes her way at a time of art cutbacks in schools and diminished art patronage. Last summer she taught as an intern in the Janet Turner Print Museum summer program for children. She speculates that to stay afloat while establishing her fine art career she could teach part time, work in a museum, or produce functional glass and pottery, such as dinnerware.

Strategy Four: Contacts

Abinante has been actively pursuing contacts in the larger art world through visiting Bay Area studios, and attending conferences and workshops, including ones at the world famous Pilchuck Glass School in Washington.

Strategy Five: Five Year Plan

After she graduates from CSUC, Abinante is considering enrolling in graduate school, applying for internships and artist-in-residence programs, or assisting established artists for a time.

Strategy Six: Marketing

Abinante is learning marketing skills this semester through collaboration between CSUC Professor Robert Herhusky, Avenue 9 Gallery owner and art historian Maria Phillips, and Avenue 9 Art Guild members Claudia Schwartz and David Shimamoto. Abinante’s fine art glass, and that of other advanced Herhusky students, will be shown in an Avenue 9 exhibition “Art Glass: Traditional to Wild,” (Nov. 7 through Dec. 5). Glass by mentors Herhusky, Schwartz and Shimamoto will also be displayed.

Schwartz and Shimamoto, recalling how they struggled to market their art, wanted to reach out to CSUC students and share their understanding of the process. Schwartz recalls: “As a CSUC re-entry student, I got my B.A. as a double major in Art History and Art Studio (textiles and painting). My children were still young when I graduated in 1996, and I did not pursue marketing my work for several years. Although I’d taken no glass classes at CSUC, my understanding of design, color theory and art history prepared me to explore glass through workshops and conferences. I felt encouraged when Vagabond Rose in Chico accepted some of my glass art. Now, I am a member of the Avenue 9 Art Guild. I’m beginning to market my work in architectural glass, such as custom light sconces, fused glass for cabinet doors, and decorative windows. I like sharing my understanding of the art world with students.”

In preparation for the Avenue 9 glass exhibition, Schwartz gave a critique to Herhusky’s students as they were pulling their new work out of kilns. She said: “I was pretty impressed by what I saw—lots of imagination and cross-disciplinary approaches, such as combining photography and glass. In my critique I focused on practical aspects of showing in a gallery, such as ‘can a piece be hung on the wall?’. ‘Is it too delicate to go on a pedestal?’ I also talked about the needed paperwork, such as biographies and labels, and the legal implications of consignment agreements.”

Professor Herhusky commented: “A lot of my students have never had any professional art experience before. After Claudia Schwartz’s critique, some realized: ‘Hey, my piece isn’t ready to hang and I’ve got to dream up how to do that.’ Schwartz made them see their work from a gallery’s viewpoint. The work has to be ready on the day of the installation, even if it means staying up all night to finish it, and glass has no mercy. Its failure rate is high. There’ll be some excellent pieces in the show, such as Dave Strock’s blown glass representation of plastic thrown away water bottles. There’s an irony in personally blowing glass using methods that are hundreds of years old to imitate mass produced plastic containers that are polluting the environment.”

Maria Phillips, Avenue 9 Gallery owner, comments:

“What students may not realize when they are working in
a classroom setting is that there is more to becoming an artist than making art– such as getting work done to meet a deadline and how to create a cohesive show rather than just a sampler of various technical possibilities.

“It’s an eye-opener for students to experience the extent of planning, scheduling, writing press releases and calendar listings, designing invitation cards and photographing art that goes into an exhibition. How to price an artwork is puzzling to some. Helping to host a gallery opening that celebrates their art can be thrilling for students, plus they have a chance to witness public reaction to their pieces and answer questions. They can also act as sales people during our December 5 Holiday Sale.
Finally, having an outside gallery host a student’s work provides that invaluable entry into the world of credentials–early and frequent exhibition experiences in an artist’s resume make future exhibition possibilities more likely.”

Charlene Abinante’s mother once told her: “Do what you love and the money will follow.” Abinante faces the future with hope, saying, “the best thing I can do for the next several years is gain experience. I’m 23 now. Maybe in ten years art programs will grow again, as will public support for fine arts.” With her six survival strategies in place, Abinante is ready to participate in such positive transformations.

Avenue 9 Gallery is located at l80 E. 9th Avenue (across from Big Al’s). Its hours are Wed.-Sat. noon-5pm. On Dec. 5, Sat., Noon-5pm there will be a holiday sale. For further information: 879-1821 and www.avenue9gallery.com

By Dolores Mitchell