The Michael Garman Museum & Gallery Newsletter
May 22nd,  2013 Issue No.13
In This Issue
Michael Garman's 75th Birthday Sale
Take a Virtual Tour of Magic Town
Featured Selection: 5 Lost Sculptures by Michael Garman
Adventures of a Vagabond Sculptor: The Third Colorado Annual
Happy Birthday Michael!
Greetings!  
 
The new edition of Adventures of a Vagabond Sculptor  is here.

 

Each month we share one of Michael Garman's stories, in his own words, describing the adventures and experiences that have inspired his work for the past 50 years.    
 
As part of Michael Garman's 75th Birthday Celebration, we are telling the story of the creation of Magic Town--Michael Garman's 3,000 square-foot Sculptural Theater.  We began the story with Michael Garman's arrival to Colorado Springs in 1971.  In this issue, Michael Garman enters his first (and last) museum art show.  Make sure to maintain your subscription to our Newsletter to get every issue of this story.
Adventures of a Vagabond Sculptor
 Michael Garman's 75th Birthday Sale
May 25th - June 9th
  
STOREWIDE DISCOUNTS
UP TO 70% OFF
  
OVER 75 SCULPTURES
UNDER $75.00 
 

Cowboy Bust - Handpainted

Sale Price: $56.00

_____________________________

 

OVER 200 SCULPTURES

UNDER $100.00

  

Special Forces - Bronzetone

Sale Price:  $91.00

_____________________________
 

OVER 300 SCULPTURES

UNDER $200.00

 Fishing Hole

Fishing Hole - Bronzetone

Sale Price:  $140

 

Take a Virtual Tour of

Magic Town

Michael Garman Gallery

5 LOST SCULPTURES BY

MICHAEL GARMAN

5 Lost Sculptures 

As part of Michael Garman's 75th Birthday Celebration, we are proud to bring back 5 lost sculptures from the vaults of The Michael Garman Museum & Gallery. 
  
This month, we are featuring Mini Going Home Bench - a long lost favorite miniature scene.  Standing 7 inches tall and 9 inches wide, it is the perfect addition to your collection.
Valued at $500.00, this scene is now available for just $199.99.  Learn about our personalization options by calling 800-731-3908.
The Third
Colorado Annual,
1974

In 1974, I decided to enter my very first (and last) competitive show:  The Third Colorado Annual at the Denver Art Museum.  This was a big deal.  The Denver Art Museum represented the best of the best for Western American art.  I couldn't quite believe they accepted my beloved Cityscape, Darby Street.

 

 

The afternoon before the show, as I
was putting the finishing touches on Darby Street, I was as nervous as could be.  Dusty late afternoon sunshine poured through the skylights. 
Popping the caps off a few cans of spray-on affixia, I started playing here and there, adding a bit of grime, a bit more texture.  So I hit it there, then over there, then over there.  "Oh man!"  I told myself.  "It's beautiful.  Absolutely beautiful!"  Sunlight shone through the windows with this amazing orange aura.  Slowly, I began to I realize, "Wow, that is orange.  I mean that is really orange!"

 

I looked down at the can in my hand.  It was orange spray paint!  My heart all but jumped right out of my chest.  I flipped on every light in the loft.  There in front of me - my beautiful Darby Street, the first Cityscape I had ever made, the one that was supposed to get on a truck the next morning to be exhibited at the Denver Art Museum - it was covered in orange paint!

 

Well, out came the lacquer, a solvent at the time.  And I started cleaning.  I was in a sheer panic, my pulse racing, my mind laser-focused on this single mistake.  By midnight, I had cleaned off all the paint.  Then I set to work repainting the whole scene from top to bottom.  As the sun rose, I finally stepped back and realized that, for better or for worse, there was nothing left to do but walk away.

 

Once again, I had one of those life lessons:  you can't run when the panic sets in.  You've got to fix it, make it right, and in the end, make it better than you ever knew you could.  So that's what I did.  A couple of hours later, I packed it up and went to Denver.

 

Truth be told, I never expected the Denver Art Museum to accept my work.  Not only did they accept my Cityscape, but they let me win the whole competition.  Darby Street, with its first place blue ribbon and all, was put on exhibit at the Denver Art Museum.

 

The first time I walked into the Museum and saw my Cityscape on display, my heart soared.  People were crowded around my piece, pointing and peeking, looking in the windows and all that.  At one point, the museum stationed a guard whose job it was to keep saying, "Get your hands off that, little boy!  Hey, don't touch that."  It was a remarkable moment in my life  

A doctor from New Jersey bought Darby Street while it was on display at that show.  He called me up to tell me how much he liked the piece and how eager he was to have it in his home as soon as the exhibition was over.  "No need to wait," I told him.  "I've got four more sitting on the floor here at my studio right now."  There was a big silence on the other end of the line.  Then he said, "I'm on my way."  And down he came.

 

I showed him all around my studio, trying to act professional, like I'd done this a hundred times.  I said, "Pick one, and I'll send it back to you."

   

That doctor shook his head and said, "I'm going to need to take my check back.  I'd be ashamed to have this in my house knowing that there was more than one of them."

  Darby Street at Denver Art Museum

I didn't understand him at all.  Why would he be ashamed?  Didn't he love it?  Had the story changed, the characters, the attention to detail?  No.  The only thing that changed was the realization that he would not be the exclusive owner of this piece.

 

And that's when it hit me.  Art today is an investment, pure and simple. People don't buy what they love, what speaks to their heart.  No, they invest in art - no different than a stock certificate.  How ridiculous!  This one experience cemented something I had long known in my core:  I cannot make one-of-a-kind art.  I simply do not believe in it.

 

A PAPERBACK ARTIST

Would a writer only make one copy of a book?  Would a composer only allow his music to be performed one time?  Of course not!  So why does the painter or the sculptor only make one piece? 

 

Art should be enjoyed by as many people as possible.  It can and should be published.  We have modern-day materials at our fingertips to ensure the best possible reproduction processes.  So there's no reason not to do it.  At least no reason I can live with.  I've come to view myself as a paperback artist.  I create characters that can be made and remade, completely by hand, and reasonably priced, so that everyone who wants a sculpture can have it, can live with it in their own homes and relate to it daily.  That is what art should be - that human connection, that story which transcends the individual.

 

I like to think that the person who buys one of my sculptures has seen something original and felt something honest.  So he takes my character home.  Maybe it goes on the mantle or the night stand, maybe it sits on top of his TV.  That's not what matters.  Wherever he puts it, he gets to enjoy it daily, talk to it if he wants to, relate to it in personal and intimate ways.  Surely that is better than waiting in line at a museum, or worse, never even laying your eyes on a work of art because it is part of someone's private collection. 

 

For me, the choice is obvious.  Maybe it's not as prestigious, but I've never been that kind of guy.  That was the last museum art show I ever did.  And the true beginning of my career.