Frequently Asked Questions (and Answers)

Q How often do you get together to draw, and do you hire a model?

A We don’t. Our work ranges from the totally abstract to the highly realistic in style, and our subject matter varies from the human figure to landscapes to still lifes to imaginary constructions. Each of us has our own system for working, and those of us who use models hire our own privately or go to one of the many figure drawing sessions already available in San Diego. However, some of us are prone to bringing sketchbooks to meetings and drawing each other…..or the neighbor’s goats.

Q I've been around for a while, and people consider me one of the better and more well known artists in San Diego County. What's in it for me?

A Staying fresh. Participating in the sparks. Regaining the joy. Mentoring artists coming up. Leaving a legacy. Promoting our media. Stimulating the intellect.

Q I'm somewhat inexperienced and a little intimidated by all this. Do I have a chance?

A You might be better than you think you are. You could rack up some experience by trying to get in, and it won't cost a cent. You have nothing to lose. And won't you feel great if you make it?

Q Where do you hold your meetings?

A.  In each others' homes.  We’ll always be small enough that we can all cram into someone’s living room. The bonding that comes from meeting in personal spaces is much stronger than from meeting in institutional spaces.

Q Drawing is a pretty broad description.  Can you elaborate on your media limitations?  And what about us multi-media people?

A If you have the chutzpah to call what you do drawing, you qualify.  We’re thinking in terms of anything that goes on dry or with a stick:  pastels, colored pencils, graphite, oil pastels, charcoal, conte, silver point, scratchboard, pen and ink, etc.  If it goes on wet or with a brush, it’s not drawing—unless that’s how you define what you do.  Generally, painters (oil, acrylic, watercolor) get enough attention.  They don’t need us.  If you produce enough high-quality drawings to exhibit on a regular basis and paint, too, you qualify.  Right now we’re not considering print makers.

Q I’m a pastel painter.  Why do you persist in calling our work drawings?

A Ah!  We detect the subject for a good discussion.  We hope you get in so you can lead it.

Q Are critiques part of the meetings?

A We assume that the professional level of the members would make them beyond the need or desire for critiques.  But then, you never know.

Q Isn’t this kinda snobbish?

A Oh, maybe.  And uppity, too. But by pulling together a small group of the best drawing artists in San Diego County and exhibiting together, we promote respect for the art of everyone working in these media, yours included.

Q What’s in it for me outside of exhibiting?

A By having some of the best artists around as your regular colleagues, you will challenge your own standards.  You may find yourself thinking about your work in new ways and not being satisfied with the status quo even if you already have a stellar reputation.  Some of your best artwork may be just ahead for you.  In addition, you’ll learn how to do art tasks from other artists experienced at them such as  show installation, preparing promotional materials, applying to galleries and museums for shows.

Q What have you accomplished in your first six years?

A We’ve had seven exhibitions.  We’ve met monthly and have taken turns giving retrospectives of our work—from early scribblings to the present.  Noted artist Herbert Olds gave us a slide lecture and a tour of his studio, and we’ve heard from experts on the drawings of Raphael and on art conservation.  Mark-Eliot Lugo has walked us through one of the exhibitions he curated; two gallery owners, Larry Baza and Perry Meyer have hosted us; and Bill Kelly has shown us about Brighton Press.  We’ve had discussions about such things as framing standards, the validity of prints, artist’s statements, and what influence the need to make money has on our work. And we’ve laughed a lot. After you get in, you’ll be asked to give us a presentation about your work.

Q That sounds like a lot of work.

A Not really.  One of our principles is that we are studio artists, not art administrators, and we vow not to allow our organizational work to overwhelm us.  Everyone pitching in a little bit helps.

Q Do you allow your members to exhibit outside the group?

A Absolutely.  We all do.  One member is represented by Noel Baza Fine Art, and one has had a critically acclaimed solo  show at the Pacific Beach Library gallery.   We cheer when we get in juried exhibitions and grouse when we get rejected.  One member said she’s going to do a piece using her reject slips.  We are not a commercial consortium.

Q I’m seriously neurotic and am into self sabotage.  I plan to apply for membership.  How can I ensure that I will not be accepted?

A (1)  Show that you have not produced any new work in the past three years.
(2) Submit drawings of celebrities that you have copied from photographs in magazines, books, and the internet without getting permission from the copyright holder.

Q I’m mentally healthy and seriously sane.  I want to get in.  Any tips?  Show my versatility?

A Showing your versatility would be a good idea when applying for a job as a commercial artist.  We’re looking for a mature fine artist with a cohesive body of work with focus and direction—and a visual voice of your own.   Avoid the ordinary and boring.

Q If I don’t get in, can I find out why?

A Probably not.  We discuss criteria the month before jurying, but on jurying night, we vote without discussing any artist’s work with each other.  We don’t know each other’s opinions about any individual’s work.  We think it’s fairer for everyone that way.