Sunday, September 19, 2010

Origin of the Cow Bell Logo

As this article relates,
Gustav Baumann drew
the Cow Bell logo in 1913

The Cow Bell
used to be
quite an elaborate
filled with stories
about exhibitions, artists,
and club events.

(Just like this blog
is attempting to do today -
although the Cow Bell
was more of a collaborative effort)

Thursday, September 16, 2010

Also at the Smithsonian

Rose's show
at the Smithsonian closed in July,
but still on view
in that institution
is an exhibtion
"Losing Paradise"

by the American Society of Botanical Artists
which includes
an orchid
painted by
former P&C member,
Kathleen Garness

Palette and Chisel on You Tube

This will be
an endless post
to list all the
Palette and Chisel related
on You Tube.

with the above lecture
by Rose Frantzen.

Running almost an hour,
it's a bit long winded,
but this exhibit
at the Smithsonian
is an important event.

And here's
Richard Schmid
applying the finishing touches
to a landscape composition.

Note the the photographic source material
that he's using,
though in this video
he seems to be ignoring it.

Here's a video by one of Schmid's students.
(and note how in one scene
she is seated in the dining room
of the Palette and Chisel,
in front of Schmid's portrait
of Diana Farran,
the first woman
to be president
of the academy)

Saturday, September 04, 2010

House Rules



A) A11 inStructors will be considered free-lance teachers thereby relieving the P&C of all responsibilities regarding salary and benefits.
B) Any instructor interested in teaching a class must submit a resume and a detailed description of class, in writing, for committee approval at least 30, and not more
60 days, in advance of proposed class.
C) Only members of the P&C will be eligible to apply to teach on-going classes.
D) Responsibility of the Instructor:
1. Instructor agrees to pay $20.00 per hour for use of space, equipment, utilities, insurance advertising, etc. This applies to either the Coach House Classroom or the 3rd Floor Studio.
2. Set fee for class and collect tuitions. A surcharge of $5.00 per class will be
charged to students who are non-members.
3. Set minimum and maximum class size. Class cannot start until deposits or full tuitions are collected from minimum number of students. (This is for the protection of the instructor.)
4. Pay for additional equipment needed to operate class.
5. Hire and pay all models.
6. Do all paper work and communication with applying and attending students regarding class. Give a list of names and addresses of participating students to the P&C office. Instructor will also provide dates, times, course and fee schedules to the office prior to the beginning of each session.
7. Set own policy regarding cancelled classes and make-ups. Schedule of make-up classes must be done at least 48 hours in advance and cleared with the Executive Director.
8. Instructor and class are responsible for cleaning and straightening classroom after each class. Non-members may not stay in the classroom(s) after class or cleanup, or anytime an instructor is not present.
9. Post Calendar of classes.
10. Take attendance and submit list to the office after each class.

E. Palette & Chisel will provide storage racks, advertising and scholarship fund. No lockers will be provided to non-members.

F. A written class evaluation will be supplied by committee t be filled out by participating
students at the completion of the session and reviewed by the committee for evaluation before another class is scheduled. This is also for the benefit of the instructor.

G. The Committee may waive some of these requirements if the committee feels it would not be necessary for that artist to submit a resume.


1012 North Dearborn Street
Chicago, Illinois 60610
(312) 642 4400


Dear Prospective Instructor

Attached is your copy of the In-House Policy and Procedure for teaching at the P&C. Please follow it when planning your classes. Return the attached form with a resume and a detailed description of your class for our files.

It is the intention of the Programs Committee to maintain the highest caliber of classes taught at the P&C. We thank you for your interest in teaching and hope we can work together.

The Programs Committee
The Palette & Chisel Academy of Fine Arts



Dear P & C Teacher,

Please be advised of a change in the teacher’s policy.
For all future classes student checks should be made out to the P&C regardless of which financial arrangement you choose. The office will reimburse you by check minus your rent or 60% of income dependent on your arrangement At the end of the year you will be issued a 1099 income statement for tax purposes. The rest of the teacher’s policy will remain unchanged. The change in policy was necessary because our accounting firm was concerned that the old arrangement may have raised problems for the tax exempt status of our organization

New registration forms have been made to accommodate these changes. Please use them at the start of a new session or when a new student enters the class. I have included some forms. If you need additional. forms request them from the office.

We are increasing the promotion of the classes by changing our bi-monthly newspaper ad to emphasize the classes, taking out additional ads in the consumer yellow pages under “Art Schools” & producing a fall P&C catalog for mailing & point distribution.
If you have not yet filled out your class information for the catalog we need it this week in order to make our August distribution deadline.
In response to the needs of the students to have a place to store materials I have constructed 27 bins for the coach house. These are for exclusive use of the students currently enrolled in the children’s, watercolor or drawing class. They are free of charge. I hope to have them ready in a week or two.
Let me know if you are having any problems, questions or concerns.
Torsten Muehl

The instructor must choose one of two arrangements prior to the start of each new session and commit to that agreement for the entire class session.

Arrangement #1: Instructor agrees to pay $20 per hour space rental fee, due before the start of the following class of that session. This applies to the coach house, third floor studio or any other classroom space. This fee is for the use of the space, advertising, equipments utilities, insurance, etc.

2. Arrangement #2: Instructor receives 60% of gross income, and the P&C receives 40%.
The following conditions apply:
a. The instructor must turn over revenues to the P&C executive director as they are receivec. Checks made out by the student should be made out to the P&C. If the student pays the teacher directly the teacher must make payment to the P&C.
b. Instructor is required to turn in an enrollment list and any revenues after each class session

C. The office will maintain a record of revenues and issue a check for 60% of the gross income for each class following each class. The office will also issue a 1099 tax form at the end of the year.
d. Any student who wishes to enter the class at mid-session may do so by paying a pro-rated amount for the remaining classes. The instructor must submit this payment along with the student’s name and other pertinent information to the office.
e. Absolutely no class make-ups will be allowed for classes missed due to the student’s failure to attend for any reason.
f. In the event that expenses exceed revenues, the instructor will assume all financial responsibilities for debits.

H) This policy will apply to any class starting after board approval on 5-17-94.


All exhibitions run for two (2) weeks
There is one day to close and hang a show
Receptions are scheduled on Fridays, between 5-6:30 pm
Gallery is officially referred to as the “Palette & Chisel Gallery”
All submitted work must be framed and wired for hanging
Larger pieces will be accepted, space permitting, at the discretion of the Exhibition Committee
There is a $5.00 hanging fee per piece. Past due hanging fees and or dues will be cause for denial of entry into show.
Artists are responsible for insuring their own work


The guest organization or individual(s) must submit a detailed exhibition proposal to the Palette & chisel no later jn June 1 of the previous year. Notification of acceptance or denial will be given October of previous year. An interview and slides may be requested by the Exhibition Committee.

All shipping expenses must be paid by the guest organization or individual(s)

The guest organization or individual(s) will be required to pay a rental fee to the Palette & Chisel for use of the gallery space. This sum will be determined on a case to case basis as determined by the Board of Directors. Not-for-profit organizations will be given special consideration.
A deposit of 25% of the rental fee is due upon acceptance of the proposal. This deposit is non-refundable. The balance will be due one month before installation of the exhibition.
Guest organizations and individual(s) must meet with the Executive Director after the proposal is accepted to discuss coordination and planning.
Gallery is officially referred to as the “Palette &Chisel Gallery” All submitted work must be framed or displayed on pedestals
The guest organization or individual(s) must sign a consent form stating that they are responsible for all exhibition expenses and aspects of coordination which may include, but not be limited to:
-responding to inquiries
-return of work to artists
-gallery sitting
-shipping/receiving, and uncrating costs
All mailers and promotional materials must be approved by the Executive Director of the Palette & Chisel prior to distribution.
The Palette & Chisel office is not open for use by guest organizations The invitation must have an off-site phone number to answer inquiries.
The organization or individual(s) is responsible for insuring the art work. The Palette & Chisel assumes no liability for fire, theft or damage.


Mission: According to the By-Laws of thc Palette & Chisel, the Exhibition Committee shall “form, preserve, and exhibit co1lections of objects of art of all kinds”. The Palette & Chisel gallery is a not-for- profit gallery Whose purpose is to provide artists with the experience of exhibiting and enabling artists and the general public to View art of all kinds and various levels of experience.
Responsibilities: According to the Membership Handbook, the Exhibitions Committee “develops and organizes the annul P&C exhibitions, creates the exhibition schedule, installs shows, adjudicates work, assists with mailings related to exhibitions, and enforces and conducts balloting procedures”. In addition the Exhibitions Committee provides hospitality for group exhibitions, establishes and maintains gallery hours, develops exhibition related policies for presentation to the Beard of Managers, and writes and sends press releases for group shows.

I. Developmcnt and Organization of the Annual P&C Exhibitions
Recruiting and recommending artists for the 6 Artists/6 Visions series (these choices must be approved by the Board of Managers); reviewing other artists who may be interested in a private exhibition; determining themes, etc , if any, for the All Member/All Media Exhibitions.
e.g. The 1992 “Going Home” theme for the All Member/All Media Exhibition.

II. Creation of the Exhibition Schedule
Determining lcngth of exhibition, assigning dates to exhibitions, including drop off dates, installation date, opening date, reception date and time closing date, pick-up of work. the exhibition schedule for the entire year must be completed for presentation to the Board at the September meeting and to the Quarterly at the October meeting. The schedule should be ready to mail by November 1. This will involve typesetting and printing of the schedule and informing the office of all drop off dates etc. that are not pub1ished on the printed schedule.

Installation of Shows
Assigning of numbers to all pieces in order and recording them on the sign-in sheet so that the office can produce a price list.

Adjudication of Work
If outside jurors will be used, the Exhibitions Committee must make all pertinent arrangements. The Exhibitions Committee is responsible for determining what pieces are hung in shows and setting qualifications--size, framing, etc.

V. Mailings
Invitations must be typeset, printed, and mailed to Patron Members for all group exhibitions. We currently have approximately 100 Patron Members. Mailing labels can be obtained from the office. Exhibition prospectus for group shows must be mailed 6-8 weeks in advance of the drop-off dates. We currently have approximately 210 members that would receive this prospectus.

Balloting Procedures
The Exhibitions Committee is responsible for providing all balloting materials (if the show is to be balloted and not juried); counting the ballots on the day of the reception; providing ribbons and awards; and notifying the office of the winners.

Providing refreshments for opening receptions; Set-Up and clean-up of refreshments; being available as host/hostess to answer any questions; at-range for sale of works, etc.


gallery hours 1-5 from in-f, 10-5 Saturday

Re: P&C shows

approx 2 months before installation
-write and send prospectus to the membership
-Write and send press release to P&C press list

appox 2 weeks before installation,
provide registration book, ID tags, pencils, hanging-fee envelopes and tape on library table according to prospectus (display prospectus on library table for clarification of procedure)

a week before installation,
make sure a member of the exhibition committee is prepared to install the show

the day of installation,
-provide paper and pencils and ballot box on library table
-type price list according to installed work on registration list

R: Solo & small group shows
6 month prior to year of exhibition
Each exhibitor gives a deposit of $50 to the P&C when they apply for the exhibition space.

2 months before installation
write and send a press release to P&C press list

1 week before installation
Contact exhibitor and explain sales procedure. Remind them that they are responsible for their own price list (the office can help xerox only) and for cleaning up (including nails) after the show.

a week before a reception,
remind the building manager to take special care in cleaning and putting out the good rugs the day of the event.

two days before a P&C hosted reception,
remind Exhibition Committee Chairman to have the wine and cheese out for the reception (return receipts to office for reimbursement).

-Gallery Receptionist records sales during gallery hours on price list and marks items with a “sold” sticker.
-Any item bought should be picked up after the exhibition is over if at all possible.
-Checks should be made out to the P&C and submitted to the Gallery Receptionist or the office.
-At the end of the show, the Accountant will total sales, keep 15% commission for the P&C, and write a check to the exhibitor for 85% of sales plus the $50 deposit.





1) Begin selection of art work for exhibition. Complete
works in progress

1) Have any display ads you wish to print
designed & typeset.

1)You must call the exhibition chairperson to confirm your intent to exhibit
2) Set reception date and determine open gallery hours
3) Design invitation
4) Organize personal & promotional mailing lists.
5) Write press release. You must submit press
release to Exhibitions Committee prior to sending.

1)Place advertisement in magazines
2)Mail press releases to magazines


1) Stop painting or sculpting and start framing and building pedestals
2) Have invitations printed

1) Request copies of P&C mailing lists

1 Month Before Exhibition:

1) Finish framing and building pedestals
2) Send Press Releases to Newspapers.
3) Mail invitations; (BULK MAIL ONLY)


1) Visit gallery to work out
preliminary installation plan.
2) Mail out invitations if YOU
are sending them FIRST CLASS.
3) Set your refreshments budget.

1) Install exhibition.
2) Number or label works.
3) Type price list. Make several
copies for gallery use.
4) Purchase refreshments for your opening
5) Hand in copies of your invitations, press release, and price list to the office.


Questions? Contact the 0ffice or the Exhibitions Committee.
Office: (312) 642_9741 or Nancie King Mertz- (312) 477—8990


Approved by Board of DirectorS 1/14/93 Revised by Board of Directors 2/27/97
Palette and Chisel Academy of Fine Arts
Private Non-Residential Art Studio
General Information and Policy

Private studio space available at the Palette & Chisel is very limited. Fourteen private studios are available. The rent we charge is much less than that which an artist would pay elsewhere on the Gold Coast That makes our studios a privilege, enjoyed by a few of our members and subsidized by all the members of the organization.
The Private Studio Program has three main objectives:
1. To build an environment in which creativity will flourish through interaction between artists.
2. To create private spaces where artists can produce work of art.
3. To assist the Academy in promoting fine art programs and activities conducive to the artistic growth of the community.

It is the policy of the Board of Directors to select the best possible lessee for each studio based upon these criteria:
I. That a lessee is an Associate Member in good standing, and become an Artist Member within one year. Artist Members receive priority on all available studios.
2. That the lessee be currently serving on an active committee and/or participating in special activities which promote or assist the Academy in meeting its goals,
Unless: The lessee rents at $1.05/sq.ft. or subsequent rental rates approved by the Board.
3. That the lessee will actively use the studio space to create works of art.
4. That the lessee be able to provide evidence of professional training and commitment, and/or a high level of quality production.
5. That the lessee agrees to abide by the provisions of the rider to the lease and the lease itself.
6. That the lessee agrees to abide by the general rules and policies of the Palette & Chisel Academy as they apply to private studio space, including the rules prohibiting smoking and the use of materials that are offensive to others who may be working nearby.
7. Such criteria as the Board deems relevant to the individual applicant or to the organization as a whole in meeting needs for a specific disciplinary representation and/or balance.
Leases for the private studios are for one year, expiring December 31 of each year. Renewal of the lease is not automatic. Renewal is based upon review of the lessee’s adherence to the lease and the above criteria. The Board of Managers makes a final decision on the selection of lessees AND the renewal of leases. Leases can be broken, with a 60 day notice, by either party.

Each studio has one lessee who is responsible for paying the rent ON TIME. That lessee will sign the lease and pay a security deposit of one month’s rent. Lessee may share the studio with another Palette & Chisel member. If a lessee is interested in sharing studio space, priority consideration will be given to those members already on the waiting list. The sharer will pay the rent to the lessee—who is ultimately responsible for the studio. Lessee shall inform the Palette & Chisel office and the Board of their intent to share studio space and “sharer” must be approved by the Board of Managers.
Private studios may not be used to conduct organized, formal classes.
Private studios may not be used to generate personal revenue by any means other than the sale of art work produced by the lessee or sharer of said studio.



Any person sharing a studio who wishes to be considered as a lessee of that studio or any other studio that becomes available must be at the top of the waiting list to be offered the studio. In other words, “sharers” have no right to “inherit” a studio.
“Studio swapping” shall not be allowed. A person must be at the top of the waiting list in order to acquire a new or different studio.
In order to be placed on the waiting list, the interested party should contact the Palette & Chisel office.
All parties interested in renting a private studio must be an Associate Member of the Palette & Chisel in order to place their name on the waiting list.
As studios are leased. The lessee’s name is taken off the waiting list.
If a lessee wishes a different studio he must be placed on the bottom of the waiting list as of the date of the new request.
Priority is given to the person with the earliest date. A person may choose to remain at the top of the list, refusing a studio when offered, until “the right one comes along.” In that case, the studio will be offered to the next in line, until someone accepts the offer.
*All policies herein stated shall be applied to all lessees of private studios regardless of the date their studio was first leased to them and the policies in effect at that time. No policies for private studios shall be “grandfathered.”
I have fully read and understand the above policies and hereby agree to comply with these and all other requirements relating to the use of private studio space at the Palette & Chisel Academy of Fine Arts.
Signed: Date:___________________________



In order to cover the costs associated with the purchase, operation, and future use of the kiln, a firing fee will be charged for each piece. Fifteen dollars per firing goes to the club to cover the cost of electricity. Any funds raised above that go into the kiln fund to cover maintenance, eventual replacement and other kiln items,

The kiln is available for members and regular participants to fire their pieces in for the following fees.

Group Firings:
$5 per piece that is less than 8 inches square
$10 per piece that takes up less than ½ of the kiln
$15 per half kiln

The kiln master will fire group firings

Individual Firings:

$25 for one piece
$30 for two pieces
$45 for three or more pieces

Those wishing to do individual firings are responsible for getting trained by the kiln .master so they can fire the kiln themselves.

Non-participants will be charged $85 per firing ($35 to kiln fund, $15 to club for electricity and $35 to kiln master for her time)

Firing fees will be collected before firings.

Investors firing fees will be subtracted from their investment. However, the $15 e1ectriclty fee needs to be collected in cash. If enough money is raised from non-investors, investors won’t have to pay cash for their share of the $15. However, If $15 is
not collected investors will need to cover this portion of the firing fee in cash.

Refunds may be given for irreparably damaged pieces, however the $15 electricity fee must be covered.

A student currentty enrolled in a P&C class shall complete
the reguiar associate member application form. It shall be
signed by the student’s teacher and by one other member
(Or sign “Tor Muehl”)

Student membership dues are ½ annual membership dues. Student members are entitled to rent lockers and to have a building key.
They are not eligible to exhibit in member shows. Student membership is valid for one year only and is not renewable. At the end of their student member year they may apply for associate membership. per Tor , 9/19/96

Phone, written, or verbal requests for membership or class information shoud be returned With the following materials being sent
-Application form
-“Dear Artist” letter
-Workshop Schedule
-Current class notices
-Exhibition Schedule

When the completed application and fee is returned, the office will set up an appointment with the applicant for an interview. The applicant shall bring 3 pieces of original art work with the understanding that they need to stay at the P&C until the next board meeting. At the interview, the objective is to get to know the applicant well enough to fill out the interview form, and to answer their questions about the P&C.

The completed application and fee is returned with slides of artwork. The application and slides are saved for review at the next board meeting.
The Board decides the status of the membership applications
(Refer to New Member Procedures for duties after the board meeting.)

Exhibiton: Sculpture and Drawing 2010

Tim Rees

Lawrence Paulsen

reflections off the glass
made the above drawings,
which happen to be my favorites,
almost impossible
to photograph)

Bo Zhang

Phil Renaud

Patricia Schnepf

Louisa Boshardy

Lois Raub

Lawrence Paulsen

Keith Raub

John Bostjancich

Joan Stachnik

Clayton Beck

Brian P. Clare


(the subtleties
of this small piece
were impossible
to photograph)

Henry Mcalevy

Joe Gruber

Bert Stephens

(the sculpture and drawing show
usually doesn't have
so many botanicals)

And the rest are all mine