Tuesday, December 15, 2009
I hope I don't have a repeat of this scenario since I should have the lesson of backing up everything, all of the time, stamped into my brain. I got lazy about backing up my data and am paying for it. Don't be lazy about backing up your files.
So, in the meantime, I'm just doing small tasks on my wife's computer like checking email and updating here and there, but its going to be some time before I'm back with my own. On the upside, I'm going to bed a little earlier...
That's one of my favorite parts of a recent blog post from David Byrne on arts funding.
Wednesday, November 25, 2009
A satire that pokes fun of the nuanced world of the New York contemporary art scene through a pair of competitive brothers, eclectic and self-important music composer Adrian and commercially successful painter Josh. When Chelsea art gallerina and Joshs love interest Madeline attends Adrians concert featuring the sounds of paper-crumpling, glass-breaking and bucket-kicking she commissions him for a gallery performance and a love affair ensues.Further complicating the situation is that Joshs highly commercial art work the financial backbone of the gallery is sold to corporate clients discreetly out of the gallerys back room.
The New York contemporary art scene needs a parody? Really? you could have fooled me...This is like shooting fish in a barrel, but I might go see it anyway...
Sunday, November 22, 2009
When I turned on my computer this morning and started browsing through some posts on Tumblr, I found one where someone had posted this video of a Led Zeppelin concert from 1972. 'Immigrant Song' is one of my favorite Zeppelin songs and this was just what I needed to hear. Sometimes, a quiet Sunday morning isn't necessarily what one needs.
Speaking of finding music...one of the things I love about the 'net is the sheer amount of stuff I can find, especially music. I have a profile over on MySpace that I don't use much, but every so often, there's a 'friend request' from random bands, musicians, and other people trying to get their sounds heard. Almost two weeks ago, I checked in and there were a couple of requests, one of which was from '7b Mixes'.
Tuesday, November 17, 2009
"Long Portrait: The long portrait is a video made popular on Vimeo by photographer Clayton Cubitt . A long portrait is exactly like it sounds, a portrait that is long. It’s like a photo of someone, but stretched out in video form to show the person’s small expressions, mannerisms and gestures.”
Saturday, November 07, 2009
Saturday, October 31, 2009
Before my open studio event earlier this month, I went through a bunch of my works on paper, sorted some out and displayed a lot of them that I haven't exhibited previously. That part was great. The not-so-great part was having to wrangle with the poor storage options I had for these works. There are good archival storage box options out there, but most of them are more expensive than I'm ready to deal with for studio storage.
I was in one of the art supply stores I frequent a couple of months ago looking for archival boxes good for long-term storage. They didn't have any in stock at the time, but the clerk I spoke with suggested using acid-free foam board and archival linen tape to make my own boxes. I thought about it and finally got around to making one this week. My first box (see photos above) measures 24" x 32" x 3" to accommodate the 22" x 30" sized works, like 'Blue Pool' in the second shot. I spent about $32-$34 in materials (acid-free foam board, archival linen tape and white velcro for fasteners) and spent almost three and-a-half hours to assemble it. I expect to improve on that time as I do more of these. The cost of good archival storage boxes in a similar size hovers around the $90-$100+ range. Of course, mine aren't made to last 100 years, but they will still go a long way towards protecting my drawings and other works on paper while in the studio for a long time.
I still need to make about one or two more in the same size as well as a couple of smaller boxes for immediate use. The one above is filled already with works I did this past spring and summer. Making these boxes is a little time-consuming but worth it for me. Now that I have the first one done, I have a better idea of what to expect and hopefully, the next few will be easier to construct.
Thursday, October 29, 2009
Tuesday, October 20, 2009
Poster announcing my lecture at West Virginia University. Last Thursday and Friday (Oct. 15-16), I had the honor of being the visiting artist for the latest installation of Concurrent, the traveling exhibition featuring works by Natalie Alper, myself, Diane Simpson, and Larry Webb.
Undercurrent next to exhibition signage.
Sculpture by Diane Simpson.
Paintings by Natalie Alper (left) and Larry Webb (right)
Cape by Diane Simpson.
More paintings by Natalie Alper and Larry Webb.
Plume, 2007, acrylic on canvas, 60" x 72" (left) and All that could be, 2006, acrylic on canvas, 60" x 84" (right)
Drawings from my Random Expansion series, water media on paper, 20" x 20" each.
Wednesday, October 07, 2009
Monday, October 05, 2009
Thursday, October 01, 2009
Thursday, September 17, 2009
Tuesday, September 15, 2009
Saturday, September 12, 2009
"I clean the studio every week. And a lot of times I think while I am cleaning. Usually at the end of each day, I clean up a little. I also clean up and organize at the start of each day—like nesting. It gets me into the work, kind of like pacing.”
Friday, September 11, 2009
For those that have not been following this saga closely, the budget approved by the City Council and the Mayor required action from Harrisburg on two items - authority to raise the local sales tax by 1%, and some changes in the City's pension plan. The House eventually passed a bill - 1828 - that gave the City what it needed. The Senate then considered the bill and passed it with an array of amendments designed to rein in pension expenses throughout the state. That bill is what is now going back to the House. If the House passes it without amendment it will be signed by the Governor and the City's budget will be balanced. If the House passes a budget with further changes that the Senate does not agree to, the City will be forced to begin the process of implementing Plan C.
In the Arts, Culture and Creative Economy area, this means that notifications will begin going out to the field late tomorrow, providing details on what programs and services will be lost. Much has been written about all the horrible cuts included in Plan C - closure of all branch libraries, closure of recreation centers, 50% reduction in trash pickup, suspension of most programs and operations of Fairmount Park, police officer and fire fighter layoffs. But there has been relatively little coverage of the arts cuts included in Plan C. Here is a summary of what will be eliminated:
- All funding and staff or the Office of Arts, Culture and the Creative Economy, including suspension of the Art in City Hall program and the Public Art program.
- City funding for the Philadelphia Cultural Fund
- City support for the Philadelphia Museum of Art, Atwater Kent Museum, and African American Museum of Philadelphia
- City support for Mural Arts Program
- City funding for Avenue of the Arts
There is hope that with pressure from their constituents, state legislators from both legislative bodies and both sides of the aisle will find a compromise before this comes to pass. It goes without saying these cuts will be crippling to the City and a significant blow to its citizens.
Wednesday, September 09, 2009
"The process by which an artist’s work finds its way into a commercial gallery is often long and circumvented. Stein was gracious, politely tenacious, and smart. Professional relationships can often be analogous to marriage, and after three years of “dating,” I was certain that I liked Stein as a person. This was someone with whom I would enjoy working on a day-to-day basis; someone whom I could trust; and someone who clearly has a bright future, so that after one successful show I will not be left in the lurch with no further compelling work to promote."-Brian Paul Clamp, director,ClampArt (New York City)
The above quote is from this article on the F Stop photography website.
Articles like this should be required reading for anyone looking for gallery representation, from the newly minted BFA or MFA to even older, more experienced artists. Even though this article comes from the viewpoint of a commercial gallery that specializes in photography, the lessons are general enough to cover any kind of artist seeking professional representation.
I can relate to this because it parallels the way I wound up being represented by the gallery I work with, the Bridgette Mayer Gallery here in Philadelphia. When she opened her gallery here around 2001, I was already looking at a couple of other galleries in the city for representation. I made it a point to go to the openings of shows she had as well as checking out the work at other times, as I was genuinely interested in some of the artists she was showing. I introduced myself and got myself onto her mailing list. At the same time, my work was gaining some attention after it was included in a prestigious regional exhibition grant competition and other local exhibitions.
The 'dance' began in earnest when Bridgette asked me to bring some slides and other materials to the gallery for review. About three or four months went by and then she scheduled a studio visit for another three months down the line. In the meantime, we stayed in touch and I kept working as usual.
In the spring of 2002, she came to my studio. She was really interested in my work as I was her gallery, and I remembered that we had a long conversation that afternoon. I was in a transitional period with my work, changing how I painted and was moving towards a more hard-edged, geometric abstraction from work that was more based on biological forms. She had a lot of questions about what I was doing and how I saw the work developing, etc...
At the end of that conversation, she offered to represent me. I took some time to look think about it, asked her some questions and after a couple of weeks, I signed on with her. The relationship we've built over the intervening 7 years has grown to one where there is friendship, mutual respect and benefits on both sides. As with any other relationship, it's constantly evolving and, so far, things are going along well, even with the economic crap storm that's been happening. It's good to know that there's someone standing behind my work in the good and bad times.
Thursday, September 03, 2009
Rebecca Crowell, an artist I know only through the web, has included a couple of shots of my project, 'This Moment', in a slide presentation that she has used for workshops this past summer. Other artists that I've connected with online included here are Diane McGregor, Ian MacCleod, Jen Bradford, Lisa Pressman, and Michael Kessler.
Monday, August 24, 2009
The (Dark) Show
In The (Dark) Show, Pam Farrell, Michelle Marcuse, and Rob Solomon address the dark with a grain of salt, or perhaps a broad brush. Art history abounds with references to dark as a theme. For some, the dark suggests the unspeakable, the unknown, evil, the sinister, gloomy, and ominous. For these three artists, choice of palette represents more than a proclivity for dark thoughts. Light emerging from dark, shining a light in the dark, a playful interaction of opposites, and an exploration of space and time all offer the viewer an open-ended experience to explore individual ideas about the dark, to see beyond the expected.
The Dark Show
August 29-October 3 2009
Reception: Saturday, August 29 2-5 pm
1854 Germantown Avenue. Philadelphia, PA 19122.
More Information at Stratasphere
New Work: Blue Collar
Objects and Storms
September 6 - September 27, 2009
Opening Reception: Sunday, September 13, 6 - 8pm
SAGE PROJECTS 333 South Street, Philadelphia, PA.
The gallery is free and open to the public
Wednesdays and Thursdays 12-6pm, Friday, Saturday and Sundays 2-8pm
Saturday, August 22, 2009
I just finished reading this story and I don’t know what to say. It’s amazing to me how someone of her stature and creativity can find herself in a predicament where she might lose the rights to her own work and then still owe millions of dollars on a loan. Leibovitz obviously has problems dealing with money issues, but this is still ridiculous.
Leibovitz is known to have a drive for perfection in her work, which seems to have been the beginning of her problems. According to this piece, she didn't have unlimited budgets from the outset, but drove up the costs of the shoots she did in the hunt for perfection in her work. Of course, she was being paid hundreds of thousands of dollars to photograph celebrities for high-profile magazines, so I guess having access to that kind of money and not really caring about what was spent would lead to disaster eventually. I mean, get rid of one or two of the multi-million dollar homes, perhaps? Actually hire a good lawyer and financial manager, maybe?
Friday, August 21, 2009
The good news is that there is still the hotel on the Riviera. You might have to share the building with other guests, but you'll still have ten floors to yourself...I know, I know, but the economy is a little down right now and we have to pinch pennies where we can..."
Wednesday, August 19, 2009
Monday, August 17, 2009
Penn puts a new spin on the freshman project
By Susan Snyder
Inquirer Staff Writer
Incoming freshmen to the University of Pennsylvania, as at many schools across the country, typically start their college careers reading a common book and then discussing it - an orientation activity meant to unify the class.
This fall, the 19-year-old project takes a new twist at Penn: Students will study and discuss a painting, Thomas Eakins' The Gross Clinic.
Penn officials said they think they are the first to use a painting for the orientation project, and national officials knew of no other school.
The university is changing its approach as part of a new campaign it will officially launch next month, called "Arts & The City Year."
In addition to the orientation project, Penn plans "arts crawls" around the city, and an arts "passport" to art and cultural institutions with discounts and prizes for students. An "art in public health" series, arts seminars, and a variety of other programs also are planned to put students more in touch with the art venues on campus and around the region.
Thursday, August 13, 2009
Wednesday, August 12, 2009
Sunday, August 09, 2009
Saturday, August 08, 2009
Chlorophyll Skin is an experimentation into color, movement, absorption and the body by Lucy McRae and Mandy Smith. The music is “When I Grow Up” by Fever Ray. (source)
Friday, August 07, 2009
Tuesday, August 04, 2009
—David Fincher’s definition of directing
Friday, July 31, 2009
Thursday, July 30, 2009
The relationship between an artist's work and attire should not take the form of a direct visual analogy. A stripe painter may not wear stripes.
The relationship between an artist's work and attire should function in the manner of a dialectic, in which the discrepancy between the personal appearance of the artist and the appearance of her work is resolved into a higher conceptual unity. An artist's attire should open her work to a wider range of interpretive possibilities.
The artist's sartorial choices are subject to the same hermeneutic operations as are his work. When dressing, an artist should imagine a five-paragraph review of his clothes—the attitudes and intentions they reveal, their topicality, their relationship to history, the extent to which they challenge or endorse, subvert or affirm dominant forms of fashion—written by a critic he detests.
Communicating an attitude of complete indifference to one's personal appearance is only achievable through a process of self-reflexive critique bordering on the obsessive. Artists who are in realityoblivious to how they dress never achieve this effect.
Whereas a dealer must signal, in wardrobe, a sympathy to the tastes and tendencies of the collector class, an artist is under no obligation to endorse these. Rather, the task of the artist with regard to fashion is to interrogate the relationship between cost and value as it pertains to clothing, and, by analogy, to artworks.
An artist compensates for a limited wardrobe budget by making creative and entertaining clothing choices, much in the way that a dog compensates for a lack of speech through vigorous barking.
Artists are not only permitted but are in fact required to be underdressed at formal institutional functions. But egregious slovenliness without regard to context is a childish ploy, easily seen through.
An artist may dress like a member of the proletariat, but shouldn't imagine he's fooling anyone.
The affluent artist may make a gesture of class solidarity by dressing poorly. She is advised to keep in mind that, at an art opening, the best way to spot an heiress is to look for a destitute schizophrenic. Middle-class or working-class artists, the destitute, and the schizophrenic can use this principle to their social advantage.
The extension of fashion into the violation of norms of personal hygiene and basic grooming constitutes the final arena for radicalism in artists' fashion. Brave, fragrant souls! You will be admired from a distance.