Art Space Talk: Padraic Moore

I recently interviewed Padraic Moore of the Defastenist art movement. Mr. Moore co-wrote the Defastenist manifesto with Gary Farrelly and Alexander Reilly. Defastenism was founded in May 2004 by Dublin National College of Art and Design undergraduates Gary Farrelly, Ben Mullen, Alex Reilly, Seanan Oliver, Manfred Kerr and Jane McGovern. Their membership includes artists, film makers, musicians, architects, writers, and designers.

I became interested in this movement upon reading the following statement. "We The Defastenist artists and other creative practitioners are making art about the only things we know to be truly original. WHICH ARE: The fetishes, obsessions and eccentricities which define our creative personalities.". Thus, I contacted Padraic for an interview.

(The examples of Defastenist art are by Gary Farrelly)

Q. Defastenism was founded in Dublin. Can you tell our blog readers about Defastenism?

A. "The Defastenist Party is a self styled "Movement " which is preoccupied with the legacy of the Modernist Project. The movement enables all those involved to realise their maximum potential by operating as a milieu in which the production of art and the apparatuses surrounding art is fully supported and utilised in a communal manner. Aside from the ideological framework the communal approach provides a plethora of advantages, which are hugely advantageous in this increasingly competitive world. The term comes specifically from the idea of unbuckling the metaphorical seatbelt. The concept that one must "Defasten" from the Jetzeit.The aeroplane- a constant motif in Defastenist art- is one of the symbols, which we believe defines our zeitgeist. It seems painfully ironic that the high hopes envisaged for the miracle of air travel have been undermined not only by the threadbare and shabby reality of cut cost travel, but also the horror of plane hijackings and air rage. The ongoing ills of our age in which men crash planes into buildings now seem as quotidian and vaguely unpleasant as the colour of the upholstery and the tragic loss of the complimentary in flight meal served by an elegant air hostess. The inundation of bad news and the saturation of media coverage have led to a numbing of our consciousness. The anaesthetics, which enable us to endure, diminish the significance of events. The time has come to reclaim control. This reclamation of control is manifested through cultural production/productivism, which constitutes a means of active escape from the reality, which we inhabit. From the enduring trauma of politically motivated air catastrophes such as Lockerbie and 9/11 to the excesses of cut cost flights we are in the age of the air disaster. We cannot simply unfasten-To make any progress we must first make a major modification-we must Defasten.

The Party also operates as a life raft in that it proliferates optimism and propagates an end to apathy, boredom and idleness."

Q. Can you characterize the Defastenist as a group? What generation do they belong to?

A. "Many generations but predominantly the A.D.D Generation who grew up at the tale end of Irelands depression and during Irelands period of accelerated affluence."

Q. You co-wrote The Defastenist Manifesto with Gary Farrelly and Alexander Reilly. Was there ever a conflict in ideas during the creation of the manifesto?

A. "Since it’s inception the collective has grown consistently more cohesive and concise in its philosophy and approach. The manifesto, which you have obviously read, was formulated at a moment when our ideologies were somewhat less polished. When it was necessary to be somewhat more vague then what we have become in order to forge a functioning sense of community. As the manifesto attached reveals our remit has since been significantly crystallised. We launch this manifesto to coincide with the Second Phase of the Defastenist Movement. We have ascended to on schedule.

I believe that when formulating a manifesto or statement there should always be some light degree of dispute. The presence of a level of debate usually ensures that thought and imagination is stimulated. This is important."

The Rationalized Defastenist Manifesto.

September 2006

1.We believe that Art is a mission demanding complete fanaticism.
2.We ally ourselves to the Mothers and Fathers of Modernism. We share their fervent faith in progress and dynamism.
3.The meticulous process of production, which distinguishes our approach to any and all media, is coupled with a fundamental faith in the Utopian function of art.
4.We regard it as our duty to excavate fully our fetishes, obsessions and desires through material forms of cultural production.
5.Defastenism proposes an art that is all encompassing. Our practice is a union of conscious and unconscious thought. Our practice is inflected with borrowed nostalgia; our practice is of the present and for the future.
7. We recognise the obsolescence of the ‘us-and-them’ paradigm and aspire to be both an Institution and an Establishment.
8.At all times there exists a physical headquarters from which we conduct our ventures and campaigns.
9.The Defastenist Party and its members are compelled to assume an actively auto propulsive role in the actualisation of personal and professional ambitions whilst maintaining complete loyalty to the party.
10.We oppose aesthetic dematerialisation and are dedicated to the art object, the obsessive generation of which is manifested in all aspects of Defastenist activity.

- The Defastenist Party, Dublin 2006

Q. The original manifesto reads, "We The Defastenist artists and other creative practitioners are making art about the only things we know to be truly original. WHICH ARE: The fetishes, obsessions and eccentricities which define our creative personalities." can you further enlighten us about this statement?

A. "This was an early statement, which relates to several major aspects of Defastenist practice, which are sustained. The notion of constructing a world in which we can indulge ourselves totally in the production of culture by focusing directly and unselfconsciously upon "the fetishes, obsessions and eccentricities, which define our creative personalities" is one of the central functions, which drives the movement. We believe that through the production of artwork states of temporary utopia can be achieved. We produce work, which is the manifestation of an excavation of our personal fixations, desires and preoccupations. By persistently allowing ourselves to focus upon these things they can become somehow more real, more tangible…"

Q. Does Defastenist art focus on the vices of the human condition in order to convey a form of 'pure truth'?

"Defastenist Art Does Not Focus upon the Vices of the Human Condition per se. Defastenist Culture is an expression and a statement of and on many things. It is likely that Vice may occasionally be integral to Defastenist Artwork, but we do not focus upon vice as a subject solely. I’m extremely reluctant to use words such as truth or purity because I believe that we are all so mediated and conditioned that both the possibility of both these ideas are always going to be rather dubious."

Q. Do you think 'truth' is missing in the current art world?

A. "What is Truth?
Is truth Expressionism? Is truth Abstraction? Is truth Realism?
I wouldn’t like to say that the endeavours of the group are motivated by a desire toward the proliferation of Truth.However; it is true that we try and be true to ourselves. In the manoeuvrings of a collective honesty and directness are vital to sustained existence, and truth can be considered part of this.

I believe that Art is Ultimately a combination of Truth and Artifice,
Art is inherently a statement of something, and will always reveal information of some sort. The information imparted to the viewer may not be that intended by the artists but the information is still a truth. Financial capability, intellectual capital, stylistic references and cultural quotations are all instructive in what they can tell us about an artist.
What I do believe is missing from the Art World of today-in Dublin at least- is a lack of confidence. This lack of confidence is often difficult detect but is always exposed when an artist is asked whether or not they refer to themselves as an Irish artist. That’s an issue that I’m interested in exploring-how Irish ness is still problematic. This is the result of there being very very few internationally Irish artists and the fact that people fear that they may be pigeonholed as exclusively Irish artists."

Q. This statement has been declared by Defastenists concerning the direction they do not want to go with their art, "BOILING INSPIRATION AND IDEAS DOWN TO THEIR BARE ESSENTIALS, RESULTING IN BORING, AESTHETICALLY UNINTERESTING WORKS OF ART IS A CHARACTERISTIC OF POSTMODERNISM THAT THE DEFASTENISTS INTEND TO REMEDY.", can your further explain the intention of this ideology?

A. "Actually I myself am most certainly guilty of over examining ideas down to bare essentials…I thrive on analysis and detailed dissections of art and life. What I am opposed to is artwork that is visually or conceptually anorexic. In most cases Defastenist art is unified by it’s emphatically object based approach. Paradoxically however there is an element to the work that it wholly dialogic and conceptual-and that is the attempt to occupy a constructed reality. There is certainly a huge quantity of contemporary art, which lacks vitality and vigour. There is also an excess of art, which is continually validated purely by its existence. There is a surplus of cultural producers making work that says very little about anything. We believe that art has a function and that it should be useful, if not for society than at least for the artist."

Q. Are there any Defastenist exhibits of art planned for the near future? If so, where and when.

A. "Obsessive Territories

(Terra Firma from 10m² 100,000km²)
Artworks by Gary Farrelly
Curated by Donna-Marie O’Donovan and Padraic E.Moore

17th-27th November 2006
-Thisisnotashop-
Benburb Street
Dublin City.
(This exhibition space is situated a short distance from the "Museum" tram station)

"Unreal City"
Defastenist Publication by Padraic E.Moore
Issued Late November-Early December 2006

Don’t Cry-Work!
An exhibition of objects and occurrences including the work of selected Defastenist artists.
Curated by Padraic E.Moore

7th-21st February 2007.
The Back Loft
St.Augustine Street.
Dublin City 8

Please feel free to Contact Padraic E.Moore at boybright1982@yahoo.com for details on any of the above."

Q. Do you think that the current art world is 'dead'? How do the Defastenist plan to bring life and energy back to the world of art?

A. "The Art world cannot die. It is a parallel world that fluctuates and alters in accordance with the changes that occur within the greater society. Our campaigns may impact upon and be acknowledged by the Art world of which we are a component.

However, while revolutionisation and modification of art and society may be something that we focus upon frequently we will do this only on our own terms. We bring life and energy into the world of art simply by declaring ourselves as audaciously active.

While we may occasionally critique and comment upon the world of art it is not our aim or duty to eradicate or interfere with any aspects of this world. Our propaganda may suggest that we desire a level of totalitarian control over the art world, but this is itself an expression of playful and libidinous caprice. Everybody who wishes to be so deserves to be creative, but one is aware that being an artist, curator, critic etc. should never be taken lightly. There is not enough time or space for people who are not serious about their aims or ideas. One must create knowing that to do entails responsibility and self-awareness."

Q. It has been noted that the Defastenist expression of an inner world has some parallels with the surrealist. Can you explain this connection?

A. "The connection is a little tenuous but is also quite accurate in a number of ways. Though we do ally ourselves to the Mothers and Fathers of Modernism I don’t think that we have the same absolute faith in the future. Our Utopian dream results from a sense of desperation and despair with the reality that the present is constantly under threat of extinction. We live in an age that is scarred by the disasters of the past and blind to the fact that nothing has evolved despite the catastrophes of the various Holocausts, atomic warfare, and the countless wars.

Our aspirations to be international \certainly connect us with the Surrealists, as does our proclivity toward the issuing of manifestoes, declarations and statements. Similarly, we recognise the necessity to be accepting and unafraid of the concept of art as commodity. In order to sustain ourselves we must continue to be economically successful."

Q. Defastenism has been connected with Stuckism. How are they the same? Are there any differences?

A. "Many, many differences. Some similarities. Stuckism was very important in the early phases of Defastenism for sure. However this has become less and less the case. While the infatuation with the Modernist Project has united the two movements the Defastenist party borrows much more heavily from political, beureaucratic and economic methodologies. We have also developed a much more theoretical approach which results in the production of many histories and mythologies which use art history as a material from which Defastenist Art can be constructed…"

Q. Is there a risk that a return to figurative art (and other art strongly supported by the Defastenist) will be under-stimulating mentally? Does accessibility mean dumbing down?

A. "Whether or not the work produced by Defastenist artists is predominantly figurative or not is a cause for constant debate. I would argue that much of the work produced relies solely upon formal qualities of colour and line to produce an impact. I think It’s an over simplification to correlate Figurative Art as somehow simpler or easier to understand.

I believe that often art, which is perceived as "under stimulating", is the responsibility of the viewer as opposed to the artist. However, I do believe that currently there is an excess of art dealing with social and political issues in a quasi- corrective manner. I abhor art that is lauded purely for that fact that it deals with problematic issues or sectors of society. Art is not social work and Art should not be utilised as some sort of therapeutic tool, which is "given" in a condescending way to communities (such as the homeless or indigent) by the priveliged. This process seems to suggest that people still believe that art it might somehow enlighten and improve the lives of those who have been unfortunate.

Accessibility does not mean dumbing down. Those who find Defastenist ideologies and tautologies excessively complex are not obliged to engage with this aspect of our practice in order to understand or enjoy our produce. The work produced by Defastenists functions on a variety of levels and is generally comprehensible to anybody willing to engage. While there is incredible scope for misinterpretation of our methodologies and philosophies the artworks generally speak for themselves as autonomously successful entities."

Q. How many members are involved with the movement at this time?

A. "There are currently 5 core members of the group in Dublin .It is the Dublin group which is the principal corps of the party. This number excludes the Defastenist Youth Party, the Royal Family of Defastena, The Friends Association, the Anonymous Members and the factions we have in Galway, Berlin, London and Paris."

Q. Is there anything else you would like to say about Defastenism or art in general?

A. "THE CURRENT GENERATION OF YOUNG ARTISTS HAS THE TERRIBLE LEGACY OF POSTMODERNISM AND PLURALISM HANGING OVER ITS HEAD. WHICH BOILS INSPIRATION AND IDEAS DOWN TO THEIR BARE ESSENTIALS, RESULTING IN BORING, AESTHETICALLY UNINTERESTING WORKS OF ART. A CHARACTERISTIC OF POSTMODERNISM, ONE THAT THE DEFASTENISTS INTEND TO REMEDY"

I hope you have enjoyed this interview with Padraic Moore of the Defastenist. Feel free to contact him for further information.

Take care, Stay true,

Brian Sherwin

Art In The News: The Controversial Art of Xiao Yu

Xiao Yu, an artist from China, received harsh criticism after exhibiting one of his pieces in a Swiss gallery exhibit. Xiao named the piece "Ruan", a name he invented by combining Chinese letters that come from the names of a variety of animals. The piece was constructed with animal and human parts including: the eyes of a rabbit, the body of a bird, and the head of a human baby. Due to public outcry the piece was pulled from the galleries collection of Chinese art which was on display at the Bern Fine Art Museum.

The work was pulled after several museum visitors filed complaints with Bern's District Attorney. Visitors questioned the ethics of the piece and wanted to know where the head had come from. The concern was due in part to the problem of late-term abortions in China. Visitors feared that the head was acquired specifically to be used in Xiao's art. Many were also upset because they felt the work showed great disrespect for the dead. Legal action against Xiao is pending.

Xiao Yu has defended "Ruan" and has attempted to answer any questions that the public may have about it. He has stated, "It's precisely because I respect all life that I did this. The bird and the fetus both died because there was something wrong with them. I thought putting them together like this was a way for them to have another life." Xiao observes his work as a warning against abortion in China where newborns can be killed by family planning officials when it is discovered the baby was born without a license.

However, people are still offended by "Ruan" and it has yet to be displayed since being censored. "I want it to be displayed," he said.Xiao claims he bought the head in 1999 for a few hundred yuan from a man who was cleaning out a scientific exhibition hall. The head, which had been stored in a glass bottle, came with a handwritten sticker identifying it as a female specimen from the 1960s.

According to Xiao, the bottle had no name or cause of death written upon it, but did have a date of birth that had meaning for him as an artist. Xiao has since lost the paper, but knows that the date of birth was close to his. He stated, "It was close to my birthdate though, I remember that because I thought it was coincidental,". So he decided to use the specimen in order to convey a message against a practice that he does not agree with.

Xiao feels that if children are considered no better than animals by the Chinese government it is perfectly acceptable to use them as objects. In a sense, Xiao observes it as no worse than mounting an animals severed head upon a wall. Xiao feels that "Ruan" reveals the hypocrisy over the abortion issue and the staggering Chinese abortion rate.

Xiao assumed the fetus was miscarried, based on the condition of the remains and the stage of development of the head. It is unlikely that it was an aborted fetus because the assumed birt date predated China's "one child" birth control policy. However, Xiao has failed to remember the exact birthdate of the remains nor does he have any other physical proof of where he obtained the head.

Xiao is no stranger to controversy. He is known for his shocking material. For another installation, he paid an assistant 10,000 yuan (US$1,200; euro1,000) to sew pairs of living lab mice together at the hip and displayed them in glass bowls. However, Xiao has been adamant about stating that his work is not about shock. He claims to create in order to convey a message about the issues he believes in.

What do you think about Xiao Yu and his creations? Do you think his work goes against ethics when he creates to attack issues that he feels are not ethical?

Take care, Stay true

Brian Sherwin

Art Space Talk: Terry Marks

I recently interviewed Terry Marks, a narrative painter from New York. Terry, under the guidance of Charles Thomson, started the New York Stuckist group. She was one of the US artists in the landmark show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial.

In my opinion, her surrealistic images reveal her prowess for story-telling with visual art. In my opinion, the expressive quality of her work symbolizes the realm of our collective dreams. A place where anything can happen (and most likely does.). Her work provokes me to think about Jungian psychology.

I hope you enjoy my interview with artist Terry Marks:

Q. Can you tell our blog readers about Stuckism? Who founded it, why, and how did you get involved with the movement?

A. "Stuckism is a controversial art group that was co-founded in 1999 by Charles Thomson and Billy Childish. The name was derived from an insult to Childish from his ex-girlfriend, Brit artist Tracey Emin, who had told him that his art was 'Stuck' in the past. Stuckism has since grown to an international art movement with over eighty groups around the world. I became involved in spring of 2001 when I heard a radio piece on NPR. I emailed Charles Thomson and asked if there was a local chapter in New York City I could join. There was none, so I started one myself. That was back before 9/11 of course; since then the city's economy has not been too rosy for jobs and I haven't had much time to devote to organizing art events."

Q. Can you characterize the New York Stuckists as a group?

A. "Stuckists worldwide work without a universal theme or technique; the thing that binds us together is that we are (mostly) painters who work figuratively, although not necessarily realistically."

Q. Why do you, as an artist, oppose conceptual art?

A. "I don’t oppose conceptual art. I simply feel there is an overabundance of it in our current gallery system to the exclusion of other types of art. All art begins with a concept, but in order for the concept to become art something additional must happen to give it a physical manifestation in addition to the idea. And by physical manifestation, I don’t mean taking the contents of a bathroom cabinet & rearranging them in a gallery, I mean something made and edited by the hands of an artist using thought processes and actual art-making skills. Skills beyond finding some random stuff around the house and putting it on a pedestal or in a frame and displaying it in a gallery. Skills like drawing and painting."

Q. Explain how the New York Stuckists focus on figurative art conveys a message about the human condition that could never be captured by a conceptual artist?

A. "Each individual artist has his or her own message, conceptual artists included. Art that contains representations of the human figure, however, is easier for most people to relate to, and so is a more direct way of conveying a story or message. Movies, for example, are not abstract or purely conceptual, they have people in them for a good reason: to help tell a story. Conceptual art often has long accompanying texts, which must be read before the artist's meaning is revealed, and this is alienating for many people, myself included."

Q. It has been stated that Stuckists paint their life, mind and soul with no excuses or pretensions. How is this true for you personally?

A. "My work is story-telling through painting. It’s pretty much right out there with what it is. It’s not pretending to be anything else. It’s not a pair of underpants pinned to a gallery wall, claiming to be about something other than what it is, other than underwear."

Q. Some people have stated that Stuckism is like 'taking a step back' in the future direction of art and that it is just a repeat of past art movements. What would you say to people who view Stuckism in this manner?

A. "Sometimes you take a fork in the road and it turns out you’re headed in the wrong direction, so you need to double back to the fork and go the other way, to see where that leads. It's not going back, it's taking a different route forward. I’m not painting like the 20th century never happened. I may be using an old technique, but my paintings are all about the world I see today and stuff that is in my imagination now."

Q. In August 2005 Stuckist artists were represented in a Remodernist show at CB's313 gallery in New York. Did the general public embrace the show? Did any New York Stuckists take part in the show?

A. "I myself took part in the show, as well as Stuckists from other US cities and overseas. The show was very popular and well attended, in part because CBGBs, the legendary punk music venue, was closing down, so the show was visited by many tourists wanting to have a last look at the place, as well as people interested in the artwork."

Q. It has been stated that conceptual art is stagnate. Do you think that the current art world is 'dead'?

A. "It’s not dead but its pulse is very low. In my opinion it needs a jolt of something new to revive and become interesting and lively again."

Q. How has the New York Stuckists fit into the New York art scene? Are your members accepted or are they seen as some form of threat by artists not involved with the movement?

A. " I can't speak for anybody else, but nobody sees me as a threat because nobody sees me. I am invisible as far as the New York art world is concerned."

Q. Can you give us links to your art?

A. "Terry Marks http://www.artgalny.com/"

How can one become involved with The New York Stuckists?

"contact: terry@artgalny.com "

Thanks for reading this interview with Terry Marks of the New York Stukists. Feel free to critique Terry's art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Charles Thomson

I recently interviewed Charles Thomson about his work with the Stuckists. Mr. Thomson is a founder of The Medway Poets and co-founder of the Stuckists art group.

The views of Stuckism has spread throughout the world since the early days of its conception. Members worldwide convey the need for a focus on figurative painting and have a pro-painting mentality with their work.

Many of the Stuckists I've met (There will be other interviews.)strive to redirect the direction that the current artworld is heading. In other words, they oppose conceptual art. Mr. Thomson's vision paved the way for this movement.

Mr. Thomson creates paintings that reflect the energy of his personality. In my opinion, he uses the figure to give insight into the world around him. A few of his paintings seem to reflect his opinion of the current 'artworld'. I see them as a warning to young artists who may become influenced to the point of 'creative imprisonment' by conceptual art.

Now for the interview...

Interview with Charles Thomson
by Brian Sherwin on 10/23/06

Q. You are a co-founder of Stuckism. Can you tell our blog readers about the original Stuckists? Who founded it and why? What part did you play?

A. "The Stuckists started in 1999 with 13 artists, no backing and no resources, just an idea (and paintings). It is pro-figurative painting with ideas and anti-conceptual art. It was formed to promote our work and our ideas. It aims to replace Britart in this country and change art worldwide (it’s a dirty job, but someone’s got to do it). The core of the group had worked together on and off from 1979, when we had a performance group called The Medway Poets. It was my idea and I asked Billy Childish to co-found it with me. He left after two years and now calls me the founder. I coined the name after Billy told me that his ex girlfriend Tracey Emin (who was part of our entourage in the mid 1980s) had said that he was "stuck"."

Q. Can you characterize the Stuckists as a group? What generation do they belong to? What is their message?

A. "They are an individualist, honest group of people, mostly "outsiders" to mainstream society, as a lot of artists are. There’s a bit of an influence from punk and some from 1960s counter culture. Age range is early thirties to mid fifty. However, there are now 153 allied groups in 37 countries, the youngest member being 15 years old. Their basic message is painting pictures."

Q. In your opinion, what is wrong with conceptual art?

A. "Its lack of concepts. It has one main concept, which is Marcel Duchamp’s idea, namely to take something which people do not think can possibly be art, put it in an art gallery and call it art. This, of course, is guaranteed to create an immediate furore, is very easy to achieve, and has no lasting value. It is an art of mundane materialism, which is why it is described so fully in terms of its materials. It is then dressed up with significance which it does not intrinsically possess. If it did, then there would be no need to dress it up. A dead shark is not a comment on death and does not address the issue of death: it is simply the result of death, which Damien Hirst has exhibited. To make a comment, you have to use a medium capable of manipulation in an expressive manner. Paint is such a medium. A fish corpse is not such a medium."

Q. Is the British art scene watered down with conceptual art? Do you think it will harm the next generation’s view about what is art and what is not?

A. "It is completely debilitated by conceptual art, and this affects even painters, who are ashamed of simply painting pictures and have to create something conceptual. So Chris Ofili attaches lumps of elephant dung, and Jenny Saville draws pretentious marks on her impressively painted bodies (and calls her paintings "pieces"). This detracts from, not enhances, the communication. It’s harmed the current generation, let alone the next. It’s harmed my view of art. We can’t escape from its pervasive effect. However, there will be a reaction, as there always is. Something which is empty will be discarded by time."

Q. Does the popularity of the Young British Artists reflect the aesthetic tastes of the public? Or are they being 'forced down the publics throat'?

A. "The YBAs aren’t popular and their work isn’t popular. It’s just got a lot of media attention, because it’s a novelty and makes good copy. It’s had the benefit of some supremely effective PR from some very talented people in that department, primarily Charles Saatchi, Damien Hirst and Tracey Emin."

Q. Stuckism has received a great deal of criticism. Is it stressful for you or do you just laugh it off?

A. "It is an accolade. It shows that people recognise its existence. It also demonstrates how much of a challenge it is. Study history: this is nothing new. The Impressionists are a classic case. I think I would feel very worried if the people that criticise it, didn’t. I don’t have much respect for them."

Q. Damien Hirst is greatly opposed by the Stuckists. Do you think he will ever break away from conceptual art? Or is he locked-in, so to speak?

A. "I don’t know what he’ll do, but it’s highly unlikely to be anything other than academic formalism. He is the contemporary equivalent of the leading 19th century salon artists."

Q. What do you think about former Stuckists, such as Stella Vine, who now reject the group? She now expresses hostility toward the group, but it seems she had no problem exhibiting in the Vote Stuckist show in 2001. Do you take said rejection personal?

A. "Stella had just started painting and was overjoyed to be exhibited in the Stuckist show. She was exposed to a lot of artists there, who have subsequently had an influence on her (see http://www.stuckism.com/Vine1/Index.html ). Her painting of Princess Diana was based on the same idea as my painting "Sir Nicholas Serota Makes an Acquisitions Decision" – namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence, but she doesn’t do this, and I think it’s because she can’t see it, even though it’s obvious to others.

There is a strong personal element with Stella as we were (briefly) married. I don’t take it personally, as she seems to reject everyone. I don’t take it personally with other artists either. I can see why people want to change circumstances in their life, to explore a new route. I’ve felt like that myself very strongly at times.

It doesn’t matter if people reject the group. Historically they still have to be evaluated in terms of it. Monet left the Impressionists group, but that fact is of minimal significance: he is still the leading Impressionist. Stella is a Stuckist artist, as is Billy Childish for that matter and other "ex Stuckists". The group is a means to an end, which is the art. The incredible thing is that there is still a core group after 7 years. That period has defined Stuckism, regardless of what happens next."

Q. What do you think of Charles Saatchi. Is he doing more harm than good as to the advancement of art?

A. "He has made art a major mainstream media subject and I think that’s a good thing. He has also been very instrumental in boosting a lot of artists’ careers (Stella Vine being one example). With his Your Gallery space on the Saatchi Gallery web site, he has created a level playing field, where anyone can show their work. (See http://www.saatchi-gallery.co.uk/yourgallery/ ) All in all, an amazing and unique character. The downside is that he is a self-confessed neophiliac and his obsession with "newness" results in a lot of superficiality, as well as taking the limelight away from older, more established artists."

Q. The original 20-point Stuckist manifesto states, "Artists who don’t paint aren’t artists.". There seems to be some confusion over the meaning of this statement. Care to elaborate?

A. "Our manifestos are not dormant intellectual documents. They are designed to have an effect and work for their living. They are a collage of different approaches. The text you quote is a direct riposte to the statement "painting is dead". If people want to say that, then we can equally say our statement. It is deliberately provocative. It asserts the importance of painting, or at least appears to, but it is also a nonsensical statement from a logical point of view, as it is self-contradictory. People can make of it what they want. It is both serious and an act of buffoonery. It seems to have got attention at any rate, and most people seem to think we wrote "If you don’t paint, you’re not an artist", which is fine by me."

Q. How have art schools threatened the advancement of painting? Do you think attending art school (in the current art school system) is a waste of money for people who are serious about their work?

A. "Art schools on the whole are complete disaster zones, full of blinkered prejudice from egocentric tutors imbued with fashion (which is now conceptualism and new media), at the expense of the students whose growth they are meant to be fostering. Like all disasters, some people are damaged and others emerge with a strengthened vision. The Stuckists are in the latter camp. It’s a good training ground for the wider art world, and, if you’re prepared to fit in, it can be a helpful career step. It’s also a place to meet people, and the trouble is that there’s nowhere else to go at that stage in your art development. Some of the Stuckists have never been to art college, but they’ve had the benefit of working with a group of artists, most of whom have been to art college."

Q. In your opinion, what kind of artists are coming out of academic settings?

A. "Academic settings are production lines and encourage conformity in order to achieve institutional success. If it’s a good production line, then people emerge with the benefits of learning and the inheritance of knowledge. Today the production line is geared up to junk culture, so that’s what emerges – lost souls. I keep on meeting them. Some are lost because they believed everything they were told, and some because they couldn’t relate to it at all."

Q. Art schools today seem to be very much against figurative work (I can think of a few that told me, "That is not done here." Would you agree?

A. "I keep on meeting those as well. It is a widespread (thought not universal) phenomenon in my experience. That’s not a situation of education; it is one of indoctrination and duplicity, posing as freedom and liberalism."

Q. Many people find conceptual art intellectually stimulating. Is there a risk that a return to figurative art will be under-stimulating mentally? Does accessibility mean dumbing down?

A. "Conceptual art is intellectually stimulating in the same way that a crossword puzzle is – i.e. ultimately producing nothing of greater value beyond itself. You have to have a very limited application of intellect in the first place to find that intellectually stimulating. Figurative painting – at least the form of it advocated and practised by Stuckists – is far more intellectually, emotionally, spiritually and experientially demanding and testing. It also needs an equivalent capacity in the viewer to understand it properly, which is why a lot of people write it off easily: they are only capable of looking at it superficially. It’s easy to apply intellect to the limited arena of art innovation, but a far greater achievement to interpret life experience (at all levels) and give it a convincing and powerful symbolic form, i.e. to make an accurate picture of it. The result is revealing, and, if done properly, evocative and compelling in a unique way, which found objects can never attain, because their mundanity is always apparent."

Q. Do Stuckists focus on the human condition in order to convey a form of 'pure truth'?

A. "I don’t think so. That seems to be an over-grand statement. Just "truth" is good enough – truth about what is really going on in us with certain experiences and states of mind, when that is often hidden behind what we’d like to think is going on in us."

Q. Do you think this 'truth' is missing in the current art world?

A. "Of course. There is endless bullshit and self-deception. This is encouraged in all sorts of ways, not least economic and social pressure to conform."

Q. It has been said that the current 'art world' is dead due to works that lack any sense of emotion. Do you think so?

A. "Conceptual art by definition is thought-based and of necessity devalues emotion. Any art predicated on that is bound to be dead. That’s fine for the sciences, but art is the area of the psyche and emotion is fundamental. The simple test of art is whether it enhances or depletes your emotional being. That doesn’t necessarily mean that it makes you happy, but that it makes you feel more whole, which often means accepting the negative aspects rather than denying them. Conceptual art is a form of denial, i.e. deadness."

Q. Do the Stuckists seek to bring life and energy back to the 'art world'?

A. "We already have with all our activities. It’s there for anyone that wants it."

Q. In August 2005 Stuckists were represented in a Remodernist show at CB's313 gallery in New York, along with Defastenist artists, and Remodernist film makers and photographers. Did the general public embrace the show? Did you take part in the show?

A. "I didn’t organise it. It was done by Jesse Richards and Tony Juliano. I don’t know much about it. I did have a painting in it. I was co-curator of The Stuckists Punk Victorian show at the Walker Art Gallery, a national museum, in Liverpool in 2004. That got a fantastic public response. There was no need for the art to be interpreted. It spoke for itself directly. See http://en.wikipedia.org/wiki/The_Stuckists_Punk_Victorian"

Q. Do you think people once again have faith in the revolutionary power of art due to groups like Stuckism? If so, was this a goal of Stuckism?

A. "Revolution for its own sake is a bad thing. Revolution is only valid if there is a situation that needs to be changed, which happens to be the case at the moment. A lot of people have found Stuckism inspiring, because it shows that artists can assert themselves without any backing or establishment approval. That is a very good thing because it is empowering and affirms people’s trust in themselves. Stuckism has very clear about its agenda from the outset to effect a change. However, I’ve always seen Stuckism as the establishment, which has to be the attitude of any responsible revolution."

Q. How did you feel when Billy Childish left the group 2001?

A. "Slightly disappointed, but mainly relieved. He made a great contribution and helped to get the whole thing going, but, as he admits, he’s not very good at working with groups, unless he’s in charge and they are done his way. Things needed to be done to promote the group that he would have been increasingly uncomfortable about (he didn’t even like a lot of the art). We have continued to collaborate privately."

Q. How many members are involved with the movement at this time? Is there a great deal of networking involved?

A. "There are 153 Stuckist groups in 37 countries. They are all independent and self-directed. Some are probably defunct and others have staged solo, group or international shows. The people involved are artists, not impresarios. There have been some strong connections made. The German Stuckists have collaborated on two shows recently. The Triumph of Stuckism show and international symposium at Liverpool art college and university included international work and speakers from the UK, Germany, Greece and Australia."

Q. How can one become involved with the Stuckists?

A. "Simple – join or found a group: http://www.stuckism.com/Enquiries.html#Artists - then what people do is entirely up to them. Or come along to our Turner Prize demo at Tate Britain (NB not Tate Modern), Monday 4 December, 10 am – 2 pm and 6 – 8 pm. It will be the seventh year."

Q. Do you think the ideology of Stuckism will continue to grow? Can you foresee future generations of Stuckists?

A. "It is growing all the time. That’s because it’s got a valuable message – be true to yourself. It’s also got a good product, paintings. Would you rather have a picture in your living room or a dead sheep? Effectively there are already future generations. Recent graduates and even people still at school (as with the Underage Stuckists http://www.myspace.com/underagestuckists ) are identifying with the Stuckists. It will presumably go the way of all art (and other) movements, reaching a pinnacle of influence and being absorbed into the wider culture. It is still at the beginning stage of that process."

Q. Is there anything else you would like to say about Stuckism or art in general?

A. "When Stuckism started in 1999, I was on BBC2 Newsnight, and the presenter, Jeremy Paxman, was very worried in case the whole thing was a joke. This year Sir Nicholas Serota said on BBC Radio 4 that the Stuckists "have acted in the public interest" and was forced to change Tate policy as a result. That transition is something nobody could have predicted. Edward Lucie-Smith commented, "Saatchi "has begun to rely on the intuitions of… the Stuckism movement." Stuckism is now studied in schools, colleges and universities. We have already had a telling effect on art in the UK, but one that has not been acknowledged. That effect is growing and in time the acknowledgement will come. People respond to Stuckism because it is an art made by human beings for human beings, and not, as with the current dominant mode of art, an emotionally and spiritually sterile commercial exercise."

I hope you have enjoyed learning more about Charles Thomson and the Stuckists. Be sure to visit the Stukist website to learn more: http://www.stuckism.com/

Take care, Stay true,

Brian Sherwin

Be Your Own Rockstar: My Thoughts on the Need for Style Specialization

Have you ever went to a gallery only to find out that half of the various styles of work exhibited were created by a single artist? If so, what did you think? Did you think the artist was good since he or she exhibited skill in various styles of artistic creation? Or did you feel that it would have been better had the artist focused on one style? Is it better to have twenty exhibited pieces that display various styles or twenty that push the limits of a single style? Personally, I find that it is better if an artist exhibits work that share a common connection or style. Thus, I ask the question, "Should artists specialize In a certain style of art?

(Before anyone is insulted by the idea of 'style specialization' I want to make clear that I think it is good for every artist to experiment with different styles. Style experimentation can be the most efficient way to learn different techniques. I'm not suggesting that artists should only create one style of work in their studios. However, I think it is wise to exhibit only one style of work as far as a career in art is concerned. Especially if the artist is seeking recognition for his or her work.)

It has been said that much can be learned from history. I think 'style specialization' is a perfect example of this. For example, open up any art history book and you will probably recognize a painting by Vincent Van Gogh without bothering to look at the name under the image. The same goes for Picasso, Dali, and many MANY others. You know the styles. Thus, you know the artists.

It seems that many famous artists focused on one style even though they tried various ways to express themselves visually throughout their careers. Others tried many forms of self-expression, but are famous for one period of consistent work (Normally created in their early years as artists.). In my opinion, history holds the facts. The fact for artists (in my opinion) is that it is better to specialize on one style as far as exhibiting is concerned.

Think of it this way... the images an artist creates is often seen as a representation of who the artist is. Thus, it is important to find a unique style of expressing yourself and to stick with it. You will stand a better chance of gaining recognition for who you are and what you do. After all, if an artist creates several styles of work the viewing public may find it hard to form a connection with the images and the artist who has created them. This is why the artist seeking recognition must strive to form a connection with those who observe his or her art. The best way to accomplish this is style specialization.

I think about rock bands when I ponder the need for 'style specialization'. Would you enjoy listening to a cd if every other track sounded totally different from the next? Would you go to see the band perform live? I will assume that most people would say "no". After all, who wants to become a fan of a band that is not consistent?

The variety of music may come off as an inability to form a connection from one song to the next. It may also be seen as a lack of talent or authenticity. Do you see many people lining up to watch a garage band performing cover-songs? In the same light, I don't see that many people rushing to an art exhibit to view the work of an artist who does not utilize 'style specialization'.

The most popular bands have had a certain 'sound'. As a painter, I think there is much to learn from that. This is why I think artists should strive to create a certain 'look' with the art they exhibit. A 'look' that people will recognize even if their name is not upon the piece. This does not mean that the art has to be beautiful or ugly. It just has to be you. It has to be a representation of who you are and what you believe in. By conveying that visually (and exhibiting what you create) you will be one step further than artists who are still working with a 'garage band' mentality.

True, there are bands that become 'tired' after so many years of performing and releasing albums. More often than not, they find something that works and abuse it to the point that their music mirrors everything that they have done before. Only the most die-hard fans will take delight in listening to that sort of noise! The same goes for visual artists. One must be wary not to repeat him or herself.

Focusing on 'style specialization' does not mean that an artist should be locked within a comfort zone. One should strive to expand his or her style specialization (this is where the studio experimentation with other styles comes into play.) so as to not become stagnate.

Keep in mind that working with a certain style should not be like sitting in a cell. Just like the best musical groups a visual artist should work with his or her style in order to advance it in new directions and to reach anyone who is willing to 'listen'. The visual artist must bust through the bars! Remember, creative expression imprisoned is no expression at all... be consistent with what you exhibit, find your 'style specialization', and become a visual rockstar!

Take care, Stay true,

Brian Sherwin

Art In The News: Top Twenty Most Powerful People In The Art World.

The ArtReview magazine has released its annual list of one hundred powerful people. Here are the top twenty on the list:

1: François Pinault, owner of Gucci and Christies, also owns around 2,000 pieces of contemporary art which he displays in his private gallery in a Venetian palace

2: Larry Gagosian, dealer, five galleries around the world

3: Sir Nicholas Serota, director, Tate Modern

4: Glenn D Lowry, director, Museum of Modern Art, New York

5: Samuel Keller, director of the Art Basel art fair

6: Eli Broad, Los Angeles-based collector and philanthropist

7: Charles Saatchi, collector and gallery owner

8: Matthew Slotover & Amanda Sharp, co-publishers of Frieze magazine and co-directors of Frieze art fair

9: Bruce Nauman, American artist

10: Jeff Koons, American artist

11: Damien Hirst, British artist

12: Brett Gorvy & Amy Cappellazzo, international co-heads of post-war and contemporary art at Christie's, New York

13: Robert Storr, American curator

14: Iwan Wirth, Swiss dealer, part of Zwirner & Wirth

15: Marian Goodman, New York-based gallerist

16: David Zwirner, New York gallerist

17: Gerhard Richter, German artist

18: Marc Glimcher, New York gallerist

19: Jay Jopling, owner, White Cube gallery, London

20: Mike Kelley, American artist

Art Space Talk: Renato Klieger Gennari

I recently interviewed artist Renato Klieger Gennari. Mr. Gennari is currently living in Brazil. He is very aware of the plight of children torn by the struggles of war and he uses this passion to create works that he hopes will change the world for the better. His experiences influence his work. By utilizing technology he hopes to create a style of art that will speak to the masses. His message is one of peace.

Q. When did you first discover that art would be an important part of your adult life?

A. "I have always had an important relationship with arts. Since I was a child I have lived surrounded by paintings that my mother used to create. It has always been my dream, but it came true when I won the Philips Art’s contest for young talents in 2001. The prize gave me strength to believe in the artistic potential of my work."

Q. How has society influenced your art? Are their any social implications in your art?

A. "Society in general always influences an artist. I have always enjoyed observing people and the environment as characters. Very often I impress social interests in my works, because they are over there and cannot be ignored. But I do not treat the personal and existential problems with less interest or attention, what can be perceived in a lot of my works."

Q. What are your artistic influences? Has anyone inspired you?

A. "My mother has inspired me a lot since I was a child. As I went growing old, I started searching for my own range of artists. I am enthusiastic about the Futurism and Renaissance. Those were two ages that have always impressed me."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "When I was a child I left São Paulo City in order to live inland. I had wonderful experiences in direct contact with nature. When I went back to the city in order to attend college I had a very big impact. That has influenced a lot the work I started developing since then.Living in Brazil is to know realities completely discordant of yours all the time. The function of my work ends up being to put the differences outward without prejudices and question them."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I hope they are people who believe that art can help to build a better world to live in."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "At first not, but I accept invitations."

Q. Where do you see your art in 10 years? What are your plans?

A. "My plans for my artistic career are to be able to integrate graphic animation once and for all as main media of my works. I have been working little by little, and I have already obtained good results in the past 2 years. I have always been enthusiastic about technology. I have always been investing in Computer Graphics. I do not imagine another type of media that is more favorable to my work than the digital media."
Q. Discuss one of your pieces. What were you thinking when you created it?

A. "When I created that image I thought about the suffering children lived in a postwar territory. Which those children's acceptance limits were, which the motivation to continue living was and up to where human being is capable to accept such brutality exhibition in the media or in the entertainment area. I think it is the synthesis of what the media market is capable to produce in human beings; a public acceptance of violence."

Q. What is your artistic process?

A. "My creation process never follows a very linear reasoning. I usually try to draw a lot and observe my creation with critical look. Then I change to the digital process, either in a 3D or 2D software, depending on my objective."

Q. Why did you choose the medium(s) that you use?

A. "Mainly due to the practicality and reply promptitude that computer can offer. I remember when I bought my first digital camera and used to take photos of everything I saw. As the reply is fast, you train your photographic look with a much higher speed than you did in the past. The same happens with illustration and animation. The experimentation field is immeasurable."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am graduated in social communication in Brazil by Universidade Católica de São Paulo, but I am going to take a post graduation course in Computer Graphics."

Q. Where can we see more of your art?

A. "In my website http://www.renatokg.com/"

Q. Are you represented by a gallery? If not, do you want to be?

A. "No, but it is a subject that I am opened to discuss."

Q. Why do you create art?

A. "Because I believe that art is capable to build up a better world."

Q. Where can we find you on myartspace.com?

A. "You can look for Renatokg than you will find me."

I hope you have enjoyed this interview with artist Renato Klieger Gennari. Critiques are welcome.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lupse Alexandru

Lupse Alexandru is an artist from Romania. In my opinion, his work is a mix of beauty and brutality.

Broken figures caught in a surrealistic background come together in a sense of urgency.In their solitude they stand as a symbol of our collective frustrations.

They truly capture the raw emotion that some of us experience in times of doubt. Mr. Alexandru combines these aspects of the human condition with great skill.

In my opinion, Mr. Alexandru's figurative paintings seem to be full of rage. One feels a sense of loss upon viewing them. However, behind these tortured figures there is a sense of hope.

I hope that you enjoy this interview with artist Lupse Alexandru.

Q. When did you first discover that art would be an important part of your adult life?

A. "I was born in an artistic enviroment, my father is an art teacher and a painter and my brother is a film maker, so i could say that art runs in the family. What really got me started to follow this path was H.R.Giger and the vision in his works. I was impressed by the characters and the way he was depicting the moments in his life."

Q. How has creating art shaped you professionally and personally?

A. "Art is some kind of buffer zone for me, that filters my life and my dreams."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My art is really personal and although society influences my life, i like to think that my artistic vision remains somehow untouched by it. I try to depict primal feelings like love, hate, pain, sorrow and loneliness. I feel that those are the "creatures" that survive until the end of our lifes."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are many and I will start with my father who even though has never pushed me to paint and follow his footstepts, gaved me the basics from wich everything emerged. Other major influences :Vermer, Rembrandt,Manet, Monet, Degas, Munch, Bacon, Klimt, Beksinski, H.R. Giger and the list can go on."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Verry much so , everything i feel is reflected in my art. All my past experiences, wishes and dreams make up a "canvas",I just add a bit of colour to it."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "That's an interesting question. Usually, i think a lot of people that relate to my art style , have some deep influences from Rock music, and like to dress in black. But that's just my ideea. I have to admit that 90 % of my works are made on rock or ambiental Metal music. It depends a lot to the customer's previous life experience."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Next month I might have one, with some fellow artists, other than that, nothing for the moment."

Q. Where do you see your art in 10 years? What are your plans?

A. "I don't know, and I don't think I can answer this, because i never make plans for more than two weeks ahead. I like to be surprised by life. So maybe we will talk again in 10 years so that i can give you the answer for this."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "This is a question i won't answer because i never like explain my paintings, and i think no artist should. It's important what the viewer can see and can understand from it. A lot of times i realised that explaining a painting to the viewer can inhibit his perception to understand it in his own way."

Q. What is your artistic process?

A. "I never have a plan or a final ideea of the finished work. It evolves from the first brushstroke until the end. Sometime i even start with some random lines that may help or ruin the work in the end. I sometimes use flaws like wrong brushstrokes, drops, dirt, dust and if there isn't a flaw, I might create one. I think that makes it unique and with that it gets more complex.

Another important part of the process is the ambiance and the sound of the place I work in."

Q. Why did you choose the medium(s) that you use?

A. "i don't think I'm limited to only one medium, but oil painting suits me for the time being."

Q. Do you have a degree or do you plan to attend school for art?

A. "I graduated the University of Fine Arts in Cluj Napoca, and I have a Masters Degree in Fine Art at The National University of Arts - Bucharest."

Q. Where can we see more of your art?

A. "I have some works displayed on http://lupsealexandru.deviantart.com/ and soon on my official website www.lupsealexandru.ro"

Q. Are you represented by a gallery? If not, do you want to be?

A. "I have paintings in private colections on online galleries but i can't say I am represented by any of them. Sure , who wouldn't?"

Q. How many pieces have you sold in your career?

A. "Not as many as I thought i would, but i'm still optimistic about it."

Q. Why do you create art?

A. "I can't see me not doing it. I feel that this is the only way I can really express myself to the world, and make a statement for any subject. Somebody said "Impression without expression results depression".

Q. Where can we find you on myartspace.com?

A. "My id is soulripper5 or u can search my gallery Nocturnal Emission."

Check out Mr. Alexandru's myartspace.com gallery by doing a search for soulripper5 on the main site: http://myartspace.com/ Feel free to critique his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Nikita Brinev

I recently interviewed artist Nikita Brinev. In my opinion, Mr. Brinev's work is very 'raw'. He seems to cut down to the bare essence of what it is to be human in his paintings.

Mr. Brinev's crude figures come together in order to form a complicated work of art. This expressive style of painting seems to convey a message that cuts to the core of the human condition. I see the majority of his paintings as a 'gut-shot of thought' in that they provoke me to as questions about society. I hope that they provoke you as well.

Q. When did you first discover that art would be an important part of your adult life?

A. "I started drawing in my childhood. My parents used to be artists and art was always part of the family atmosphere. Though I always liked the art I did not choose to make it part of my career. I’m a professional in international and comparative education, but still art is an integral part of my life. Since recently I felt art as a part of my professional art as well. There can be various definitions of professional art, but I consider myself to be a professional artist."

Q. How has creating art shaped you professionally and personally?

A. "Every other minute when I feel like contributing to my professional sphere with my art, I do so. It is expressed differently – by hanging my paintings in the office to make it look better as well as by developing web-sites which requires skills in web design. Personally, art gives me everything else that I cannot find in my professional life: self-expression, satisfaction, opportunity to spend my leisure time with creativity, and a dialogue with inner world."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Of course, there are! During the era of post-modernism, it is difficult to avoid being unengaged with the society. Though during all times art was interconnected with reality so that it gained its specific character according to these relations. Though my artworks are different in medium, plot, and ideas, a number of them express some relationship with society, but it is pretty vague. Russian epos is one of the things that is interesting to me and that is reflected in some of the artworks."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are so many great artists that I cannot remember a certain name at the moment. I would say, there is no influence in terms of medium, techniques, or ideas. I just get inspired by what I see and it fuels me a lot to work more. At the same time, I cannot emphasize one or more artists here, and leave the others; every other artist has at least one artwork which I find impressive and which influences me to some extent."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "No, every other artwork is a reflection of inner feelings and experiences, not directly related to what and who I am in reality. I also think that it is not always important to find parallels between the works of an artist and his life. My "artistic character", if I can put it so, differs a lot from my character as a personality. It is a mixture of veiled emotions and thoughts, and I myself sometimes try to find parallels between the "taste" of them and my life. Moreover, I am antagonist of the idea that an artist should cherish "his own view upon this life, his unique vision". I consider that an artist should try to deliver ideas which are universal to all human beings, and those that are alive for thousands of years amongst peoples around the world."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "At the moment the majority of them are just my friends and acquaintances who just would like to see my works in their places. I do not sell a lot since taking part in exhibitions is more interesting to me because I have a deficit of just talking with other artists. I’m better represented in the Internet with my artworks than in exhibition halls and galleries, and this will change soon, I guess)"

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Yes, I have initiated an art project "Contextual Art In Diverse Settings: Combating Conflict Through Visual Arts" at the CAMAC (CENTRE D’ART. MARNAY ART CENTRE) in France next summer. This project is affiliated with the UNESCO-Aschberg Bursaries for Artists Program. I’m also invited to have an exhibition in Germany after that."

Q. Where do you see your art in 10 years? What are your plans?

A. "I have very ambitious plans regarding my artistic future! The best plan is to work more and develop my artistic skills. Also, it would be great to obtain education in art which I’m missing a lot now. Another plan of mine is to "inculcate" love to arts to my little daughter since I think that art is one of the things that helps people become better in character and attitude towards the outer world."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "For instance, two artworks represented at myartspace.com "fresco" – it is easy to trace my love towards indirect objects, which do not tell their "story" as it is, but conceal it a bit far from the viewers. But the trick is that there is not much story in all my artworks as it might sometimes look). Color, dab, stroke characters are more important for me than some subreptive essence. I do not simplify it, I feel the power of visual impact in these things. Perhaps, this is a temporary state till I’m still in search of my dimensions. I assume this can change soon."

Q. What is your artistic process?

A. "Feeling the power in color, dab, stroke characters, and other parts of visual presentation, I also believe in the artist’s emotional and spiritual state. I would not discuss my artistic process, but will just give you a hint that my ideal is the work of Russian orthodox icon-painters, who related art very close to spirituality. There is a mechanism of reciprocal influence between the viewer and the painting, and I think it is a responsibility of an artist to put as much good energy in it as possible!"

Q. Why did you choose the medium(s) that you use?

A. "I tried many mediums and still create many artworks using all of them. I like mixed media a lot since it give unexpected results. I like this unexpectedness in creating art, and I never plan what I’m going to depict before I start working. This resembles the "Stream of consciousness" which came from literature, but truly reflects the same mechanism of a dialogue between artist’s consciousness and inner concealed emotions. At the moment I’m taking a class in Pottery – another medium to express myself)"

Q. Do you have a degree or do you plan to attend school for art?

A. "This December I’m finishing my MA program at Columbia University, and I’m close to defending my PhD back in Russia. Unfortunately I do not have a degree in arts, which is my desirable plan for the nearest future /hopefully/!"

Q. Where can we see more of your art?

A. "Here are some of the web-sites where my artworks are represented: - http://hiero.ru/Nbrinyov - http://nb-art.blogspot.com/ - http://www.myartspace.com/ Here you can find some of my photographs: http://otherwise-photo.livejournal.com/ "

Q. Are you represented by a gallery? If not, do you want to be?

A. "No, I’m not. I would like to be represented by a gallery in the future."

Q. Why do you create art?

A. "I think I have answered this question in previous questions. Art is a requirement of my personality for self-expression and development."

Q. Where can we find you on myartspace.com?

A. "I’m registered as Nikita Brinev and posted my first gallery there called "NB-ART"

I hope you enjoyed this interview with Mr. Nikita Brinev. You can find his myartspace.com gallery by doing a search for nbrinyov on the main site.

Feel free to critique his art.

Take care, Stay true,

Brian Sherwin

Lesson 1: myartspace 1.0/Menus

myartspace 1.0 is getting ready to make a debut shortly. It will be different from the current site in many ways. We are planning on introducing some of the new user-interface and features in the blog.

First, version 1.0 of myartspace is a blend of HTML (hypertext marketup language) and FLASH code, not strictly FLASH. Second, it takes on a slightly different user interface and dramatically greater capabilities.

Above in the image you can see a series of top-level menus (Browse, MyStudio, Community, Cool Stuff). As you can imagine, the Browse menu allows you to look at the collection of art and photographs in near endless ways of sorting and organizing (for a latter blog post). Browse also allows members to look at their messages, reviews, ratings and other feedback. The myStudio menu is for artists as they "work" within their studio uploading images, creating portfolios (a new concept, which is a collection of images -- similar to a folder), galleries and their profiles. The Community menu, shown above, allows the user to access a host of community-related items including:

Blog -- the myartspace Blog
News -- Daily news about the art community
myartspace.TV -- art video podcasting and video art
interviews -- dozens of interviews with myartspace community artists
global directory -- a resource database of artists, photographers, museums, galleries, etc.
classifieds -- a place for artists and photographers to buy/sell items free
auctions -- a place for artists and photographers to buy/sell items through an auction process
contests -- upcoming myartspace competitions and other competitions
events -- a collection of upcoming events in the art and photography world

Each major menu item has a rich selection of items below it, such as the Community example. Clicking on the Community immediately brings down a sub-menu directly below it from which you can select.

Art In The News: The Art-O-Meter. Coming to a Gallery Near You. Maybe...

"Art-O-Meter is a device that measures the quality of an art piece. It bases its evaluation on the amount of time that people spend in front of an artwork compared to the total time of exhibition."

Have you heard about the Art-O-Meter? It is a device placed near an exhibited painting for the purpose of keeping track of the average viewing time visitors spend observing the art. The quality or aesthetic worth of the piece is decided by the amount of time observers view the painting.

Without viewers present, the Art-O-Meter will register time like a regular clock. However, a second timer is triggered once the motion sensor detects someone near the work of art. This second clock counts the time as the viewer observes the artwork.



There is one vital flaw with this device. It stands out! One can assume that people may spend more time observing the Art-O-Meter than viewing the painting near it. This scenario would lead to inaccurate data as to the value of the art based on the time it is observed during the exhibit.

It is also common for people to gather around a painting while talking about everything 'under the sun'. They may not be observing the artwork during their conversation. Is it fair for the piece to benefit from this form of 'chat time'?

What would happen if galleries started to utilize this technology as a basis for who they exhibit? ("Your art is observed an average of 5 seconds per viewer. We only accept art that is observed for 10 seconds or longer!"). I doubt that would ever happen, but it could. Can you imagine how many artists would stand near their own artwork just to increase the
viewing average? ;p

Take care, Stay true

Brian Sherwin

Art In The News: Donated Painting Earns $160,002 For Goodwill

The painting that was donated.

An anonymous donor recently dropped off a painting by Frank Weston Benson at a Goodwill in Portland Oregon. It is not known if the anonymous donor knew the value of the painting, but a local gallery owner did. A bidding war ensued upon the authentication of the piece.

The starting bid for the 1923 watercolor was a mere $10 and ended up reaching the hefty sum of $160,002 on the organization's website . The winning bidder has not yet been revealed.


'Red and Gold' Frank Weston Benson

Frank Weston Benson, a member of the Ten American Painters, was an American Impressionist. His paintings often depicted his daughters posing outside of his summer home on the island of North Haven.


'Eleanor Holding a Shell' Frank Weston Benson

Take care, Stay true,

Brian Sherwin

Does Wealth and Fame Cause Artists To Decline in Their Artistic Endeavors?

We have all heard stories about famous artists who struggled in poverty yet continued to create art that was outstanding. Names like Vincent Van Gogh and Amedeo Modigliani come to mind. Art spanning the length of their careers has continued to inspire others decade after decade. However, there are also famous artists who became very wealthy during their lifetime from the sell of their art who seem to have lost their artistic flare for exploration. While their wealth increased their skill seemed to deteriorate. The question at hand... did their approach to artistic creation decline as their fame and wealth increased? Or is it just an issue of their personality and work ethic.


'Apparition of the Visage of Aphrodite of Cnide in a Landscape' Salvador Dali

Take Salvador Dali for example. During his years of 'struggle' he created images that have continued to speak to observers from one decade to the next. He had a great passion for his work during his early career. However, most critics agree that his later work, after he became extremely wealthy and concerned with financial gain, seemed to decline as far as the artistic message he was conveying. I've even heard people suggest that his work became stagnate or dull compared to his pre-wealth art. If this is so, do you think it was due to him feeling overly comfortable with his financial situation? Or was it simply a matter of personality and work ethic.


'Two Doves with Wings Spread' Pablo Picasso

After all, artist like Picasso continued to develop in new directions long after becoming overly wealthy. The same goes for Monet. Were these artists more interested in artistic exploration than artists who seemed to pursue wealth over the direction of their art? Or were they simply not blinded by the wealth they had acquired?


'Hymn' Damien Hirst

I'm sure you can discover contemporary artists of wealthy status who have started to repeat themselves or who have revealed a lack of direction with their art. For example many have stated that Damien Hirst has lost direction with his art (Though some would say he never had one.) Critics have claimed that his recent work is nothing more than 'throwaway one-liners'. So what do you think? Is wealth linked to a decline in artistic endeavors? Or is all this negative press simply the work of critics who strive to bash any wealthy artist they can in order to advance their own careers?

Take care, Stay true,

Brian Sherwin

Art Space Talk: Santiago Paulos

The paintings of artist Santiago Paulos are a prime example of expressionistic portraiture. Mr. Paulos conveys a strong sense of raw emotion by utilizing his skill with the brush and knife. Santiago's painterly technique reveals a man who will undoubtedly continue to advance as an artist.

In my opinion, Mr. Paulos's art seems to convey feelings of loss, fear, and doubt. However, a certain wisdom and strength can be found within the suffering eyes of the faces he captures. In a sense, his work reflects the fortitude of the human spirit.

I hope you enjoy the interview I had with Santiago Paulos:

Q. When did you first discover that art would be an important part of your adult life?

A. "Some time in 1998 I saw a painting of Miró that woke up something in me. It wasn’t the interest to painting. Rather it created a kind of need to acquire culture, not only paintings, also writings."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I know that every artist is a product of his time but I don’t know what else to say."

Q. What are your artistic influences? Has anyone inspired you?

A. "The list is huge… I could say Bacon, Auerbach, Balthus and Freud as contemporary painters. Giacometti, Matisse, Vang Gogh, Rembrandt, Titian and of course: Velázquez… My surroundings and everything else."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Not at the moment… Last exhibition was in July of this year at the "Museum of San José" and it was a selection of portrait works of the last three years."

Q. Where do you see your art in 10 years? What are your plans?

A. "I don’t have so much imagination. My plan is to become a good painter, and that will take a lot of time."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "I feel that when I decide to make a portrait working from persons that I care about and of course, that interest me, finally returns me something that is in the right direction. For some reason I have decided making a portrait of my grandmother. The process in itself is the mystery of painting. Nobody knows it. I could tell you the technical things like that I have used oil on paper with brush and knife but I don’t think that would help you to get closer to the experience."

Q. Why did you choose the medium(s) that you use?

A. "One never knows that, its just a mixture of time, experiences, accidents and instinct. I mean that one needs to be comfortable with something in a specific time and elaborates from there."

Q. Do you have a degree or do you plan to attend school for art?

A. "I attended the National School of Fine Arts for a few years… Later I have found the workshop of Alvaro Amengual (a well know artist here) who is the person who instructed me. Currently Im working in my own space, maybe interested in some kind of international scholarship."

Q. Where can we see more of your art?

www.santiagopaulos.com

Q. Why do you create art?

A. "Some time ago I read a Hopper quote where he said that If he could say it in words there would be no reason to paint, I cant find better words."

Q. Where can we find you on myartspace.com?

A. "My ID is Paulos."

Feel free to leave a comment about Mr. Santiago's art. You can view more of Mr. Santiago's art by doing a search for Paulos on the main site: http://myartspace.com/

Take care, Stay true

Brian Sherwin

Art In The News: Picasso Poked... or Rude Awakening

Picasso's 'The Dream' was rudely awakened when current owner, Las Vegas casino magnate Steve Wynn, accidently gave the multimillion dollar painting an elbow. Mr. Wynn was preparing the painting for a $139 million sale to another collector when he accidently hit the painting.

The damage occurred when Mr. Wynn backed his elbow into 'The Dream' while showing his collection to a group of friends. The force of the blow left a hole in the middle of the painting.

Needless to say, Mr. Wynn backed out of the sale agreement with the other collector. How is that for a sleepless night?

Take care, Stay true,

Brian Sherwin

Art Space Talk: David Brady

I discovered the art of David Brady a few months ago while doing random searches about expressionism. Many of his paintings remind me of 'open wounds'. In my opinion, his work reflects the pain of humanity.

Viewing his art takes on an almost sadistic nature for me. I see the pain and struggle that is reflected in Mr. Brady's art. Instead of turning away I find that his images make me all the more curious as to what his work is saying. I must look because the images draw me in.

Like a young boy poking a small carcass with a stick, I study these 'visual wounds' for their hidden meaning. The tortured nature of his work offers great insight into the human condition. Each layer seems to give visual documentation to the suffering our society has endured.

I hope that you all enjoy this interview with David Brady.

Q. When did you first discover that art would be an important part of your adult life?

A. "When I was a kid. I was always making things, making them different from others. Playing music was the most important creative aspect of my life then but I always knew I would need to express myself through some creative form."

Q. How has creating art shaped you professionally and personally?

A. "Professionally it has been a blessing and a challenge as everything I work on now has to have some meaning in it. I’ve moved around quite a bit taking on new challenges, new directions professionally because I need to feel as challenged their as in my painting.

Personally it has completely changed me as collaborating, teaching, sharing and traveling all through my creative projects has taught me a great deal. The more I invest into creative projects the more I learn about myself and humanity and the responsibility we have as artists to point some things out.

My website has shaped my view of how art affects others. I began to receive a lot of email from students, veterans and adults who found inspiration on many levels by looking at my work. Many of the emails were quite personal and desperate yet seeking something through art. It has had a profound affect on me and how I share my work with others. It’s important to share your gift."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Nowadays there is…in the past I simply was just doing things that looked good, trying to find my niche and be successful at it. Things changed 180 degrees when I began to collaborate with poet Amde Hamilton and composer Mark Sims. They had purpose, meaning and were dead serious about educating society through their various projects."

Q. What are your artistic influences? Has anyone inspired you?

A. "Artistically I was first influenced by Francis Bacon, Miles Davis, David Hockney, Ed Kienholtz and Frieda Khalo. Today my inspiration comes from more outsiders like Joseph Cornell, Henry Darger and Ray Johnson and collagists Betty Saar and Romaire Bearden."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I am self taught as an artist and have brought a host of influences as well as personal objects into my work. Some of my work stems from personal experiences and my reactions to them. I think it took some time for me to allow myself to actually put personal and or intimate details out there for people to see and react to them. Expressing past experiences and common themes in society such as loneliness, addiction, protection and relationships requires the work to be authentic. Blogging onto the painting and burying artifacts into the surface are direct methods I use to reflect experiences. People see this at times as voyeuristic when viewing, like reading someone’s diary or finding personal photos."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "I have several things brewing for the beginning of the year so check my site and drop me a line for some info."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "'Negotiating Boundaries' (Above image) is currently still on the easel. Like many of my pieces it began with a lone figure yet became a work about the Iraq War US casualties by chance. The news was on when I was working on it and I began to blog about my feelings about how we never see caskets coming back nor the fact that it is all about oil.

I received an old American flag in the mail from a friend at that time and simply began glueing the names of each soldier daily as they were killed. I tried to hide them under the flag but the list was so big that they began to spill out, like the oil coming out of the figures mind. The twisted wire (easily found in alleys, crazy wire as I say) is never altered bent etc. this represents the insane thinking behind the whole thing. After hearing a lot of wining from people about how they didn’t like to be reminded of the war I then spelled out A P A T H Y across it in white."

Q. Why did you choose the medium(s) that you use?

A. "I have used a wide range of mediums and continue to experiment. It is more of a reaction to where the piece is going and what I have in my studio at the moment. My work nearly always begins with layers of text usually pages from the dictionary, Bible or construction maps."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am self-taught and continue to learn from a lot of travel, reading, collaborating, teaching and experimenting."

Q. Where can we see more of your art?

A. " www.bradyart.com "

Q. Are you represented by a gallery? If not, do you want to be?

A. "I am not currently represented by a gallery and am seeking representation here and abroad."

Q. Why do you create art?

A. "I feel that I have to…it defines me. I have always felt a need to express myself as most artists do. For me now it is about telling stories, utilizing my creativity to assist others through my teaching programs as well as simply enjoying the gift I’ve been given."

Q. Where can we find you on myartspace.com?

A. " I will be posting a gallery later this evening under bradyArt or addiction."

Feel free to comment about Mr. Brady's art. Critiques are welcome.

Take care, Stay true,

Brian Sherwin

dumbo Art Festival in NYC this past weekend

Like a special place in time the d.u.m.b.o. (Down Under the Manhattan Bridge Overpass) art festival is a feast of opportunity for art lovers and appreciators. Situated under the Manhattan Bridge, this is a breeding ground for great art, atmosphere, expressive freedom, collector opportunity and engagement. Literally hundreds of artist of all mediums and distinction are able to live, work and play in this unique environment of great big old, sometimes refurbished buildings situated along the Hudson with the sweetest of beaches, allowing an ideal space for artistic license.

One of my favorite works of art was conducted by a performance artist: Mary Coble, who invited the audience to write on her body derogatory words that have been used or heard used against yourself or others. There were black permanent markers with which to write on her bare skin, the words which found their way to your consciousness so quickly, glowing with hurt. A profound and moving experience to transfer them to her body for others to witness. I think a lot of people shared the cathartic release of inner pinnings of pain as she was marked in nearly every square inch of her exposed body in a short period of time. The air was particularly icy/windy and the pain one surely felt by looking at her brave the elements for the release of others was remarkable in itself.

Below is a quick slide-show presentation in video format. There are pictures of some of the art found in the sculpture garden near the shore as well. Most of the art lit up at night and was truly magical to traverse in after dark.



Catherine McCormack-Skiba, myartspoace

Art In The News: Anish Kapoor

The world renowned sculptor Anish Kapoor has been named one of the 100 most powerful people in the contemporary art scene. Mr. Kapoor is listed 94 among the '100-strong' list in a recent issue of Art Review magazine.

Mr. Kapoor is a Mumbai-born sculptor who attended the prestigious Doon School. He now resides in the UK. The 52 year old Kapoor made a name for himself in the 1980s as one of the top British sculptors of his time.

Mr. Kapoor is currently working on a memorial to the British victims of 9/11 in New York.

You can learn more about Anish Kapoor at: http://www.lisson.co.uk/artists.asp

Feel free to discuss Mr. Kapoor's art and presence in the art world.

Take care, Stay true,

Brian Sherwin

The Road Less Traveled: The Benefit and Pitfall of Creating Controversy. Buckle Up!

Take a trip down Controversy Lane. It can be a bumpy ride.

Through the years we have seen a variety of art created with controversial materials. Everything from feces to aborted fetuses has been used as a medium. Some artists create these works simply to shock a response out of their viewers. Others see the use of such materials as an experimental process that is just as important as using traditional materials (Some even view it as a science.). However, collectors, critics, and the general public will note the controversial nature of the artwork no matter what the intention of the artist.

The public will form an opinion about the work based upon the materials used. In a sense, the materials become more important than the visual aspect of the piece.These collective opinions can either be of benefit to the artist or they can cause a pitfall for his or her career. The question at hand... Is the end result of creating controversy worth the risk to the artists career (though it could benefit it.)? Is it an acceptable path to take in order to attempt to get your message out?

"Controversy hasn't been a fast track to success for me in the art world." - Kate Millett

An artist 'creates controversy' when he or she decides to use materials that others deem obscene or absurd. It goes without saying that using blood, semen, or even mud may cause people to question the validity of the artists work. People generally avoid the subject matter of such pieces and instead focus on the materials at hand. However, one must remember that the artist chose the materials that he or she knew would cause dispute.

We can't blame the public for making a judgment call when the artist made the judgment for what materials to use. It is a shame that the artists message (if he or she had one) is clouded by the medium. However, he or she should be fully aware of the implications of the medium. In other words, some 'social roads' were not meant to be crossed.

In general, people are aware of the social norms that are accepted in their communities or culture. We all have some understanding of what actions will be accepted and what will be rejected. For example, you know that it is not acceptable to smear the blood from an open wound upon the bathroom wall... so what makes it any different if you do it on canvas? Yet year after year artists come up with new work using materials that go outside of the norm.

While often fully accepted in other careers, thinking 'outside of the box' in such a manner can have a positive or negative affect on the career of an artist. There is not much of a 'middle road' to travel down once the pieces are exhibited and the public has made up their mind.

There is no doubt that the artist can benefit from traveling down 'the road less traveled'. Using a controversial medium can open new paths for his or her career. Remember, 'art stars' have been made over night due to the materials they have used. Public controversies and the censorship that often follows can make the artist into an 'underdog' figure or place him or her into the role of 'underground hero'. While the artist may not be accepted by the general population, he or she may be supported by various sub-cultures (Which is a form of success unto itself.).

"
"I've refused to become a prisoner of "Piss Christ"." - Andres Serrano

These labels may affect the artists career in a positive manner by making his or her name the 'hot topic' of the day. However, the artist runs the risk of being connected to the pieces that his or her career sprang from. He or she may be remembered as the 'piss artist', 'blood artist, or 'mud artist' long after he or she has moved on to different ways to 'shock' or experiment. In a sense, the road ahead is wide open, but many obstacles await for the artist who has built his or her career driving upon 'Controversy Lane'.

We have talked about controversial work before on this blog. Different opinions have been stated and we have all had time to reflect upon them. We know that controversy and the censorship that follows can either benefit or damage the artists career. So, the trip worth it?

Would you consider driving down 'Controversy Lane'? Would you do it if you knew you could obtain some degree of 'art world' status or infamy? Do you know anyone personally who has? Discuss.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Manish Pathak

I recently interviewed Mr. Manish Pathak. I was delighted upon viewing his myartspace.com gallery. His work conveys a sense of darkness and light. They seem to give the viewer insight into the place within our souls where our problems and accomplishments walk hand-in-hand.

Mr. Pathak's mixed media abstractions have an expressive edge that is most alluring. As a painter, I am most interested in his use of marks upon the surface of his painting. His work has a gestural quality that is very stimulating. In my open, Mr. Pathak's art is a mix of violence and calm. His images cause me to feel comfortable, yet wary. Thus, they remind me of how living in our world is today.

Q. Where can we find your work on myartspace.com?

A. "Under Login:mayavi13 or my name:Manish Pathak"

Q. When did you first discover that art would be an important part of your adult life?

A. "5 years ago when I came to Canada,but I already had worked as an interior and garden designer for about 8 years in India and Singapore.So the creative direction was already taken.I would consider 13 years of creativity leading upto this moment."

Q. How has creating art shaped you professionally and personally?

A. "This is what I do.There is not much of a distinction between life and art as such anymore.I am shaped and molded absolutely by the force of art,whet ever aspect of life.It is a difficult situation sometimes to be in,but there is no other option."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Well,because I felt marginalised in Indian society for certain reasons,I tried to find my comfort through art even though it was not at all a conscious process.

When I was really young I would draw on my neighbor's doors and would draw in my notebooks to be reprimanded later by my father.But it did not stop me.So in a way society has influenced me by putting me under the label of "different".

The social or I would rather say universal implication in my art is human condition;emotional ones.My art contains universal human emotions of loneliness,joy,melancholy,ecstasy,hurt,desire among other instincts."

Q. What are your artistic influences? Has anyone inspired you?

A. "No particular artist has been a major influence.Although the few artists whose work I truly admire are:

Rothko,Twombly,Rauschenberg,Pat Steir,architect-Tadao Ando sculptors-Richard Serra & Giacometti,Photographer-Richard Misrach."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "My work is influenced largely by my past experiences especially by memories.These experiences are reflected in my dreams combined with the present.Than the dreams influence the art that I create.

Some of my recent pieces are influenced by dreams that I had 3-4 years ago. My childhood was relatively happy.I was raised by my grandmother till I was 5 years old and she influenced me a lot.She was a very strong and independent woman,who raised 7 children of her own.I was happiest when I was with her.

We had this guava orchard and we would put swings in the tree,me and my cousins.I still remember the fragrance of Champa flowers that were yellow of hue.Now that I think of it,yellow is a very prominent color in my art.Yellow is also a sacred color of Hindu ceremonies and Turmeric that I have used in few of my pieces,is of course,very prominently yellow.So the living experience is a crucial factor in my art."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "My collectors are sensitive,educated and generally are people who think with their hearts not with their minds.My art also is felt by people who are emotionally distressed or are going through the darker stages of their lives.It provides them with solace.

I was at Toronto Art Expo in 2004 and there was this person of about 50,who stayed at my booth for about an hour listening to me hyperventilating about my work."

Q. Where do you see your art in 10 years? What are your plans?

A. "I do not want to sound fatalistic,but I don't really plan or think about my future as such.I can only do my best now and somehow I believe if I take care of my present the future would take care of itself.So I don't know where I and my art would be in a decade.A decade ago I never would have thought that I would be an artist."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "There is no conscious thought process leading to a final product.But with this one (above image) I think I was influenced by the pre-fab structures that I came across in a magazine. Also I have housemates and I was not happy with their presence and behavioral pattern.

I was searching for home in this valley of greens and yellows with positive energy fields floating overhead.It was my space to have solitude as my companion.

My process is of trial and error.I erase and add constantly till I reach a satisfactory version.I make marks with push pins,knives,and other sharp objects.I stab and mend.I wash paint and other media off.I used to beat my canvas up.

I create by sitting on the floor,like a Hindu priest offering homage into the sacred fire and the fire cleanses while dancing the dance of destruction.So there is lot of destruction and turbulence.The calm descends later,what I consider re-generation.My art is based a lot on instincts and impulses as my life is."

Q. Why did you choose the medium(s) that you use?

A. "I just choose randomly,whatever is available and what ever I feel like.I experiment a lot.Sometimes it works sometimes does not."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am a Bachelor of Commerce from University of Calcutta,India.I am also trained as an interior designer.I have about 18 years of education.But I am a self-educated artist.I only had one art school experience.It was painting residency at School of Visual Arts in New York City."

Q. Where can we see more of your art? Are you involved with other websites? Do you have a personal website?

A. "http://www.manish1313.blogspot.com "

Q. Are you represented by a gallery? If not, do you want to be?

A. "No, I am not represented by a gallery.Yes,I want to be."

Q. How many pieces have you sold in your career?

A. "10 pieces in the past 3 1/2 years.Thats how I had been able to afford my Mac.This year has been the best so far,commercially. I sold 2 pieces for $1700 and bought my iBook."

Q. Why do you create art?

A. "Why do you breathe?"

I hope you have enjoyed learning more about Mr. Manish Pathak and his art. I encourage you all to visit his myartspace.com gallery.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Tim Ceustermans-Deschepper

I recently interviewed Tim Ceustermans-Deschepper. When I first observerved Mr. Ceustermans-Deschepper's work I found that his conceptual art demands viewers to think about time and the advancement of humankind.

Mr. Ceustermans-Deschepper's work seems to ask, "Where are we going and how are we going to get there?". I was most impressed with his pieces, 'The Ideas That Surround Me' and 'Transformation' (Both can be seen on Mr. Ceustermans-Deschepper's myartspace.com gallery.)

Mr. Ceustermans-Deschepper combines the visual with the written word. United, these two aspects of his work scream a message to society. Through critical thinking the observer can hear the message loud and
clear.

Q. Where can we find your work on myartspace.com?

A. "loginname: timcd"

Q. When did you first discover that art would be an important part of your adult life?

A. "briefly: I was about twelve years old when I started writing poetry, as so many youngsters do at that age. But quickly I started to realise that it meant more than a temporary phase. To play and to give content to words was a welcome manner to do something with my creativity .

A few years later I started painting. First in a abstract way and slowly but surely I evolved towards figurative work. Then at the age of twenty-four I made my first conceptual work. These were all evident steps in my artistic evolution. The conceptual work with its oneliners is a combination of language, form and images. It is a synthesis of all the things I have done before.

In the mean time I held lectures, organised lectures, participated in several things, met some interesting people, so it all came step by step."

Q. How has creating art shaped you professionally and personally?

A. "I wake up with it and I go to bed with it.
When I was young I really had to fight for my choice for art. Now my environment realises that I work hard for it and that I'm consequent and step outside with results."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My work talks a lot about consciousness and approaches towards people, life and society. So there is a big influence of daily life in my work.

I translate the motives of certain decisions or give alternatives. My interests and concerns are the reflections about mankind, society and it's environment."

Q. What are your artistic influences? Has anyone inspired you?

A. "I life in the land of Rubens, Magritte, the flemish Primitives, Panamarenko, etc. So there is a constant confrontation with art.

Dali is one of my old sources, of course. but I also like to refer to Anish Kapoor, Richard Deacon, Annemie van Kerkhoven, etc..

I am also inspired by architecture. The work of Frank Lloyd Wright and his student John Lautner,for example or Zaha Hadid, marvellious.

You can call me a big consumer when it comes to good art, from movie to architecture, to contemporary concepts of art. But, I am very critical."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I was a kid that was always part of a group, but never felt close to it. For me it was interesting to go from one group to another. Diversity attracted me more!

I left home quite early to seek for more independence, I guess.

I am a perfectionist, due to my father's psychological approach. It was, actually, never good enough. I analysed a lot and used the anger, coming out of it, to set up my own goals: a mix of ideological dreams and reality. In my work you can find traces of this.

Injustice, obstructions, false information, stupidity are all human faults, but I am interested in how mankind can solve them. What are the mechanisms, what are the needs, the causing factors, the processes that one brings to a higher level of consciousness."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Hard to say: rich of course ( hahaha), no, no, more important is that they are very, very open minded."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "The latest years I spent more time in my atelier. I just finished my port-folio, so I'm ready to undertake some action, now."

Q. Where do you see your art in 10 years? What are your plans?

A. "To let it grow naturally. Of course, I would like to work on a international level. Artistic interventions in buildings, squares and to work temporary in different places are always been my aims."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "Aim or target is one of my favourite works. I cut this tree in the garden of my sister, put it in the basement for a year until it was dry. Then I stripped and manufactured it. It has the form of a projectile. Aim or target treats the subject of projecting, also desire and dream. A target for me is a short distance projection, often a hard one too, while an aim is something you evolve to. They both demand another approach, another sense. Still both sorts of goals can be found in one person, so it's a dualistic question I reveal with this. Thinking about which choice you would make is at the same time considering your motives and comparing them with other's motives.

Maybe, due to its form, it refers also to war, bombing, … Aim or target is the why-they-are-doing-it question.

Are they short-minded, narrow-minded, could they not be less destructive to reach their goal? What do they embrace, the decision makers?

But it also can be discussed on the level of employers and employees. The impact of all the small decisions, all the targets can it be linked with a larger goal? What is the most important thing, etcetera....

During the process of making this work all this questions arouse about the duality of making a choice and the consequences afterwards."

Q. Why did you choose the medium(s) that you use?

A. "Language was my first concrete form of _expression.

Painting is giving me the possibility to build up an idea step by step, to experience with colour, form and content.

In my conceptual art I can work with a larger tender of materials and of course three-dimensional."

Q. Do you have a degree or do you plan to attend school for art?

A. "No. I feel good being an autodidact."

Q. Where can we see more of your art? Are you involved with other websites? Do you have a personal website?

A. "www.yba.be ( in dutch and without pictures)
and different small links if you google"

Q. Are you represented by a gallery? If not, do you want to be?

A. "I was working with Jorg Hasenbach gallery in Antwerp ( Belgium) until he disappeared from the Antwerp scene.

The market in Antwerp or Berlin seems to be quite protective at this moment, but yes I like to get on with one."

Q. How many pieces have you sold in your career?

A. "A dozen, but this is not a reference. I have done a lot of things in the cultural world: from lectures, setting up a theatre play, to co-ordinate artistic projects and, even a task as member of the cultural board in the city of Antwerp fill up my curriculum."

Q. Why do you create art?

A. "personaly: I always tell my friends that art is a virus I am infected with, but wish not to be cured from.

It is like breathing, eating, drinking and having sex for me.

I would be pleased if the results evoke communication and consciousness and a thrill for life. My aim is always to create an image that ends up in the memory and becomes a reference. An image that causes insight."

I hope you have enjoyed learning about this Tim and his work. Feel free to observe his myartspace.com gallery by typing timcd below 'Find by login name or name' and clicking on 'Find'.

Take care, Stay true,

Brian Sherwin

A Slice of Art: There is More than One Flavor of Art Pie.

Action Psyche (1974) Gine Pane (French)Performance art like this piece is just another slice of the Art Pie. Have you 'tasted' any lately?

In my opinion, art does not follow a strict guideline in order to be considered "good'. I think of it like a pie. As you know, we have came up with many types of pie and many flavors to choose from. Even when pie is made poorly it can still taste good, right? So does that not mean that art that you consider poorly constructed can still be 'good'? Or is the problem with elitists who will only taste one flavor?

There are so many styles of art out there today. So many slices of the art pie. Is it so hard to taste a slice that has not been 'baked' in the manner your are accustomed to? I think people who have closed their minds should gain an acquired taste for the art that they loathe. It would appear that some people need to be forced-fed just to take that first little bite! It is only a matter of intellect and the ability to discern emotive reasoning, true? Bite down.

There are many slices to this pie! Many styles and ways of thinking. I would think that it would become rather dull to 'eat' the same slice of pie over and over again for a lifetime. It would seem that some people need to develop a 'stronger stomach' so that that they can 'digest' all of the flavors of the art pie that is available to them.

Take care, Stay true

Brian Sherwin

What happens when the 'art world' oppressors of the past play the role of victim today? My thoughts on ARC

Once upon a time the academic tradition had a strangle-hold on the 'art world'. Rules were applied to every type of artistic expression (Though one could debate that works of the time were more like regurgitation of old rules rather than a form of self-expression. How can you express yourself when rules apply?).If one were to break these rules he would be considered unskilled, untalented, or the Devil himself.

Eventually there was a clash between those who followed the academic tradition and those who broke free from the mold in order to create modern works of art. In the end we find ourselves in a world that is mostly tolerant of all forms of art.

The early experimental artists had an uphill battle against a highly structured ideology of how art was supposed to be applied. These free spirits risked being beaten in the street, locked away for charges of insanity, or ostracized from their communities.

In a sense, these New Masters made the way for all of us who create today. However, there are still artists devoted to the academic tradition (Nothing wrong with that.) and it would seem that some of them are just as narrow-minded as their forefathers (Big problem with that.).

In my opinion, the best example of this can be found on the Art Renewal Center (ARC) website. You can observe the site here: http://www.artrenewal.org/

According to the fundamentalist academic traditionalists of this site one is not an artist unless he or she creates art with the discipline of the academic tradition. Everyone else is some form of parasite that has plagued 'their' art for several decades and should be stamped out.

One controversial feature on the site is the 'ARC Philosophy', a scathing manifesto of artistic hate written by Fred Ross, Chairman of the Art Renewal Center. The text reads like the paranoid ranting of a madman (Or am I just brainwashed?).

On Modern art as freedom of expression:

"Freedom of expression? Ironically, this so-called "freedom" as embodied in Modernism, rather than a form of "expression" in truth became a form of "suppression" and "oppression." Modernism as we know it, ultimately became the most oppressive and restrictive system of thought in all of art history." - Fred Ross

On art education:

"Our children, going supposedly to the finest universities in the world, being taught by professors with Bachelors or Arts, Masters of Arts, Masters of Fine Arts, Masters of Art Education ... even Doctoral degrees, our children instead have been subjected to methodical brain-washing and taught to deny the evidence of their own senses." - Fred Ross

On what modern artists discovered:

"Ladies and gentleman, they proved ... amazing, incredible, and fantastic as it may seem, they proved that the canvas was flat ... flat and very thin ... skinny ... indeed, not even shallow, lacking any depth or meaning whatsoever." -Fred Ross

On the Old Masters:

"And, as far as holding our works up to the old masters, that's what we want to have happen. If we are to accomplish things of true merit and excellence, we must germinate and nurture great masters in the next millennium, too."-Fred Ross

On what a work of art is:

"Just because something causes you to have a feeling of aesthetic beauty does not make it a work of art." -Fred Ross

On abstract art:

"The usual description of a modern "abstract" painting is that it is "a painting about paint itself". Its subject matter is paint, or the formal principles of painting. The first claim is nonsensical: saying a painting is about paint is like saying a poem is about the alphabet. A poem uses the alphabet to represent words, which can in turn be used to convey knowledge or express ideas. The second claim is just as banal. A painting that is "about" its formal principles is, again, like a poem that is about rhyme, about onomatopoeia, or about iambic pentameter. In other words, it is art as a jigsaw puzzle of the lowest order."-Fred Ross

On abstract artists:

"The people who are splashing paint on a canvas in pretty patterns, or brushing it on in aesthetically pleasing color combinations, are not doing anything abstract. They are merely depositing little tangible blobs of paint that do not stand in for anything at all."- Fred Ross

On why modern art is accepted today:

"Let me state in the strongest possible terms that the art history textbooks since the middle of this century are filled with nothing but distortions, half truths and out and out lies in their description of this era. They have failed in their responsibility as historians to report the truth of what occurred as objectively as possible. These texts amount to no less than propaganda brochures for modern art."-Fred Ross

ARC claims that over 200,000 people have viewed the text and they hope that professors and students will read it and be inspired to return to the academic tradition.

Had enough? I have. However, I would suggest that you all read the 'ARC philosophy' just to get an idea of how things once were for non-traditional artists as far as pure hate for their work is concerned.

The negative remarks that Mr. Ross spews upon his website is a dull reflection of the hostility academic traditionalist and their supporters once had for new art of any kind. Most of them became angry over the slightest changes throughout art history.

Never forget that the academic traditionalists were once the majority. However, society changed and with it art changed. In my view the public changed this. The art you see today is the art of the people. What you can do with your brush is no longer dictated by religion or a select few who are in power. It is no longer the art of governments and the wealthy (though they may be the only ones who can afford some of it. ;p )

How can Mr. Ross say that modern artist and their supporters are oppressing academic traditionalists? Do you see people who try to paint like Rembrandt locked up in an insane asylum? (Though it would make a great story.). Do you see them beaten out of town for creating their vision of art? He is naive for even trying to compare it!

How can he say that modern art is nothing more than propaganda? When it is a fact that artists of the past created propaganda for royalty and the church. They were puppets. (I will even go as far as to say that many of the Old Masters were puppets). In a sense, what they were allowed to paint was controlled by who was in charge at the time or who paid the highest fee. Does that sound like artistic expression to you?

Think about it. The religions and leaders that have control in the United States and Europe today may try to censor our work, but they have not been able to do away with it all together. Even Hitler failed at this! Why? Because of the people.

People today have more power than the people who lived when Mr. Ross's heroes were still alive. Thus, the art that is held in high regard today is the art of the people. It is the voice of the people. The public decides what is good art. Perhaps Mr. Ross would not come off so paranoid if he would simply accept this fact.

The state of art today has nothing to do with what the Old Masters might have thought. I appreciate their work, but aside from that they have no rule over what I do as an artist today. (I do sketch from live models, but that is for my own study.) I prefer to call them Old Artists, because that is what they are. They are gone, we are here. True, art today captures the same emotions that the Old Artists embraced, but that is dictated by the human condition. Nothing more. (Artist today convey it in ways that are more pure to the human condition in the sense that their creations do not have to follow a guideline.)

It seems to me that art reflects the society in which the art was created. Art may have been more structured/strict with rules in the past, but so were the governments and way of life of those times. Today, many of us live in governments that are, for the most part, free (compared to the rulers of the past). Thus, our art reflects that? True?

It is all about sociology and the plight of the people. We have seen what happens when a modern governments tries to enforce strict rule over their people. For example, modern artists in Germany were ordered to no longer create 'degenerate art' during Hitler's rise to power. Many switched to a more traditional style of work while creating modern works in secret. Those who continued to create modern art were kicked out of the country, imprisoned, or executed. What does this tell us? More often than not, if the people are oppressed, art is oppressed.

I'll hold my tongue as to where Mr. Ross should move in order to be surrounded by the type of art that he holds dear. There are a few 'good' choices. However, there are more rules to follow as to how art can be created depending on how strict the government is. (Some governments do not allow artists to depict the human form at all.) I wonder if Mr. Ross would accept that?

I would not want to live in a society that embraces the academic tradition over all other forms of art. I know what the implications of that are. In my opinion, Mr. Ross and his supporters are not victims. They are fools.

Take care, Stay true

Brian Sherwin

Myartspace.com Global Directory

Don't forget to utilize this wonderful networking tool. Add yourself today! ;p

http://globaldirectory.myartspace.com/index.html

Art Space Talk: Gareth Botha

Gareth Botha is a young, skilled, and determined digital artist who has gained much acclaim over his recent cover art for Seether (http://www.seether.com/home.asp).

Mr. Botha's work can be observed in practically any music store across the United States since the release of Seether's album 'Karma and Effect'. His provocative digital art is eye-catching, to say the least. I'm certain that his success will continue in the near future.

When I first discovered Mr. Botha's art (a few months before the 'Karma and Effect' release) I thought that I was observing work by H.R. Giger. That reveals the depth of Mr. Botha's skill and talent as a digital artist. I can see his work taking many directions in the future.

In my opinion, Mr. Botha's work seems to capture the essence of the struggle between nature and technology. Gareth combines these conflicting forces in a manner that reflects the struggle that we all share between nature and the technological world that we find ourselves in. I find elements of science fiction and aspects of the cyberpunk genre within the context of his images. His work captures a sense of longing for what humankind once had... now perverted by our own creations.

I recently contacted Mr. Botha for an interview. The following text will give you insight into the world of this young artist:

Q. Could you talk a little about your work for Seether. How has it helped your career? How did you feel when you discovered that they accepted your work?

A. "Naturally, after being approached by seether's agent, my initial reaction was to believe that the offer was too good to be true. I suppose it wasn't until I began seeing my artwork on television (commercials on mtv, vh1, comedy central, etc) and on the "top 10" shelves of music stores that I realized the extent of the exposure that one sale had aquired for me. the number of daily hits on my website skyrocketed, and I suddenly began receiving large amounts of emails commenting on my work, and often looking to purchase prints, etc. I even had one guy from the U.K. email me to tell me that he had one of my artworks tattooed across his entire back, which was naturally a huge compliment to me. I was fortunate enough to actually meet up with the band after a show of theirs here in atlanta, and drink a couple beers with them in their tour bus, which was definitely a fun experience."

Q. When did you first discover that art would be an important part of your adult life?

A. "Growing up, I never really had much of an interest in pursuing art. I found art to be beautiful, and I was impressed by those with artistic talent, but I never saw it as a path that I might personally take in my life.

I've always been a shy person, and very withdrawn, so it is only logical that I discovered quite by accident that artistic expressions allowed me to confront my feelings and emotions and portray them to the world better than I ever could verbally."

Q. How has creating art shaped you professionally and personally?

A. "On a personal level, I find that art helps me to be more aware of myself as an individual. being an artist helps to gain an understanding of one's self. through art, I've also come to deeply appreciate the beauty of individuality, which lends itself well to establishing an acceptance of myself, my flaws, my strengths, etc. as an art student, I am constantly surrounded by the creative energy of inspired and motivated people. this helps keep me on my toes, so to speak, in friendly competitive creativity. On a professional level, art has essentially shaped the beginning of my career, which hopefully will continue into the future."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I try to keep my art more intimate, personal to me specifcally, but I would be naive to say that it's uninfluenced by society. as an individual, I am a product of society, and therefore its likely as much a part of my work as it is a part of me."

Q. What are your artistic influences? Has anyone inspired you?

A. "Much of my work acts as an acknowledgement of things that are insignificant, or not particularly "beautiful" -- sticks, weeds, bugs, etc. I guess you could say that i am influenced by the things that would normally go unnoticed."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I grew up in Johannesburg, South Africa -- a city riddled with poverty, violence, and prejudice. Having endured a certain degree of unpleasant experience with such a negative environment, I moved to the united states with my family at the age of fourteen. although I have never had any regrets about this change of environments, I believe the sense of loneliness and solitude present in much of my work can be credited to the loss of the only way of life I knew at such an early age. I also believe that it made me a more independent person.

I had my first interests in art in high school, where i was pursuing the field of technical drawing and draftsmanship, looking to use my drawing skills in a marketable fashion. however, I desperately sought more creativity, which led me to my early pursuits in the fields of graphic design and digital art."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I find that the people who are interested in my work are typically fascinated and bewildered by, and can see beauty in, things and ideas that are not traditionally considered beautiful. A reasonable assumption would be that they are not the faint hearted type, to be able to appreciate the often disturbing graphic nature of my work"

Q. Where do you see your art in 10 years? What are your plans?

A. "That's a very difficult question to answer. I find that my art has changed and evolved so much over the past four or five years that I have trouble guessing where it would be next month. although I would like for my art to continue growing, I would also like for it to remain true to its "roots" so to speak, and not venture too far from my style. As for my future plans, I'd like to continue working for the music industry, since digital art lends itself so well to that field."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "This ('Transmuted'.Image below.), I believe, is one of my favorite works that I've done thus far, which is odd, considering it was created in a very different manner than how I normally work. In all honesty, this image itself was two years in the making. the imagery was based on a dream I had two years prior. I maintain to this day that it was the most vividly beautiful dream I've ever had (the image reflects only a small portion of it).

It started out as an initial idea in my mind as the days, weeks, and months went by where I couldn't get the imagery out of my head. eventually, I decided to try to recreate it as accurately as possible. After many failed attempts, I decided to put it aside as a "long term project." eventually I had to force myself to work on it, balancing my fear of the memory fading with time with my worry of not accurately portraying what i remembered."

Q. Why did you choose the medium that you use?

A. "Although I have been trained in traditional mediums (graphite, charcoal, oil, etc), I choose to work digitally because of the freedom it gives me. Being able to quickly fix mistakes means I am also able to quickly experiment and try new things. This also lets me tweak my work to a higher degree of customization before its finished."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am currently working on my bachelor's degree in fine arts, and will most likely be attempting a masters degree after that."

Q. Where can we see more of your art? Are you involved with other websites? Do you have a personal website?

A. "I keep most of my art on my personal website, http://www.cleanwaterart.com/ "

Q. Are you represented by a gallery? If not, do you want to be?

A. "Currently, no, although I have been discussing the possibilities with a gallery in Tennessee recently. I am always interested in such opportunities."

Q. How many pieces have you sold in your career?

A. "Thus far, I've directly sold around 25 to 30 artworks. However, my art has been on the album covers, tshirts, posters, etc, of hundreds of thousands of other products. It still boggles my mind every time I accidentally glance over a rack of cd's at a music store and catch a glimpse of my artwork."

Q. Finally, why do you create art?

A. "I create art, because honestly, I can't see myself doing anything else."

Gareth is currently preparing his myartspace.com gallery. I will post where you can find his art on the site once he is finished. I hope you have enjoyed learning about Mr. Botha and his digital art. Feel free to comment on his work.

Take care, Stay True,

Brian Sherwin

Art Space Talk: Ralph Turturro

I recently interviewed artist Ralph Turturro. I found Mr. Turturro's abstract paintings to be very expressive in nature. He appears to make marks upon the canvas freely. Such precision reveals the experience and seriousness he has for working in this style of painting.

His expressive brushwork and use of color have much to reveal to the trained eye. In his paintings I observe a form of 'controlled chaos' that is very alluring. Especially when one places it within the emotional context of society.

Great joy and struggle can be discovered in Mr. Turturro's paintings. In my opinion, one can find great social insight after looking beyond the surface of his paintings. The paintings seem to capture the basics of sadness, happiness, regret, acceptance...etc...

In his work I can see Jackson Pollock, Willem de Koonig, and Cy Twombly staring back at me.

Q. When did you first discover that art would be an important part of your adult life?

A. "I believe it was always present in me and I look back at my life often enough to see that it has been a series of stages of different kinds of sleep walking. I wake from each one a little more aware but it is not until the next time I wake that I realize I had been sleeping up till that point. So I think it might have been the moment after the sleepwalk of college when I had to face the reality of a work a day world that I realized that even though I would have to plunge into this world it would only be to survive and pay the piper but that there was nothing else I could be other than an artist in this life."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Society at large is in there. Yes. My work is my response to the inside and out of my experiences, thoughts, ideas, feelings as i move through this life and time. If you are perceptive you can find society in there. But I do not use any specific or literal societal references except some of my titles. My Tiltes are meant to be poetic. have a cadence, rhythm, sound that stops you, makes you think. They are most often lose associations with the the visuals of the painting and the current book I am reading or music or news program I am listening to. In this way society is always somewhere in my work. The first 4 paintings I painted after 9/11 were titled - 'Zero Gravity' - 'Planes' - 'Objects of Mass' and 'Fall'....You tell me.. might society be in there?"

Q. What are your artistic influences? Has anyone inspired you?

A. "Everyone influences me. My kids, my students, the man on the street that is kind, that is mean. It all goes into the soup, into the process of forgetting everything when you begin and trusting that all that is real and true will be discovered as you work...if you work...

New York school - Abstract _expression - Dada - Cubism - Surealism....Theories of Relativity...are schools of thinking that influence me. Michelangelo, Caravaggio, van Gogh, Matisse, Kandinsky, Pollack, de Kooning, Rothko, Tapies, Twombly, Basquiat, Walker, kiefer...all visual influences... "

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I was born in New York, 49years ago, my two earliest memories are - first at 2 yrs. of age; I would pull all the detergents out from under the kitchen sink and make sculptured pies on the living room floor - the second is of a 4 yr. old boy, standing alone in a long empty driveway, watching cats walk in and out of the backyard; the colors were: green - gray, warm black and a very intense Dutch Yellow Light.

I come from a family of artists. My Grandfather painted their living room with murals of Italy. My Uncle Domenick was a painter and a big influence to me. My cousin Joe drives a truck by day and paints at night. My father and uncles are master carpenters. That love Opera and movies. The rest of my family that aren't actors never talk to each other because of one emotional thing or another. Yes My family and past experiences are in there too...just as is everything conscious and unconscious that make up the present day me."

Q. What are you thinking when you create?

A. "The objectives in my work are always the same: to recognize the things that continue to evolve and thrill me in this life such as: balance and imbalance, persisting ambiguities, understatement, open spaces, unresolved endings, continuous questioning, the truths in contradiction, palimpsests, illegible markings, graffiti, old, re-varnished wooden school desks, active, rusting surfaces, worn away names/dates on grave stones, old ships, walls, etc.; to harness these things in the energy of the paint and to trust then that the work expresses who I am and where I am at present."

Q. What is your artistic process?

A. "Painting is something that continues to fill me with wonder and awe. It is a process not unlike like being an archeologist discovering found objects that send you reeling back and forth through time. Everyday it brings you closer to your mortality; demands that you face yourself for better or for worse; teaches you to accept and cherish loss as an indelible element of time; the unmitigated truth of it as well as its horror and its beauty."

Q. Do you have a degree or do you plan to attend school for art?

A. "I have several degrees. University of Wisconsin at Madison - on Football scholarship ( only badger that was an Art major) did my Masters at Pratt in Brooklyn and attended Post Graduate classes for Teaching degree at Queens and Brooklyn College respectively. I have been painting for 30 years."

Q. Where can we see more of your art?

A. http://www.ralphturturro.com/
http://www.chamotgallery.com/gallery/2Dart/turturro.htm

Q. Why do you create art?

A. "Because it is there waiting for me."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "UP COMING ONE PERSON SHOWNEXT GALLERY at MCNY75 VARICK/ONE HUDSON SQUARE(between Watts and Canal)12TH FL. , N.Y.C. 10013

Less SaidDiscovering the Power of Visual Writing and Texture

NEW PAINTINGS by RALPH TURTURRO

GALLERY HOURSM - SAT. 9AM - 8PMFor Further Info - rtmac57123@yahoo.com607-423-3476 or fran@metropolitan.edu212-343-1234 x - 2209"

I hope that you have enjoyed my interview with Ralph Turturro. To find Mr. Turturro's art simply type RTMAC below 'Find by Login Name or Name' on myartspace.com and click 'FIND'.

Take care, Stay true,

Brian Sherwin

Does Your Personality Sell Paintings?

Is the artists image just as important as the work he or she creates?

We all know of the image of the eccentric, lunatic, or brooding artist. These stereotypes are made popular in film and novels. My question is, does it pay to have a persona or to be who you are? Is your personality included in the package when you sell a piece? I've asked myself these questions before, but a recent exhibit made them fresh in my mind.

I met a painter during a large group exhibit I attended recently. I noticed her the second I entered the large exhibit room. She was talking with a group of patrons who had crowded around her work. Other artists who were exhibiting with her seemed to be shadowed by the chaotic light that sprang from the energy of her performance. Was she faking? Was it all an act? Was this real? I felt compelled to observe her display.

Her eyes seemed to be wide and wild while she laughed loudly at practically everything that was said to her by her viewers. Some of them returned her gestures while others seemed to be startled. The only pause in communication came in the form of a shy curator bumping through the crowd in order to place red stickers near the paintings that were sold. During this entire process curious observers, such as myself, remained in the artists presence. She held her audience.

This went on for over twenty minutes from the time I had entered the gallery. This artist had captivated her audience by her wild charm, eccentric nature, and provocative choice of discussion. She did all of this while making sudden movements that made her appear to have some sort of affliction. This display, along with her bright red dress, seemed to be a focal point for everyone who entered the building.

Eventually I broke from the crowd in order to observe the work of the other exhibiting artists. The rest of the exhibit seemed 'dead' compared to the area where the 'crazy woman in the bright red dress' (As one person defined her.) was still putting on an exhibit of her own. The other artists had not sold any paintings!

The other artists stood around as if they were bored or angry. A few of them ate snacks while discussing studio space and the price of materials. It was at this point that I started to ask myself about how the personality of the artist correlates with the sell of work. Do viewers expect to see a 'show of personality' along with the show of work? Did ranting and raving help the woman in red to sell her art? A number of questions popped into my mind.

The others did seem rather dull when compared to her. Most of them did not attempt to approach anyone who walked near their paintings. The few that did passed out 'business cards' instead of actually talking about their art. A livewire personality seemed to do more for the woman in red than 100 business cards could ever do.

What puzzled me the most was the fact that the woman in the red dress was not the most skilled artist present nor was she the most known. There were other artists there who had already made names for themselves in the community. Not only were they far more skilled than the woman in red, but they also had established buyers. However, their patrons flocked toward the woman in the red dress while they stood with their arms crossed.

I stood outside after the exhibit had closed with a few of my art-related friends. We discussed various art topics. The woman in red left the gallery as my friends and I conversed. She came up and listened to us for several minutes. The wild spark of personality that she had displayed during gallery hours seemed to have left her.

She did not seem to speak in the same tone. In fact, her behavior was the complete opposite of how she had been during the exhibit. She was no longer wild and loud. Instead, she seemed shy. She hardly spoke a word and her actions were very reserved.

I noticed that there were a number of discarded artist business cards on the ground as the woman in the red dress walked away. Maybe those artists should rely on their force of personality (or invent one) rather than relying on tiny slips of paper to sell their art.

Do you think this artist was putting on a 'show' in order to attract potential buyers? After all, she no longer made the sudden movements or wild open stares when she talked to me outside of the exhibit. Would the other artists had sold more if they had used a 'persona' as well (If indeed she was putting on some form of act)?

How common do you think this practice is? Can you think of any well-known artists who are 'not what they seem'? Have you observed similar situations personally? Do you roleplay during your exhibits? Do you think some of the more famous artists may have put on 'fronts' as well? Does it matter? Is it just part of the creative process? Should we expect our personality and art to be sold as a combined package? Discuss.

Take care, Stay true,

Brian Sherwin

Turner Prize Finalist for 2006

An exhibition of the Turner Prize Finalist for 2006 began on the 3rd of October. The finalist will be showing at the Tate gallery in Britain until the 14th of January. The four artists include Phil Collins, Tomma Abts, Rebecca Warren, and Mark Titchner. There's 40,000 pounds up for grabs between them, with the winner receiving 25,000 pounds. The winner will be announced on the 4th of December, 2006.

The Turner Prize is an annual prize given to a British artist who is under 50 years of age. The prize, which began in 1984, is named after the painter J.M.W Turner and is organized by the Tate. The prize remains to be one of the United Kingdom's most publicised art awards and is known for drawing a great deal of controversy. For example, Artists Damien Hirst (The Shark) and Tracey Emin (My Bed) have both been been exhibited in the past.

The Turner Prize has been opposed by British artists who agree with the views of Stuckism, an art movement that was founded in 1999 in Britain by Billy Childish and Charles Thomson to promote figurative painting in opposition to conceptual art. It has also been blasted by critics in the media.

Critic Jonathan Jones has stated that the, "Turner Prize art is based on a formula where something looks startling at first and then turns out to be expressing some kind of banal idea, which somebody will be sure to tell you about. The ideas are never important or even really ideas, more notions, like the notions in advertising. Nobody pursues them anyway, because there's nothing there to pursue."

Many feel that the Turner Prize favors a minority of artists and does not represent the 'best art' that the British art community has to offer. Some have even made the charge that the Turner Prize is corrupt with the wealth and power of famous art collectors who dictate what art is accepted.

In 2002 culture minister Kim Howells pinned the following statement to a board in a room specially-designated for visitors' comments. "If this is the best British artists can produce then British art is lost. It is cold mechanical, conceptual bullshit. Kim Howells. P.S. The attempts at conceptualisation are particularly pathetic and symptomatic of a lack of conviction" His stance was approved by the government, who saw it as a popular one.

Here are the finalist:
http://www.tate.org.uk/britain/turnerprize/2006/tommaabts.htm
http://www.tate.org.uk/britain/turnerprize/2006/philcollins.htm
http://www.tate.org.uk/britain/turnerprize/2006/marktitchner.htm
http://www.tate.org.uk/britain/turnerprize/2006/rebeccawarren.htm

It seems that the controversy over the Turner Prize will continue. What do you think about this award? What about the finalist? Is the prize nothing more than a commercial tool? Does it matter if it is?

Take care, Stay true,

Brian Sherwin

A Call to Every Artist, Art Collector, and Art Dealer

Are you represented by a gallery? Do you own or co-manage a gallery? Do you have any exhibits of your work coming in the near future? Do you have an oustanding art collection of works by aspiring artists? Would you like to have a blog entry about your gallery, exhibit, or collection? Do you have photos from recent exhibits? Contact me if you answered yes to any of these questions and would like to have an entry posted about your work, collection, or gallery. balhatain@catmacart.com

My goal is to give myartspace.com members as much exposure as possible.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Tadashi Terada

The interview with Tadashi Terada was an interesting experience. Translators had to be used. Learning more about this talented artist from Japan was well worth the struggle. This was Mr. Terada's response after being asked about his art. (To find Mr. Terada's art simply type Tadashi below 'Find by Login Name or Name' on myartspace.com and click 'FIND'.)

"I am not a professional artist. My present work is on Environmental Impact Assessment. I investigate nature of the four seasons.
My mind changes when I lived in the deep in the forest alone all by myself in long time. Surrounded by the forest, I feel myself getting purer and purer. Probably I think that my art was created by something powerful that I got from the place. In this process, I feel a like bulb lit up inside me every time.

"*Wood work & Digital work.

My creative foundation is wabi-sabi(the beauties of simplicity and tranquility) in Japanese arts.

The materials for my art, I collect in the autumn forests, walking my dog. My arts I have introduced here are always accidentally created with my own hands. What I feel from one twig I pick up compels me to find other parts and assemble them into my creation. Therefore, all those parts retain their own silhouettes exactly as they are.

Once my creation begins, it is finished in an amazing instant. The distinctive shapes of my materials inspire my creative desire. Perhaps the end will never ever come.

I assemble things natural into my arts. I greatly value the very shapes of those things. My creation goes along with my dialog with those materials, which just resembles "Force" of Yoda in Star Wars. It is also just like "Ki"(mind-power) in Japan, which I most treasure in my creation."
- Tadashi Terada



I found Mr. Terada's wabi-sabi gallery on myartspace.com to be of great interest. Tadashi uses his skills in woodworking to create figures that capture the essence of nature. In a sense, he allows this essence to consume him. The Wabi-Sabi figures are the byproduct of this bond between the artist and nature. They truly capture the spirt of this force.

What I enjoy most about Mr. Terada's art is that he uses aspects of his cultural heritage within the context of his work. His digital images, which can be observed in his 'arhat' gallery on myartspace.com, are a wonderful combination of the use of new technology and the rich tradition of his cultural background.

This interview reveals the lengths that the staff at myartspace.com will go to serve every artist no matter where they are from. It took several days of communication with Mr. Terada to put this interview together for our readers. I we will alway try our best! Please understand that there may be errors in the translation.



More of Mr. Terada's work can be observed at http://members.jcom.home.ne.jp/pekemaru/

Take care, Stay true,

Brian Sherwin

Paintings by Adolf Hitler Auctioned

An auction of paintings attributed to the German dictator Adolf Hitler was recently held. Bidders from around the world entered the Jefferys auctioneer's premises in Cornwall in the hopes of purchasing one of the pieces. The paintings, which were found in an attic, sold for very high prices. (21 paintings were sold.)

There has been much controversy over the issue of Adolf Hitler and his art. Some feel that art played a major role in his bitterness (due to his failure to 'make it' as an artist himself.)and that it helped him to plan his rise to power. Others feel that his art took a back-burner and that it did not play a role in the decisions he made during his rule over Germany. However, auctions of his work are not the only source of this debate.

A firestorm of debate occured when the movie "Max" (2002) was released in theatres. The movie was loosely based on Hitlers struggle as an aspiring artist and touted the slogan 'Art + Politics = Power'. The film depicted Hitler in a very 'human' manner which caused the film to recieve much critisim since history views him as a 'monster'.

Many feared that people would have sympathy for Hitler upon viewing the film. Thus, the debate over the importance of his art, in regards to his actions, was further fueled.

I recently contacted Dr. Robert Kunath, a professor of history, about this very issue. The following is some highlights of that discussion. Dr. Kunath tried to explain how Hitler's views on art may have played a role in how he designed his rule.

"I've done a good deal of work on the subject of how the Nazis understood art. Hitler's own art was pretty mediocre and the interest in it today is because he produced it, not because it is regarded as especially impressive. Indeed, Hitler himself said that his artistic talent really wasn't in painting, but rather in architecture.

Hitler's architecture was gargantuan, and not to the modern taste, but he did have a certain talent for organizing shapes in space. The best evidence of that is the massive Nazi rallies, which Hitler planned meticulously. In that sense, I think Hitler did see art as a vital force in politics.

The first major building project begun after Hitler came to power was the "House of German Art" in Munich, and the speech he gave there lays out an artistic program in some detail. There was also the Nazi's sustained effort to wipe out modern art in Germany.

Hitler's primary political vision was based in racism, but he also believed that the best proof of racial superiority was cultural excellence. Hitler defined that cultural excellence by the standards of the past, so he wanted buildings in the Greco-Roman style, and paintings following in the tradition of the old masters and the 19th century genre painters.

There's a pretty good documentary about art in Hitler's political world-view: it's called "The Architecture of Doom" and it makes some very interesting connections between Hitler's vision of art and his plans for conquest and mass murder. I think the movie (Max) is wrong to suggest that art was a driving force of Hitler's ideology--Darwinian racism was the foundation--but art was an important component.

One book that you might find useful on this subject is Frederick Spotts' _Hitler and the Power of Aesthetics_, which considers both Hitler's art and his views on the power of art in politics and society. There's also a very good article by O. K. Werckmeister called _Hitler the Artist_ in the magazine _Critical Inquiry_ . There has also been a lot written about Hitler and music--his love of Wagner, for example, which is very interesting because Wagner was a true musical genius, and also a poisonous hater of Jews." - Dr. Robert Kunath

So as you can observe, there are a lot of opinions about Hitler and his art. Does it really matter if we know just how art may have played a role in his wave of destruction? Is it important so that we may have a better understanding of how one man could cause so much strife? Should Hitler be observed for his human-side within the context of his monster-like actions? Does it matter? What do you think about his artwork recieving so much money when many talented artists of greater skill can barely sell one painting? Discuss.

Take care, Stay true,

Brian Sherwin

Charles Saatchi Interviewed by The Guardian

Charles Saatchi, a world famous art collector, was recently interviewed by The Guardian newspaper. Saatchi has made many young artists famous simply by collecting their works. He is one of the biggest names in the 'art world'. The interview offers a great deal of insight into his views about life and art. This was a very rare event since Sattchi is rarely interviewed.The full interview can be seen here.

What do you think about his views on art? What do you think about the power he has in the art world? I want your opinions.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Jave Gakumei Yoshimoto

The first myartspace.com blog interview has been conducted. I interviewed Jave Gakumei Yoshimoto by sending him various questions about his background, style, and medium. I find Mr.Yoshimoto to be an artist of considerable talent.

What I find most interesting about his work is the fact that he uses common objects as his 'canvas'. Jave Gakumei has created images on hats, mirrors, benches, bottles, surf boards, guitars, desk tops... you name it and Jave Gakumei has probably used it. This makes his work very accessible to the public since they are painted on every-day objects. However, these works also take on a deeper meaning in that they ask questions about society (as you will discover when you read his own words.).

Mr. Yoshimoto's art does not stop with painting. He has also created what he calls 'Cheese and Cracker Books'. Mr.Yoshimoto's 'Cheese and Cracker Books' are an interesting blend of text and... well... cheese. I found this use of two common items to be humorous. They reminded me that art can be fun. However, there is also a cutting sarcasm to these works.

After the humor of the pieces left me I started to observe the deeper meaning of what the combined items might suggest. As I observed the 'Cheese and Cracker Books' I asked myself, "Just how important are common objects in my life?". When we look at a piece of cheese we don't see anything aside from a piece of cheese. The same thought goes for a book or binder. We only see them as they are. When the two are combined they come off looking rather silly... which made me question just how important all of the items we use in a day are. It reminded me that we can all be a bit superficial even when it comes to the most simple items.

I think Mr. Yoshimoto best sums up his life, art, and career ambitions in his own words. The following is his response to a series of question I sent him via email.(Do a search for Jave Gakumei Yoshimoto or simply Yoshimoto on myartspace.com to observe his galleries. Enjoy.)

"I was originally born in Tokyo, Japan to a single mother. I immigrated to the states at the age of 9 and I have been residing mostly in California until my recent move to Chicago for graduate school. As with most children, I began drawing for the sake of having fun, but I've always known that I wanted to be an artist one way or another.

Art unconsciously have become my way of sublimation. As with most adolescents, I was going through a struggling phase, and I've had numerous family issues with my mother.. My mother whom I later found out to be schizophrenic suffered from auditory and visual hallucinations, and she has had major issues with anger. I've been a victim of domestic violence by her, and I finally left home at the age of 17. This forced me to drop out of high school, and I've lived in large wooden crates behind an elementary school during the winter nights of San Francisco.

Fortunately my homeless stint was rather short. I was on the streets for about 3 weeks until my grandfather took me in under his wings. I eventually returned to a secondary high school doing independent studies to get my high school degree. At this point, my work found a direction- I was rather curious about collages and subliminal messages. Frida Kahlo and Salvador Dali along with M.C. Escher were my very first artistic influences.

At that time I did not have any formal artistic education and would have been categorized as "outsider artist".

Old habits die hard. I still had internal issues with my emotions and I needed to satisfy my internal cry. One way of doing that was to break the law for my personal thrill. The initial fear prior to doing the act, and the thrill of success was something I truly thrived on. However, I did not wise up in time, and found myself behind bars before long. Ironically, the warrant for my arrest came out on my 22nd birthday- almost exactly ten years ago.

I was released and worked dead end jobs. After years of working in this hopeless state, I finally decided that I needed to get my act together, so I returned to school. I started to take some art classes at local community college and began incorporating texts into images. "Eyescape Miscegenation" in particular is composed of hundreds of words expressing my frustration towards art academia, and how I identified myself as an artist.

When I received my associates, I joined the U.S. Army reserves. There was one particular M.O.S. (Military Occupational Specialty) which is the military job that caught my eye. It was a job entitled "Multimedia Illustrator", and I signed up without hesitation. During my basic training (boot camp), 9/11 had happened. It was quite an eye opening and shocking experience. In my advanced individual training, I worked hard to be the best artist in the class. We worked with traditional media such as graphite, pastel, watercolor, and worked in digital media such as photoshop, illustrator, pagemaker, powerpoint, and dreamweaver. I was paid by the army to learn this so I couldn't have been more excited. I graduated in early 2002 with Distinguished honors, and received Honorable mention award in the 2002 Military Graphics competition for my work "razorburn".

Next came the conceptual phase of my artistic development. I went to my undergraduate studies at the University of California Santa Barbara, and showed my work proudly and eagerly. I was told my work was crap, and that I made works that were shallow and I objectified women. I had to abandon my old "style" and was searching for my new niche. It came in the form of an internet conversation.

Over the course of time, I befriended an anonymous acquaintance simply known as "Sarah" over AOL instant messenger. She apparently was well funded, and graciously gave me a grant of $100 for an idea I had. My idea was that I wanted to paint a portrait of a musician on a guitar, and the money funded that project fully. What came later was years of painting on non traditional surfaces and found objects. I began to think about what image or narrative would succeed on each of the surface that I painted on. Such as the symbolism behind a bench. Does it merely seat the people at parks and those waiting for the bus? Or does it serve as a bed for those who have no homes? What are the major attitude towards homelessness? My work "Averted eyes" served as a commentary of the public about how we avoid and ignore the homeless citizens. I began to take interest in these social issues and current events, and incorporated them into my artwork.

My then professor Jane Callister was my largent influence and mentor. She noticed of my interest in social issues, and caring for the members in the community. Since I founded a local gallery for students and served as a curator, she suggested that I try applying to art therapy for graduate studies. Which led me to my current residence here in Chicago, Illinois.

Art therapy is a field generally misunderstood. However, I was excited to learn a whole new aspect of art and the purpose it served. All the years leading up to where I am now, I've felt that the art world consisted of individuals who are extremely opinionated and sometimes give inconsiderate and even harmful remarks towards growing artists. With curators, collectors, dealers, and critics all saying what works and what sells, how is an artist supposed to truly nurture their own artist's identity, intuition and creativity? Can an artist exist in this world without being bogged down by these other individuals?

My current studies have provided that insight and I found myself working with schizophrenic adults and adolescents who needs the space, attention and witness to nurture their creativity. The concept of creating safe space, providing encouragement, without the punishment of critique or judgment allow these individuals as well as myself, to grow. While my artist's identity have been currently put aside for these individuals, the lesson I've learned has been invaluable. My studies have also allowed me to make peace with my mother before her passing this year.

My artmaking have currently evolved to a more of a humours and sarcastic series of work. Sometimes I just need to amuse myself and laugh at life. My "3 foot bacon" and "cheese and cracker book" are perfect testimonies to that.

I currently plan on applying to MFA programs for next fall. I should by then have received my Masters in Art Therapy from here at the School of Art Institute of Chicago. I'm interested in going somewhere with a University setting rather than an art institution simply because I believe there would be more resources I can access. I would like to work with musicians and scientists to test my theory about translating verbal tone into musical harmony that will then be converted into color. With such process, I am hoping that I will be able to truly share an experience and understanding into a person's mind.

Lastly, I find that the art world is focused strongly on the conceptual world. I believe the heiarchy of the "high art" and the critics would eventually collapse, giving way to a new art movement. The "stuckists" that started in England seems to be the closest thing to that, focusing back into figurative paintings. I hope that whatever happens, great conceptual ideas will remain with aesthetically successful works (whether it be ridiculously ugly or beautiful, a successful peace should garner strong reactions).

My friend once said "art making is an egocentric act." I want to prove him wrong. I'm out to prove that art is a hammer that shapes society and not merely a personal mirror that reflects it" - Jave Gakumei Yoshimoto



Feel free to critique or discuss Mr. Yoshimoto's art. Thanks for reading.

Take care, Stay true,

Brian Sherwin

The Success of 'Celebrity' Painters: Merit or Fame.

I remember having a few conversations about celebrity art during my college years. My studio friends and I would debate about the artistic merit of these individuals and their art while working on our own paintings.

Three painters seemed to be targeted the most: John Mellencamp, Marilyn Manson, and Paul McCartney. Many of these debates developed into heated discussions since some of the students involved were die-hard fans of these musicians. Thus, I decided to post an entry about this issue to see how you all respond.

What do John Mellencamp, Marilyn Manson, and Paul McCartney have in common? Well, aside from all being famous musicians they have also each received acclaim for their painting endeavors. What else do they have in common? They all have said, in one form or the other, that they do not want to be known as 'celebrity painters'.

The three have all stated that they never intended to exhibit their work. In other words, they did not want their musical fame to buy them a free ticket into the art world. A noble gesture. However, they have all increased their fortune by selling prints and art books since making those humble remarks (Each has donated to charity from the proceeds.).

What do you think about these painters? Does their musical background warrant the acclaim that their visual art has attained or is their artistic merit paving the way for their painting success? Can enough fame and money establish you as an artist? Is it fair to painters who have painted for decades with little to no recognition? (As the saying goes, "Life is not fair.")

Mellencamp is known for leaving cowboy boot prints on his paintings (he began oil painting in 1988.), Manson has been called an "accomplished watercolor painter", and Paul McCartney, who once studied under Willem de Koonig, has had packed exhibits in Germany and England (He has painted privately for over 17 years.). All have had major exhibits even though their artistic ability was not well documented until the works surfaced due to the interest of their friends and family.

How many artists do you know who have went from total obscurity as painters to the spot-light in such a short time? Is it wrong for celebrity status to play such a role in success of a painter? What about the countless numbers of artists who are equally talented, but lack that 'celebrity force'?

Just for your information: An average Mellecamp print sells for about $500, McCartney prints sells for $1,750, and Manson's paintings have sold for over $5,000 a piece. Each painter has released books displaying their art images (around $40 each.).

Do you think they deserve these prices? After all, an artist off the street could never expect to receive such a payment for prints or art books, right? What do you think about this? Does it help or hurt the 'art world'? Does their success help or hurt other painters who have yet to become established in the art world?

Here are some quotes from the painters:

"I wasn't intending for any of these pieces to be for anybody but myself or the friends that I did portraits of and would give as gifts. I never intended to show them, much less sell them, until several years of paintings built up. And when people would come to my house, they would urge me to show people my art.

So I took the step and I did it, and I've been quite proud of and surprised by the support and interest, especially from younger fans who may not have gotten into art at such an early age. Maybe this will encourage them to take a look at other things." - Marilyn Manson

"People who paint, including myself, get to a point where a bit of angst comes in. If you're doing it for a living, it's worth it to suffer those slings and arrows. If I was going to paint for my own fun, that was one thing I had to avoid." - Paul McCartney

"I realize that there are probably hundreds of people who deserve to have a book of their paintings published before I do, but because of my celebrity I've been given this great opportunity to show off my 'hobby' and, in turn, make money for charity. It isn't about how great I think I am at paining or music, but rather a reminder to people how great it can feel to just try." - John Mellencamp

Take care, Stay true,

Brian Sherwin

Controversial Artists: Some famous, some not.

I warn you that some of these artists make very graphic images.

1. Joel Peter-Witkin - Known for his use of cadavers (or parts of them.) in his photography work. I warn you that his work is VERY graphic. http://en.wikipedia.org/wiki/Joel-Peter_Witkin

2. Andres Serrano - Best known for 'Piss Christ' - http://en.wikipedia.org/wiki/Andres_Serrano

3. Damien Hirst- 'The Physical Impossibility of Death in the Mind of Someone Living' - http://en.wikipedia.org/wiki/Damien_Hirst

4. Tracey Emin - 'Everyone I have Ever Slept With' - http://en.wikipedia.org/wiki/Tracey_Emin

5.Pete Doherty - Former singer who is now painting with his own blood. - http://en.wikipedia.org/wiki/Pete_Doherty

6.Marcel Duchamp- May have been the first artist to use semen in his art. http://en.wikipedia.org/wiki/Marcel_Duchamp

7. Marc Quinn - Has used frozen blood. - http://en.wikipedia.org/wiki/Marc_Quinn

8. Lennie Lee - Is known to use urine, vomit, and fecal matter. - http://en.wikipedia.org/wiki/Lennie_Lee

9. Chris Ofili - Used elephant dung. http://en.wikipedia.org/wiki/Chris_Ofili

10. Gilbert & George -
http://en.wikipedia.org/wiki/Gilbert_and_George