Conflict Resolution: An Exhibition of Work by Teddy Cruz and Pedro Reyes at SFAI

San Francisco, CA-- On Thursday, 16 October 2008, the opening reception for Conflict Resolution—an exhibition of work generated through an ongoing collaboration between architect Teddy Cruz and artist Pedro Reyes—will be held from 5:30 to 7:30 p.m. at the Walter and McBean Galleries on SFAI’s 800 Chestnut Street campus. Free and open to the public (Tuesdays through Saturdays, from 11:00 a..m. to 6:00 p.m.), the exhibition will be on view from 17 October to 13 December 2008. The artists will also lead two Ideas for Iraq panel discussions—the first, Conflict Resolution for Iraq, occurring on Friday, 17 October 2008 at 7:30 p.m.; and the second, Design Strategies and Conflict Resolution (cosponsored by SFAI’s Design and Technology department as part of the Fall 2008 Design and Technology Salon), occurring on Wednesday, 19 November at 7:30 p.m.

For the last two years, San Diego–based architect Teddy Cruz and Mexico City–based artist Pedro Reyes have together been deliberating on, among a host of other interconnected matters, the relation between design strategy and social transformation in the age of globalization. Notably appearing in conversation in the pages of the November 2007 issue of Modern Painters, where they consider and actively invoke the power of nonrepresentational diagrammatic reasoning, Cruz and Reyes come together again, under the initiative of SFAI’s Exhibitions and Public Programs, to repurpose their “micropolicies” for transfiguring the socio-urban topography as resolution procedures for variously imbricated, ground-level conflicts, in particular, those obtaining in postinvasion Iraq.

Working neither from within nor from outside “the system” (the latter being to them every bit as bourgeois as the former is to the self-styled subversive), Cruz and Reyes seek to engage the hands-on problematic of a war-torn or otherwise-blighted urban landscape in what they refer to, after Herbert Marcuse, as “the mouth of the cobra”—that is, to engage it with critical proximity rather than distance. For instance, in no way endorsing the prevailing just-war doctrines promulgated by certain members of the US and EU intelligentsia, Cruz and Reyes nevertheless embrace the unsought but de facto opportunities for understanding conflict, mediation, and facilitation that have been brought about by the situation in Iraq. As with their collaborative ruminations on the alternative design trajectories made available in and by the Tijuana–San Diego border area (conventionally taken, from the planning and architectural perspective, as a promiscuous sprawling muddle), their reflections on how the war in Iraq was actually played out (“bottom up”), as opposed to how it was originally planned (“top down”), discover in the wake of calamity a palpable object lesson: conflict, and the dire wreckage of conflict, is, by its very nature, a base of operations for imaginative intervention and social and geopolitical negotiation—the kind of intervention and negotiation they mean both to explore and to instantiate through their collaborative project at SFAI.

Indeed, the swords-into-plowshares ethos that pervades Cruz and Reyes’s thinking is expressly thematized in a number of the works and ventures they will be exhibiting or actualizing within the physical space of the Walter and McBean Galleries or beyond it. Reyes’s call-to-action project Palas por pistolas (which literally translates as “shovels [in exchange] for handguns”)—a campaign to collect, from the embattled citizens of Culiacán, Mexico, some 1,500 weapons to be refashioned into shovels for the planting of trees—will be reactivated within a Bay Area context. Analogously, Cruz’s project in distributive justice as nonconformist cartography, McMansion Retrofitted, is a proposal—presented through videos, photographs, drawings, models, and maps—to “beat” an existing 8,000 square foot single-family suburban house into a mixed-use multifamily dwelling.

Consistent with its varied themes and methodologies—as well as with the curatorial strategies of SFAI’s director of Exhibitions and Public Programs, Hou Hanru—Conflict Resolution is coordinated and presented at the intersection of two of the principal components of SFAI’s Exhibitions and Public Programs.. The first, New Models of Production, contextualizes artistic creations against a backdrop of economic, industrial, and technical production under globalization while also investigating the concept of competing versions of modernity and the tension between developed and “underdeveloped” worlds. The second, Acting Out in the City, utilizes the galleries and spaces of the SFAI campus as points of departure for large-scale projects of urban intervention, conspicuously injecting artistic productions and awareness into public spaces.

Artist Bios:

Born in Guatemala, Teddy Cruz is a San Diego–based architect who researches and analyzes the urban transformation occurring on both sides of the US-Mexico border. Inspired by the dynamics of geopolitical, economic, and demographic division and negotiation, he studies the relation between architectural sites and the impacts they have on the production of urban spaces. He has also developed a series of critical strategies for innovative urban visions, especially as prompted by studies of the Mexican population. Cruz and his team at Estudio Teddy Cruz have proposed and realized architectural projects that emphasize social mobilization, the recycling of existing materials and conditions, and sustainability. His promotion of “informal” and alternative visions and strategies for city growth have been presented in such art events as the 10th Istanbul Biennial and the 2008 Venice Biennial’s 11th International Architecture Exhibition. His work was also included in World Factory, a group exhibition that opened in January 2007 at SFAI’s Walter and McBean Galleries. In April 2007, Cruz also lectured at SFAI as a Visiting Artist and Scholar.

Born in Mexico City, where he lives, Pedro Reyes works in a number of mediums, including installation, design, performance, and video—all with a view to social activism. Inspired by various “alternative” non-Western strategies for the production of lifestyles, urban spaces, everyday objects, and social relationships—strategies he finds to be more original and diverse than the dominant hegemonic models of the West—he considers his work a personal system for reinventing everyday environments and social relationships, extending the reach of limited natural (and artificial) resources as well as enhancing social solidarity. He has exhibited at such venues as the South London Gallery, the Museum of Contemporary Art in Chicago, El Museo Nacional Centro de Arte Reina Sofía in Madrid, Yvon Lambert Gallery in both NYC and Paris, P.S.1 Contemporary Art Center (MoMA) in NYC, Kunst-Werke Institute for Contemporary Art in Berlin, the Seattle Art Museum in Washington (USA), and the Carpenter Center for the Visual Arts at Harvard University in Cambridge (Massachusetts, USA). In November 2007, Reyes lectured at SFAI as a Visiting Artist and Scholar.

SFAI’s exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts and the Grants for the Arts/San Francisco Hotel Tax Fund. Additional support and assistance for Teddy Cruz and Pedro Reyes: Conflict Resolution have been provided by the Consulate General of Mexico in San Francisco, the Bureau of Urban Forestry in San Francisco’s Department of Public Works, the San Francisco Mayor’s Office of Protocol, and AIA San Francisco.

San Francisco Art Institute:

Founded in 1871, SFAI is one of the oldest and most prestigious schools of higher education in contemporary art in the US. Focusing on the interdependence of thinking, making, and learning, SFAI’s academic and public programs are dedicated to excellence and diversity.

SFAI’s School of Studio Practice concentrates on developing the artist’s vision through studio experiments and is based on the belief that artists are an essential part of society. It offers a BFA, an MFA, and a Post-Baccalaureate certificate in Design and Technology, Film, New Genres, Painting, Photography, Printmaking, and Sculpture/Ceramics.

SFAI’s School of Interdisciplinary Studies is motivated by the premise that critical thinking and writing, informed by an in-depth understanding of theory and practice, are essential for engaging contemporary global society. It offers degree programs in History and Theory of Contemporary Art (BA and MA), Urban Studies (BA and MA), and Exhibition and Museum Studies (MA only).

Links of Interest:

www.sfai.edu/upcoming

www.sfai.edu

Art Scholarships & Bridge Art Fair

www.myartspace.com has created a scholarship program for students of artistic merit wishing to continue their education in an approved MFA, BFA or other higher level degree program (BA or BS in Art) for the arts. The scholarship is intended for students who exhibit exceptional artistic excellence. All mediums are accepted. Including, photography and video, both contemporary and traditional in nature. The scholarship arises from the commitment to supporting artists who are committed to their skill and development as an artist.For two years myartspace has been a key figure in availing opportunity in the arts on the web and in global events.

Myartspace is providing three scholarship prizes for undergraduate students and separately three scholarship prizes for graduate students. Creating an account on myartspace is free. Entering the scholarship competition is free.The deadline for registration and online submission of work is November 21, 2008. You must upload your JPEGS/videos into a myartspace online gallery. Up to 20 images can be submitted for consideration. Scholarship winners will be announced on December 19, 2008.

First Prize:

$5000 for undergraduate student

$5000 for graduate student

Second Prize:

$2000 for undegraduate student

$2000 for graduate student

Third Prize:

$1000 for undergraduate student

$1000 for graduate student

For more information: www.myartspace.com/scholarships

www.myartspace.com has also launched a joint competition with the Bridge Art Fair. Finalists in the Art Basel Miami competition will display their art at the Bridge Art Fair art Art Basel in Miami this December. The Jury panel for the competition includes Elisabeth Sussman from the Whitney Museum, Janet Bishop from the San Francisco Museum of Modern Art (SFMOMA), JoAnne Northrup from the San Jose Museum of Art, and Michael Workman the founder of the Bridge Art Fair.

For more information visit-- www.myartspace.com/miamibasel/

Serrano’s (not so) Humble Investigative Triumph

Self Portrait by Andres Serrano

In some circles Andres Serrano is more known for offending religious groups and politicians or fueling the visual direction of a heavy metal/trash band than he is for being a ’serious’ artist. One could say that the controversy over his Piss Christ (1987) placed him on the art world map as well as the cultural map of the United States. The artist has photographed several works involving his utilization of blood, semen, and human milk. Serrano’s work made an impact throughout the 1990s-- though the positive and negative implications of that impact-- concerning public opinion of the art world and culture-- can be debated. For example, his past work-- involving semen and blood-- was featured on two album covers by heavy metal / thrash band Metallica-- a choice that received both praise and condemnation by fans and critics at the time. Since those years Serrano has found a new direction with his work… his own feces.

According to a recent interview with New York Magazine it took Andres Serrano twenty years to discover that his own feces was a viable medium for expressive purposes. He went on to say that he was “done with piss” twenty years ago. In the interview Serrano hinted that he has pushed feces further than it has ever been pushed before by an artist-- including Piero Manzoni . In fact, Serrano mentions that the character Borat is more of an influence to his fecal work than Manzoni. Andres Serrano considers his new body of work to be a “serious investigation” of the matter .

Serrano has went on to proclaim that he is “wise” for exploring feces as a medium and that other artists will envy his decision to explore that aspect of bodily waste in the way that he has. Oddly enough, my years as a mental health worker inform me that certain individuals have explored the creative capacity of feces as a form of expression much longer than Serrano has with his recent work and possibly before Manzoni’s Merda d'Artista (1961). That is not to suggest that Andres Serrano suffers from mental illness nor is it meant to suggest that Piero Manzoni suffered from mental illness… though psychologically I would say that Serrano-- just like Manzoni before him-- is very anal about his art.

It should be mentioned that Andres Serrano avoids digital manipulation within the context of his work-- so technically what you see is what you get, so to speak. His large prints are produced by conventional photographic techniques. While Serrano is most known for exploring bodily fluids he has also photographed images from morgues, burn victims, hate group members, the homeless, and “kinky’ portraits of couples. However, with his work involving urine-- including Piss Christ-- Serrano achieved widespread fame and infamy.

Serrano has long been a prime target for those who support the idea of a culture war in the United States and has been celebrated by strong supporters of artistic freedom. These responses are due to Piss Christ and the controversy that is still relevant today concerning the piece and its social implications. Thus, I think it is safe to say that Andres Serrano will be known more for his use of urine than for his use of feces-- regardless of how 'wise' or revolutionary he considers himself. Sorry Serrano.

On a side note, after hearing Metallica’s latest release, Death Magnetic, I think one of Serrano’s current images would have been an appropriate album cover. What can I say… I like Metallica’s pre-Load tracks. Sorry Metallica.

What are your thoughts about Andres Serrano and his art? Do you think that Piss Christ played a major role in the negative opinions that some people have concerning the art world? Do you consider Serrano to be an artist? Should supporters of artistic freedom give their support to artists like Serrano? Or is Serrano exploiting their good intentions? Feel free to comment with your thoughts.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art and the Internet: The Artists Are Here. When will Galleries Participate?

Art and the Internet: The Artists Are Here. When will Galleries Participate?

The internet has quickly changed the way that we think about commerce in general. Anything you can think of can be purchased online. Today, businesses can be made or broken depending on the influence they have online. The art market and the selling of art is no exception as far as good business is concerned. Years ago predictions about the influence the internet would have on the art market were often scoffed at due to the early failure of e-commerce involving art. However, much has changed since those early years and several artists and art sites-- with an entrepreneur spirit-- have went on to sell millions of dollars worth of art since that early bust. One can find story after story of artists who struggled in the brick & mortar gallery scene only to carve out their future online by utilizing the potential that the internet provides. Blogs, auction sites, and art sites with e-commerce capabilities have given artists the tools they need in order to market themselves on their own terms without the need of traditional gallery involvement. The internet is here to stay and artists will continue to benefit from it. The question is… when will the traditional galleries and art dealers catch up?

It seems that with each passing month the press notes the fact that even the traditional structure of art marketing is changing as galleries and other aspects of the art world rush to catch up with what they observed as a doomed aspect of the market early on. The changes brought on my the internet-- concerning the buying and selling of art-- has been written about in major newspapers and art magazines. However, there are still certain aspects of the art world that has been slow to embrace these changes and the benefits they offer. Is e-commerce the market for the future as far as the buying and selling of art is concerned? That question may make an art critic, art dealer, or gallery owner laugh. However, one thing is for certain, it certainly seems that it has made an impact-- at least in the careers of artists who have embraced it.

People have called this change the democratization of the art world in that the buying and selling of art is within the reach of all artists-- instead of the relatively small number who are lucky enough to have traditional gallery representation. Self-representing artists can technically avoid the gallery scene all together by focusing on their online efforts. However, there are also a number of represented artists who have also embraced the internet in order to open up new avenues of commerce as far as the sell of their art is concerned. This is a power that artists-- for the most part-- lacked before the advent of the internet. Artists can now alter their marketing path by flirting with e-commerce or pave a new path that goes beyond the traditional art market by fully embracing e-commerce.

My guess is that traditional galleries, and others who deal in art from a brick & mortar setting, will need to adapt to these changes in order to compete. They will always have their place within the market as far as integrity goes, but tradition does not always equal continued success. As it stands, it is possible for an artist to make a better living selling his or her art online than the living he or she would make through traditional gallery representation. Artists combining both marketing structures will no doubt have the greatest benefit-- even if they are viewed as rogues by their peers who disregard the influence of the internet.

What I enjoy about this recent boom in e-commerce involving art and the many ways that artists have adapted to it is the fact that artists-- in general-- appear to be more open about discussing their work. For example, it is common for artists to discuss their thoughts, process, and methods on blogs. Art collectors and others who appreciate art benefit from this exchange. Artist/bloggers tend to give information that appeals to collectors by making the experience of purchasing art online personal even if no direct contact is made. Artists are able to keep in contact with past buyers in a personal way by blogging about their work and keeping a contact list of those collectors in order to send out new information. That exchange is remarkable. The end result-- due to e-commerce-- is an art market that benefits artists and informs collectors about the artists they are considering buying from.

Instead of focusing on the traditional art marketing structure, which often involves up to 50% commission and the burden of living in a city with great expense, artists online can avoid commission all together or discover a much lower commission by utilizing art sites that attract art collectors with their site traffic and the security of the e-commerce capabilities they provide. Artists can embrace this new avenue of art marketing from the comfort of their home no matter where home may be. In that sense, aspects of the traditional art market structure no longer has dominance as far as the success or failure of an artist is concerned. To put it bluntly, art dealers and gallery owners no longer have direct control over the ability of an artist to advance his or her career nor do they have the power they once held as to how successful an artist can be based on representation and exhibits. The ambition of the individual now dictates success or failure.

Traditional galleries and art dealers will always have their place in that they will continue to have access to a tight network of press and influential collectors who may or may not have a presence online. In a sense, they will always play a role in who enters the history books due to press and the acknowledgment that is rooted in it. For example, the art magazines will always cover brick & mortar exhibits in the hubs of the art world no matter what. One could say that the traditional art market will always influence the perception the public has about specific artists and their role within the context of art history. With that said, as the internet expands so will the consideration for what is historic and meaningful. Art bloggers, like myself, are already picking up on that by featuring artists who have yet to be featured or reviewed in a major newspaper or art publication. Eventually those barriers may very well be broken even if the gatekeepers of old are able to hold back some of the flood of change. There is always room for some aspects of tradition, true?

Art dealers and galleries should take notice of the changes around them. It has been suggested that many dealers and gallery owners are not paying attention to the success of online art auctions, e-commerce art sites, and the ability artists have had to build their own careers by utilizing the internet. Very few traditional galleries with websites have e-commerce capabilities-- in fact, many gallery websites are horribly outdated compared to the standards of today and the expectations of tomorrow. The decision to not expand in an ever-changing market is either bold or foolish. In other words, if traditional galleries lose their standing it is due to being stubborn and not embracing the technology of today while everyone else is. Frankly, the same can be said for newspapers and art publications who discredit the changes that have occurred due to the internet.

History tells us that in the past certain aspects of the art world felt that the buying and selling of art online would never be in reach-- that it would not work because buyers are not able to see the art in person. Many art dealers and gallery owners feel that only mediocre art is sold online. I’ve overheard that prejudice during discussions about the validity of selling art online. However, I know artists who embrace both the traditional art market and the digital frontier of the art market-- artists who have sold art online for thousands of dollars while their work in a brick & mortar gallery remains mostly unsold. Thus, remarks about artists utilizing the internet being mediocre is a sign of ignorance or denial.

Today e-commerce involving art is obviously working and will continue to work. Especially in a time when gallery owners are reporting a decrease in traffic as far as exhibit openings are concerned. Some have suggested that the decrease is due to gas prices and other economic factors. In that sense, exploring what the internet can provide is a question of economics and keeping a roof over the art they represent. Thus, I would think that now is the time for traditional art dealers and gallery owners to take notice and to embrace the change. Unfortunately, most tend to be stubborn on the issue-- a choice that may very well hurt the artists they represent and their business as whole when everything is said and done. Artists continue to reap the benefits of e-commerce and the rewards of maintaining a social network online while the majority of art dealers and gallery owners remain gridlocked on the issue.

The art market is changing in many ways due to the internet. It is foolish to consider it as just another trend-- it is a reality. The influence of the internet and the capabilities that the internet offers, such as establishing a large network of contacts, is a reality that every successful business must accept in order to maintain that success. At some point traditional galleries may have to embrace social networking online or risk failure. For example, it has been suggested that there is a new wave of younger art collectors that have entered the market. These young collectors are internet savvy-- they have experience utilizing sites like www.facebook.com and www.myspace.com in order to keep in contact with their peers. That is an aspect of the market that artists have tapped into by utilizing social networking websites and enhanced personal websites. One must ask, why are the brick & mortar galleries behind?

The implications of social networking online concerning art and the buying and selling of art is straight forward-- it does not take a business degree to understand it or to explore it as part of a marketing plan. Thanks to the internet it is possible for artists-- or gallery owners-- to discover art collectors on social networking websites or to be discovered by that youthful-- and influential-- market. For example, social networking art sites like www.myartspace.com allow artists to build a network of fellow artists, collectors, and curators. Myartspace allows artists and gallery owners to keep track of one another and inform people in their myartspace network about their career growth and exhibitions. These connections have helped artists to be accepted into brick & mortar gallery exhibits that they would not have otherwise known about. Traditional galleries should take note of that and benefit from the connections that are within their reach.

Traditional galleries and art dealers can benefit from having a presence online as well. For example, art dealers and gallery owners can benefit from having free profiles on websites like Facebook, Myspace, and myartspace. By utilizing these websites an art dealer or gallery owner-- or staff person-- can establish a network of ‘friends’ which will result in free advertising for upcoming exhibits when said network is informed of the event. Having a social networking presence also allows art dealers and gallery owners to observe potential talent with ease. The ability to contact emerging artists or mid-career artists who are not currently represented by a brick & mortar gallery is reason enough for an art dealer or gallery owner to consider utilizing the internet as part of his or her business model. It is a way for them to keep their gallery fresh with new artists when there is space available. In a sense, the art dealer or gallery owner who utilizes the internet and social networking sites can tap into talent before other art dealers and gallery owners have the chance. Thus, it is my prediction that art dealers and gallery owners who embrace the internet may very well corner that aspect of the traditional art market by leaving their peers and rivals in the dust and confusion of ‘what was’.

In closing, artists from all walks of life-- both unknown and known to the traditional art market-- are taking responsibility for their own careers by utilizing the potential of the internet. They are reshaping the business structure of the art world by embracing e-commerce and social networking. Many are making a living, or better living, from that activity. Some artists who have never exhibited in New York, Chicago, or Miami have a better presence online than artists who have stuck to the traditional route of art marketing. In fact, some of the artists who are well-known in those centers of the art world are practically unknown online. You can scoff at that statement all you want, but the simple fact is that content is King and the internet is the King’s castle. Art dealers and gallery owners can do the same. One could say that they must embrace it for the sake of their artists. The time for wishful thinking about the ‘way things were’ has passed. Welcome to art commerce 2.0. Don’t you think it is time to participate?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Blog Buzz

Buzz from the art side of the blogosphere:
Still Life (Natura morta), 1951, Oil on canvas; 14 1/8 x 15 3/4 in. (36 x 40 cm) by Giorgio Morandi (Italian, 1890–1964). Museo Morandi, Bologna© 2008 Artists Rights Society (ARS), New York / SIAE Rome

Art News Blog
www.artnewsblog.com
This week Art News Blog focused on the Giorgio Morandi at the Metropolitan Museum of Art and Damien Hirst’s Other Criteria . Dion also asked, why do we create art?

Edward Winkleman Blog
www.edwardwinkleman.blogspot.com
This week Edward Winkleman discussed several topics. Including, some advice on
communication between artists and their galleries.

Modern Art Notes
www.artsjournal.com/man/
Tyler Green’s Modern Art Notes explores the preservation of Robert Smithson’s Spiral Jetty in a five part piece along with postscript.

Art Space Talk: Kris Knight

Kris Knight has concentrated on the creation of thematic series of figurative works. These series involve narratives that explore various expressions of duality and test the boundaries of identity. Kris’s visual compositions examine notions of performance inherit in all constructions of identity, whether sexual or asexual. Kris explores themes that often dealt with ambiguity and androgyny, with an emphasis on the notion of hiding and fronting. Thus, the portraits are often a balancing act of concealing identities and desperately wanting to let it go.

Mill Zombie/Prom King, oil on canvas, 22 x 28, 2008

Brian Sherwin: Kris, you have stated that you concentrate on the creation of a thematic series of figurative works with narratives that explore various expressions of duality and that test the boundaries of identity. Can you go into further detail about the thoughts behind your work and the themes that you explore?

Kris Knight: I start each exhibition with an overall theme and go from there. In a way, my work reads like chapters as each series has an intentional beginning and an end. The themes are bound by story telling, some autobiographical and others are made up. The majority of my work is narrative based, but I don't think each narrative is concrete. The duality of my work is that for the most part I am painting pretty pictures, but all of them have cracks, twists, and complexities that hopefully register with the viewer with further viewing. I think this notion applies to everyone and it definitely drives my work.

BS: What are the specific social implications of your work… as in, what context of society are you drawn to with the imagery you create?

KK: I like all things that are back water which totally isn't politically correct I know, but I like the simpleness mixed with the danger of being off the beaten path. The majority of my work is based in the rural, even though I'm in the largest Canadian city, I'm still very connected to life outside of Toronto. I find the country exciting, especially at night. There's a sense of uneasiness in the country because there's more freedom and less government. The characters that I paint are often outsiders, isolated by their own desire to be alone.

BS: Tell us more about the duality and juxtaposition of emotions in the characters you create… the line between content and bitterness, love and hate, good and evil…and so on?

KK: The portraits that I paint are often balancing act of concealing identities and desperately wanting to let it all go. I try to paint strong characters who are caught at the point before break down. Others are more mischievous. Their first glance beauty dissolves to subtle menace. I think all people have a little darkness in them, my characters surely do

Fur Strip, oil on canvas, 20 x 24, 2008

BS: And the exploration of sexuality within the context of your work?

KK: When I first started painting, my characters were really androgynous and asexual. I did a lot exploration in gender neutrality and the portrait, because I find that in today's society more and more people are comfortable with being who they want to be, rather than who they were raised to be. As I get older my paintings are getting more sexualized simply because I am more comfortable with my own sexuality. However, I hardly find my paintings racy, I think the sexuality is still underlying, even though my titles may not be.

BS: What about the role of place-- geographic locations-- involved with the characters you use as a narrative tool, so to speak. What role do the boundaries of their existence-- be it a city or rural town-- play in what you are conveying to viewers?

KK: As a kid, I went back and forth from being raised in a small town and being raised in the country. My giant imagination often got the best of me and I would wind up in forests and fields, especially at night. I see the country as a place that is more magical than it really is and in a way, this notion got me through growing up in the sticks. My paintings reflect this way of thinking, as my characters are often set in a nocturnal countryside that is sugared with magic.

BS: So would you say that your work is often a reflection of your own past and experiences as portrayed through the characters you create? In other words, are they a reflection of who you are or who you once were, philosophically speaking?

KK: I see my paintings as stories and many of them are my own. Some are based on memory and others are based on dream. Sometimes I gossip about others in my paintings, but gossip is still a method of storytelling. History wouldn't be the same without it.
Watchman (Don’t Come Around Here No More), oil on canvas, 16 x 20, 2008

BS: Having grown up in a rural setting… have you ever experienced any prejudice professionally as far as reactions from people, specifically other artists and art professionals, in larger cities when they discover that aspect of your past? I only ask because I’ve interviewed a few other rural born artists who have had experiences of that nature. If so, how do you face it?

KK: I don't think I have experienced prejudice professionally, but I've experienced prejudice personally, especially growing up gay in the country and not suppressing it. I'm not an academic, I'm not of wealth, I paint pictures that are personal to me and make a living off of it. I expose my creativity in a way that feels honest and I don't cover up who I am and where I've come from.

BS: My understanding is that you are preparing for a solo exhibit at Spinello Gallery in October titled So Long Scarecrow. Can you give our readers some insight into the work that will be displayed at that exhibit?

KK: So Long Scarecrow is a dedication to the lost friends of my old hometown. The guardians of tradition who never migrated for cities, schools, and travel, but rather, stayed behind to sow their own fortunes and shortcomings nonetheless. The young adults, who swiftly swooped up the town’s scarce employment opportunities, simply to be consumed by the hopeless redundancy of routine. The men and women who became adults so early, who filled their father’s footsteps, while half their classmates took flight for good come fall.

These are my scarecrows, my burned out youths (in more ways than one) who characterize so many of my portraits. Who thanklessly sustain withering communities from becoming ghost towns by staying exactly where they are. But life isn’t always tedious for my scarecrows. The smart ones find magic in the fields and forests that border their homes. Within these paintings mix stories of strength, exhaustion and isolation but not with out the magic and mischief that is harvest time.
Fuck Me and Marry Me Young, oil on canvas, 14 x 18, 2008

BS: Are you thinking beyond the solo at Spinello Gallery? Do you have any other exhibits lined up, so to speak?

KK: Yes I'll be having new work at the Miami art fairs in December and I'll be exhibiting in some group shows in Canada in early 2009. My next solo show is in June 2009 at Katharine Mulherin Contemporary Art Projects in Toronto. It's called "Farewell Log Cabin" and is the second part of this series. It's going to be the sexy, dark and winterized conclusion of this series. I want to make winter sexy if that's possible.

You can learn more about Kris Knight by visiting his website-- www.krisknight.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Stella Lai: Fat Children Ruined My Life

California artist, Stella Lai, will open her solo exhibition at the F2 Gallery in Beijing on Sunday, September 28, 2008. Please check out the details of the exhibition on www.f2gallery.com. I interviewed Stella Lai after being introduced to her work at the PULSE art fair in 2007.

Stella was born in Hong Kong. Her paintings have been described as so precise that they could pass for digital prints. Her work is influenced by the cultural environment of Hong Kong , which was returned to China in 1997 after 155 years as a British colony. By drawing upon her memories and knowledge of the architecture and language of Hong Kong , Lai has developed an installation of paintings that examine the city’s bipolar history and new status as a hyper-accelerated metropolis dominated by 21st century consumption.

Art Space Talk: Phillip John Charette

Phillip John Charette’s masks reflect old traditional Yup’ik cosmology with his own contemporary interpretations and some added twists. Phillip is a member of the Yupiit Nation in Southwestern Alaska along the Kuskokwim River, and is enrolled through the Bureau of Indian Affairs with the Alaskan Native 13th Regional Corporation. His Alaskan Native Yup'ik name is Aarnaquq which means "the one who is dangerous...".

The style of Phillip’s work is inspired by elements found in traditional ceremonial objects that he has researched in museums. Contemporary materials are incorporated for impact which help to convey ideas that he wishes to express. In spite of the fact that he uses contemporary materials, carving - a Yup'ik tradition - is incorporated in his artistic process.

Phillip’s work reflects who his namesake Aarnaquq is, acknowledges Aarnaquq, and allows the artist to follow in the footsteps of his namesake. Phillip carries on a new tradition of Yup'ik spiritual works. Utilizing contemporary ideas, materials, and stories, new traditions evolve and reach out to those listening and in need.

Gathering Place --This piece represents a gathering place or a place where people of different backgrounds and interests gather.

Brian Sherwin: Phillip, you hold degrees from the University of Alaska Fairbanks and Harvard University in Education, Native Studies, and Administration. However, in 2001 you left your position in administration in order to pursue work as a full-time artist. What made you decide to take that change in direction, so to speak?

Phillip John Charette: I was working in an administrative position at the University of Wisconsin Madison when I changed directions. It was a stressful position with long hours, compromising my health. My doctor ordered me to leave the position and get out of administration altogether, change my lifestyle, and look for a new healthier career. I was told that if I did not change my lifestyle, I would be dead in less then five years from a massive heart attack. It is interesting how differently you look at life once you are given a definitive time line for the time you have left to live. Given the option, I followed doctors orders and relocated to a small town in rural Oregon.

Because of my academic background and experience, it turned out I was over-qualified for many positions I applied for. In the Winter of 1999, I took a beginning pottery class, which helped put me on the path to re-inventing myself. My work was considered high-level by instructors and other artists, which led to instructing three pottery classes the following Spring. With the encouragement of friends and families, I began entering art competitions, winning awards, and receiving more and more recognition as an artist. Thus, my career as an artist was born, and in 2001 I became a full-time professional artist.

Qucillgaq -- Qucillgaq is Yup'ik for Crane. This mask has special meaning between me and my Yup'ik grandparents. Briefly, it is a reminder not to be consumed by one's self.

BS: Phillip, you are a member of the Yupiit Nation in Southwestern Alaska. My understanding is that your tribal name is Aarnaquq. Can you discuss the traditions of the Yupiit Nation and how they are reflected in your work?

PJC: Yup'ik in our language means "Real Person" implying a deep connection to all things in the universe. As such, traditional Yup'ik cosmology is deeply spiritual, emphasizing our connection to all things tangible and intangible. There is a rich breadth of tradition in the Yup'ik culture, which is too much to answer here. However, I will speak to those that are most reflected in my work.

All traditional Yup'ik ways of being are intertwined with the spirit world and are reflected in our spiritual beliefs. For example, traditional Yupik cosmology believes in the reincarnation of spirit from lifetime to lifetime so that the spirit always continues. In my work, I paint many small white dots representing stars where ancestors and spirits freely move. I include hoops or rings, which represent the physical world and the spirit world interconnected. The red in my work, is a reflection of when our shamans used real blood in masks, creating doorways to the spirit world. Integration of spirit faces representing family members who shaped the spirit of the mask or sculpture are used. Many animal spirits show the interconnectedness we share with fellow creatures of the universe.

While there is much more detail to my work that, for the sake of space, I won't go into here, it is important to note that everything that I put into a piece has some connection to our traditional beliefs presented in a contemporary manner. Every color, embellishment, and detail bears special meaning. With each mask, those meanings are provided when they are on display or sold. Bear Tuunraq -- This bear mask was inspired by my father and the life he lived as a law enforcement officer. It teaches us how a strong and beautiful spirit can disfigured by the life it lead. The story goes with this piece and is for anyone who's strong and beautiful spirit was disfigured by the life it had to live. It reminds us to carefully think about the life path we choose. The life path we choose ultimately shapes the spirit we become and the spirit we must ultimately face.

BS: Can you go into detail about the contemporary interpretations of your work? Your work often involves a meshing of tradition with an added contemporary twist, correct?

PJC: Yes, my work is a reflection of many Yup'ik traditions, sometimes utilizing contemporary thoughts or ideas. More importantly, I use traditional themes while incorporating contemporary materials, pushing the subject of my work to the next level of fine art and illustrating the complexity of our traditional cosmology. Some of our elders have pointed out that the next generation of emerging Yup'ik artists need new technical and creative benchmarks. These benchmarks are necessary to move Yup'ik art and cosmology to the next level as they compete with many things in the contemporary world. So, I continually strive to push the art, technical level, and cosmology to the next level in hopes of capturing the spirit and imagination of our youth; encouraging them to move the spirit of the art beyond the level of my work as it evolves.

BS: Your name, Aarnaquq, means "the one who is dangerous...". I understand that your namesake is important within the context of your work. Can you explain this connection?

PJC: As a result of the traditional belief in reincarnation, it is the responsibility of the elders to look at the spirit that has returned and give back the name of that person from their previous life. This person is then treated as the person's previous spirit that went before them, carrying all the knowledge, responsibility, and wisdom of that person's spirit through their current life. My grandparents Cunar and Nausgauq, with other elders, remembered me, naming me Aarnaquq, treating me as their parent/grandparents, and giving me the same responsibilities. I am named after my great grandmother Aarnaquq and my great, great grandfather Aarnaquq who were both powerful healers on the Kuskokwim River/Bristol Bay areas. It was the responsibility of our healers (Shaman) to direct or make Yup'ik masks and all things spiritual. Dance or performance masks were used for many purposes, including spiritual ceremony.

When I began as an artist, I struggled with sharing, selling, and showing my work. At one point, I was at a crossroads with my work and the pressure to make a living from art bore heavily on my contemporary notion of what success is. I shared my distress with one of my elders and they became firm in both their advice and resolve. I was told, "You are Aarnaquq!...this is who YOU are...this is what you are supposed to do!...If you don't do this, Aarnaquq, who will do this and carry this tradition on in the way you are doing it and meant to do it!" With these words, I swallowed hard and realized what the body of my work represented; it IS my responsibility to my spirit and the spirit of the Yup'ik people to do this work. So, now every time I make a piece, I think of my responsibility as Aarnaquq to continue doing what I am supposed to do. In a strange twist of fate, I am doing what my spirit was meant to do from a "traditional" Yup'ik tradition.
Ullagait Anateng -- This mask teaches us of our responsibilities to our children to create a solid foundation for the future of humanity. This mask would be for anyone who sees the cycle of life as a continuous journey.

BS: If you don’t mind, can you discuss the spiritual aspects of your work? Is there a spiritual message that you strive to convey to those who view your work?

PJC: Most of the spiritual elements of my work tie into traditional Yup'ik ways of being and cosmology. It is difficult to speak of specific spiritual aspects, as that is the responsibility of our traditional healers. The Yup'ik elders identify who is qualified to speak of such things. At this point in my life, I feel that I am not qualified to openly discuss core spiritual aspects of Yup'ik cosmology,other then with Yup'ik elders. However, my work is very spiritual in nature, reflecting some commonly known spiritual themes.

Most of my work does convey strong spiritual messages, which people with diverse backgrounds can relate to. What intrigues me is the connection that people - from all walks of life - make with the meaning in my work. It is both powerful and humbling to see people make such significant connections to my work in their own personal and spiritual ways. I guess if I were to identify one unifying spiritual theme in my work, it would have to be that we are connected to all things in the universe.

BS: As for spirituality in art, some art critics suggest that there is no room for the spiritual in contemporary art-- that we have reached a point that it is no longer valid. I must ask, when you visit a museum, gallery, or even a fellow artists studio in order to observe contemporary works… do you observe aspects of spirituality within the art you observe-- even in works of non-native peoples? Would you say that all art contains some form of spiritual essence regardless of the artists intention? What are your thoughts on that?

PJC: I have to disagree with some of those critics. But then again, I think it is important to know what one's definition of spiritual is in order to disagree with this statement. My definition of spiritual deals with all elements of the human condition: feelings, emotions, conditions, and the energy we get and put into our lives and in what we share with others. With this in mind, a work of art that is only done in a technical manner may be free of anything spiritual from the artist, but does it make it spiritless? If an observer of fine contemporary art connects with some deep element within a piece [not meant to be spiritual], moving them completely and without intent, is the work spiritual or not spiritual?

I've done a number of shows with many contemporary artists from all walks of life and am fascinated at how much personal and spiritual meaning artists put into contemporary works of art. I was part of a traveling museum exhibit titled "Changing Hands II, Art Without Reservation," which traveled to many museums around the United States. Upon first glance, a number of the pieces were wonderful contemporary works of art with exciting and exceptional technical elements, not striking me as being very spiritual. However, during the opening of the exhibition at the Museum of Art and Design in New York, a number of artists were on hand to discuss their work; which is always an eye opening experience. I was amazed at the high percentage of artists who wove in personal and spiritual threads to their work.

For example, an fellow artist and I were discussing their contemporary piece that had deep spiritual meaning and was quite profound. It just so happened that a writer for an art magazine was eavesdropping on our Native to Native conversation and was quite taken by what the artist had to say about their piece. The writer simply stood stunned and said, "Wow, I would have never gotten the meaning of the piece just by looking at it....With your description, I now understand just how powerful and deep this piece really is!" So, the intent of the artist was to tie in a personal spiritual element, making the piece very powerful; whereas the initial interpretation of this piece by a critic was far from spiritual, with the critic looking only at the technical aspects and the composition. Just because a critic does not see the spiritual in contemporary art doesn't mean it doesn't exist or that it is no longer valid as defined by their definition of spiritual.

Throughout human history, contemporary artists [in each of their days], expressed the spirit of the human condition in many of the masterpieces now on exhibition in museums around the world. In my travels, I've had the opportunity to see a breadth of human expressions in art (some of which completely took my breath away) that are very spiritual in nature. As a Yup'ik artist, I see aspects of spirituality within all works of art from both Native and non-native peoples, perhaps due to my cultural and spiritual upbringing. More importantly, people from all walks of life (from diverse religious backgrounds) make their own spiritual connections to my work in ways I never intended.

To completely understand a contemporary work of art, I believe it is vital that the observer interact with the artist whenever possible to make a complete connection. I believe that all art is interactive and dynamic, expressing the spirit of our human condition and connecting us to something deep within ourselves: our spiritual essence. I believe that those who live a connected life (in whatever spiritual way they choose) will experience the spiritual connection in the processes of life, and their interconnectedness with life and art. Those who live as vapid travelers disconnected from life and emotion, well lets just hope that they find some happiness in their life...but not as critics.

Wold Mask -- Symbolizes the connection I made with a wolf in the Brooks Range Alaska. A memorable connection with a beautiful and large wolf when I was hunting with my family along the Yukon River. Note: Additional feathers have been added since this photo was taken.

BS: In your opinion, why do we need to seek the spiritual in art?

PJC: The spiritual has been in art since the first cave paintings were made. Traditional Yup'ik art was functional in the sense that it described what could not be seen: the physical world, and the life we share this world with in the natural environment. Traditional art provided a foundation for all of our spiritual beliefs, expressing the spiritual elements we live with. The function of traditional Yup'ik art provided our peoples with guidance, power, protection, and wisdom. It also answered questions about spirits, human beings, other creatures, the natural world, where we are, and where our spirit will go.

Again, throughout history, we've needed to express the spiritual in art as it connected us to the core of who we are, where we are going, and where we will go as terrestrial beings. To say that there is no room for the spiritual in contemporary art is like saying that there is no room for the human condition in art! If this were the case, then machines should take over the production and appreciation of art.
This mask teaches us about selfishness, greed, love, and fairness. This mask would be appropriate for anyone who pursues something without regarding the consequences to others and - in the end - to them selves.

BS: Tell us more about your work… specifically your mixed media sculptures and Yup’ik masks. Perhaps you can describe some of the methods of your process?

PJC: My mixed media sculptures and Yup'ik masks continually evolve in unexpected ways. They are complex composite works sometimes requiring hundreds of smaller pieces connected to one unifying theme. Some of my medium work may take months while other larger pieces sometimes take years to complete. On average, one of my larger pieces of work takes a year depending on the processes and number of techniques I use. My work includes, but is not limited to, wood carving, wood carving with a torch, wood bending, clay sculpture, fine work with porcelain, raku, horse-hair firing, fused glass, bronze work, working with found objects, painting, printing, bead work, metal smithing, photography, and a variety of finishing techniques. I incorporate so many techniques and employ newer techniques on a regular basis that it would be difficult to list them all here.

BS: One of your masks can be found in the permanent collection at the Portland Art Museum. I understand that it is located in the Arctic room. Where else can our readers view your work in person?

PJC: In Oregon, the Coos Art Museum, the Hallie Ford Museum, and Crow's Shadow Institute of the Arts all have my work. I do shows all over the US which include the Santa Fe Indian Art Market, the Eiteljorg Museum Art Market, the Heard Museum Art Market, the Washington State History Museum Art Market, the National Museum of the American Indian Art Market( NY & DC), American Concern for Artistry, and a host of other art markets, with locations found on my web site. My work is also at the Stonington Gallery in Seattle, the Freed Gallery in Lincoln City, the Northwest by Northeset Gallery in Cannon Beach, and the Carnegie Crossroads Art Center in Baker City. Commercial locations include The Brimstone Woodfire Grill in Pembroke Pines, Florida, and the Bandon Dunes Resort in Bandon, Oregon.

The Dance -- This single page triptych represents the dance of life. It was done using a traditional story knife. The story is told by a left handed person starting from right to left, inverting and continuing from left to right, inverting again and finishing from left to right. The symbol in the background represents life. Follow the traditional footstep symbols to read the story. Each piece is unique

BS: Can you tell us about your recent work? What are you working on at this time?
PJC: I heard both Ellen Taubman and David McFadden (curators of Changing Hands II) say that I've definitely developed my own style since Changing Hands... and that my style has become recognizable, having its own signature. As my work evolves, it becomes more and more difficult to identify the box it fits into, especially for judging and in competition at National venues. As an artist you are told that you need to push the envelope, stretching out to new frontiers of expression. Yet, the art Establishment constantly narrowly defines boxes that work fits into. What I CAN say about my recent work is that it fits less and less into specific categories and is sometimes very difficult to define. I find it humorous when entering art competition that I usually end up talking with the head judge who shrugs and says, put your art in the category that you think it best fits.

I am very excited about my recent work. Especially my recent prints. I just finished a print titled "Medicine" printed with a Tamarind Master printer at Crow's Shadow Institute of the Arts and it was a total winner; it is a mixed mono print, with 14 in the series. This print expresses what traditional medicine meant to Yup'ik people: having a shaman wearing different masks, drummers under the shaman during ceremony, the Kuskokwim mountains in the background, and an eclipsed moon showing a time of ceremony. These mono prints took several steps to finish and the process can be found on my web site under the prints page.

I entered the "Medicine" print at the Santa Fe Indian Art Market (the most prestigious Native American Art Market) which had a great deal of strong competition. "Medicine" was awarded a First Place Blue Ribbon for mono prints and the Best of Division for two dimensional works. When I returned to Baker, I entered it into the Eastern Oregon Open Regional Art competition and it took Best of Show.

My recent three dimensional work is also exciting. I have been fusing animals with human forms, making the human face the body of the animal. I've also pushed my finishing work to the next level and have been incorporating more precious stones. I want to incorporate more of my fused glass and would like to get a commission to do a large work in glass, bronze or a combination of the two. My recent work has a great deal of red and refined elements, which are traditional in pre-contact pieces. I am currently finishing work for a market at the Nassau Museum in New York this October.

Singing Spirit Masks -- These small mask represent spirits singing with full emotion. These masks are one of my signature pieces of work

BS: Finally, is there anything else you would like to say about your art?

PJC: “Aarnaquq Cegg'artuq!", The one who is dangerous is alive and awake!

You can learn more about Phillip John Charette by visiting his website-- www.yupikmask.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Space Talk: Chuck Avery

Chuck Avery has explored photography for several decades. Most recently he has been concentrating on documenting suburban growth and sprawl -- producing a series titled Landscape of Progress. He has also focused on a project that explores the artificial realities found in tourist attractions. He strives to interject political thought into his work without making it strident or dogmatic. The series was originally titled Architecture of Amusement and has since been titled Popular Culture. Chuck was one of the 50 finalists in the Myartspace New York, New York Competition in 2007. His work can be found in the collection of the Frederick R. Weisman Art Museum in Minneapolis, MN.

Landscape of Progress: Separation by Chuck Avery

Brian Sherwin : Chuck, I understand that the experiences of growing up in the 50’s and 60’s made a huge impact on your development as an artist. Can you discuss your youth and how influences of your early years can still be found within the context of your art today?

Chuck Avery: The obvious influence that I carry from that time period is an awareness of how politics and social issues are used to shape and mold public opinion. My biggest struggle as an artist is in finding an effective means to voice those concerns.

In high school, I was attracted to architecture and won statewide honors for some designs I came up with. I studied architecture in college for a couple years before landing a job in a small architectural firm learning the nuts and bolts of the business. You can find both influences up front in my work; in the political/social themes of my projects, and in the structure of my images.
Beneath the Surface: Ascent by Chuck Avery

BS: I understand that you studied at the Kansas City Art Institute. Can you discuss that experience? For example, did you have any influential instructors at that time?

CA: I went straight to art school after deciding I didn’t care for the Business of architecture. I had no background whatsoever in art at that time, so I was like a sponge for those three years, absorbing and loving every minute of it. I gravitated towards documentary photography, and was helped in developing my ideas and thinking by Gary Bodenhausen (instructor) and maybe to a greater extent by my colleagues in the photo department. It was a very fertile time.

I spent a semester on the road in 1976 doing an independent study photographing sightseeing attractions. From this I produced a two-volume book set titled (surprise!) Sightseeing. I have picked this project up again after 25 years and am currently working on it with new ideas and perspectives.

BS: At what point -- before art school-- did you find interest in photography? What attracted you to photography compared to say, painting? Did you always have interest in art and in expressing yourself visually?

CA: I’ve had an interest in photography since I was an eight year old with my first Diana camera, taking time exposures of taillights streaking by in front of the house. It was a natural attraction sparked by curiosity of what the possibilities with film and a lens were. My creative impulses never translated to anything else other than model cars at that early age. It wasn’t until I packed off to art school at the ripe age of 22 that I discovered and locked into my very own personal muse.
Americana: Its You by Chuck Avery

BS: What can you tell us about your other influences? Where do you find inspiration, so to speak?

CA: My main influences have been photographers: Walker Evans, Louis Baltz, Stephen Shore, Robert Adams and Lee Friedlander. Walker Evans made it clear to me that social and cultural issues can be effectively and poetically addressed with astute observation. Shore opened my eyes to the use of everyday color. Friedlander redefined the boundaries of the frame, giving a new freedom to the camera. Baltz and Adams opened my eyes to the use of landscape as a metaphor for our cultural state of being.

BS: What are the social implications of your art? Do you have specific message that you strive to convey to viewers about society as you see it?

CA: My work is about documenting aspects of the American cultural landscape and its effect on both our physical environment and our understanding of ourselves. My images are not overtly political, but are intended to give pause and thought to cultural and social issues. My aim is to raise perception and awareness of issues that tie into how we act as a culture. How does or lifestyle impact the environment? How do we perceive ourselves, and how do we form this self-image? Is this self-perception an accurate representation, or is it a polished idealization?

It’d be nice to slap people upside the head to make them aware of these concerns, but then we delve into the realm of dogma and the message is lost. I am presenting a point of view that invites consideration of these ideas by creating art that works as strongly on an aesthetic level as it does on a social/political level.
Beneath the Surface: Rebar by Chuck Avery

BS: Chuck, after graduation you spent the next twenty years raising a family. My understanding is that during that time your photography work was sporadic at best. Having helped raise your family you were able, In 2001, to devote your full attention to photography once more. Do you have any regrets concerning the years you were unable to focus on photography fully? Or would you say that the life experiences during those years have helped to make you a better photographer?

CA: First off, I have no regrets. It was an easy decision to focus my attention on raising my family, rather than developing my art. Besides, the time and energy needed to do that (I was working in photo labs full time) just wasn’t available, and I didn’t want to do it half-assed.

When I started back up in 2001, the first thing I did was to review and print the images that I had shot over those years in order to get my bearings. It gave me a good sense of where I was at and allowed me to pick up certain threads in my work and move ahead with them. Plus it gave me a huge shot of energy to see that I hadn’t lost my way.

BS: As mentioned, you were able to work on sporadic projects during those years. Have you noticed a shift in direction since 2001 compared to the photographs you took up until that point? Or is the work a continuation of the work you had done before?

CA: Most of what I shot over those years had more of an internal focus. There is a lot of attention to decay and growth, of transitional states in this earlier work. As I began shooting with purpose again, I was searching for a way to express my larger social and political beliefs. Finding a suburban area undergoing massive development gave me a vehicle to finally express some of these concerns.

This led to my series called Landscape of Progress, which was selected as a finalist in the New York, New York competition here on Myartspace. The tight focus of this project was a change in direction from the more exploratory work that had preceded it. However, my current project is touching on themes that I developed while at art school, notably the continuation and refinement of my sightseeing series. So I guess it’s a little bit of both, to answer your question.

Popular Culture: Greek by Chuck Avery

BS: Tell us about some of your recent projects, such as Architecture of Amusement. Perhaps you can go into further detail about the thoughts behind your work as a whole… the themes you explore and so on?

CA: I’ve changed the title of this project from Architecture of Amusement to Popular Culture. It is an outgrowth of the books I made at the Kansas City Art Institute in the 70’s called Sightseeing. The focus of this project is the role that the tourism/leisure industry plays in the institutionalization of our cultural memory and identity. How is American cultural history presented and perpetuated by museums, tourist, and recreational attractions? To help answer that question I am looking at the stories and information that you find when traveling and visiting these types of places.

As I said earlier, the biggest challenge I have set up for myself is to interject political thought into my work without making it strident or dogmatic, while at the same time making the images interesting and inviting for the viewer. I don’t know where I am at on that spectrum, but I at the root of it, my work is about the image and making your eyes happy.

BS: As you mentioned, you were one of the 50 finalists in the Myartspace New York, New York competition in 2007. You are currently showing some pieces at the Coalition for Photographic Arts in Milwaukee in a regional show juried by George Slade. What do you enjoy about competitions and juried exhibits? Would you say that it is important for artists to compete?

CA: Juried shows and competitions are one avenue to get my work in front of the eyes of curators and gallerists who can make a difference. It is an easy way to get the work out there, while pounding away at the grant applications and doing the marketing dance. I would definitely recommend doing it, but it is only one leg of the work that you need to do to have a chance at being successful.

Landscape of Progress: Pole by Chuck Avery

BS: I understand that you will have a solo show in February involving your Landscape of Progress project. Where will that take place? Perhaps you can give us some further detail about that exhibit? Do you have anything else lined up?

CA: This will be a small show of 12 – 15 images in conjunction with the Phipps Center for the Arts in Hudson, Wisconsin. It is part of a Healing Arts program that is staged at the newly built hospital in town. It will be up for about three months starting in February 2009. The rest of my focus for next year is to travel and shoot as much as possible.

BS: Finally, is there anything else you would like to say about your art and the goals that you have?

CA: I am thankful for the help that I have had in the few years since I’ve become a practicing artist again. George Slade of the late, great Minnesota Center for Photography here in Minneapolis has given me much encouragement and guidance to help me get to where I am now. Publishing a book of the Landscape of Progress series is a major goal of mine (you can find my current version of it on Blurb). I am hoping to have Popular Culture finished to the point of being ready for solo showing by this time next year.

You can learn more about Chuck Avery by visiting his website-- www.chuckaveryphoto.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Chuck Avery is a member of the myartspace community-- www.myartspace.com/chuckavery

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Spinello Gallery: So Long Scarecrow

MILL ZOMBIE / PROM KING, OIL ON CANVAS, 22" x 28", 2008

TUESDAY, SEPTEMBER 23RD, 2008: Spinello Gallery (2294 NW 2nd Avenue, Miami Florida - 33127) is proud to present, "So Long Scarecrow," an exhibition of paintings by Kris Knight. This will be Knight's first exhibition with the gallery.

Kris Knight's latest series of paintings pays homage to the lost friends of the artists hometown; the guardians of tradition who never migrated, but rather stayed behind to sow their fortunes and reap their shortcomings amidst the hopeless redundancy of routine.

Boys and girls who became adults so early by following in their parent's footsteps as half of their classmates took flight are Knight's scarecrows-- his secretive and burned-out youths who thanklessly sustain withering communities; preventing them from becoming ghost towns by staying exactly where they are.

But life isn't always tedious for Knight's scarecrows. The smart ones find magic in the fields and forests that border their homes and in the fleeting moments that precede dawns early light, their ageless effigies, like porcelain nymphs, are caught in glimpses between the trees. Within these paintings are mixed stories of strength, exhaustion and isolation but not with out the magic that is harvest time.

Kris Knight is a Toronto-based painter whose work examines performance in relation to the construction, portrayal and boundaries of sexual and asexual identities. Concentrating on thematic, figurative works that are often as attractive as they are disturbing, his paintings allude to various expressions of duality, often dealing with opposing notions of hiding and confronting, ambiguity and androgyny, innocence and the erotic.

Through the creation of imaginary and biographical character-based narratives, Knight attempts to strike a balance between the dichotomies of pretty and menace and myth and reality. Depicting intimate, but nonetheless foreboding nocturnal, rural landscapes as a background for his narratives, Knight's often tense portraits are sugared with elements of Canadiana representative of his upbringing.

Exhibition through November 1st.

www.spinellogallery.com

Will Tracey Emin’s Sparrow Fly Again?

Will Tracey Emin’s Sparrow Fly Again?

The Roman Standard by Tracey Emin

Did you know that a bronze sparrow can fly? Not really-- but in the hands of a thief a little bronze bird can easily leave her perch. Tracey Emin’s ‘The Roman Standard’-- the first piece of public art created by the artist-- has recently been the target of thieves. The piece, which is located outside the Oratory near the Anglican Cathedral in Liverpool, was unveiled three years ago. Emin was commissioned by the BBC to create the piece for the art05 festival. Emin has stated that the sculpture is a symbol of "hope, faith and spirituality" and that her choice of the sparrow represents the “angels of this earth” and “freedom“. At the time she went on to say, "My Roman Standard represents strength but also femininity. Most public sculptures are a symbol of power which I find oppressive and dark." Since that time the bronze sparrow has been relatively safe perched upon a bronze pole. However, in June of 2008 the bird vanished-- for the first time.

In June of this year the £60,000 bronze sparrow went missing for two weeks-- though there has been some discrepancies as to the time-line of events based on what I‘ve read-- leaving a lonely bronze pole and frantic cathedral staff behind. The local authorities had difficulties with their investigation during the first ‘flight’ of Emin’s sparrow because the ownership of the piece had been disputed. The cathedral did not acknowledge ownership and a BBC spokeswoman stated, “The BBC commissioned the sculpture but does not own it and therefore does not have duty of care for its maintenance or welfare. This is covered by White Cube gallery and the artist.” to which a White Cube spokeswoman replied, "The BBC commissioned the piece they are the best people to discuss this with." Apparently the authorities were unable to gather details from the artist, Tracey Emin. There were doubts that the £60,000 bird would return to her perch and questions as to why the three possible owners were not taking a more active role in solving the puzzle.

However, the bird was recovered in early July after an anonymous caller informed BBC Radio where the small bronze bird had been placed. The piece was found on the grounds of the Oratory in an envelope marked "FAO Tracey Emin: URGENT!". A note attached to the sculpture read, "We are sorry - No harm meant. We would have returned it sooner but we were scared xxx."-- which means the thieves had returned to the scene of the crime unnoticed. Upon being retrieved the bronze bird was returned to her bronze perch. However, the bird did not rest for long.

The sparrow took ‘flight’ again this month. The September theft of Emin’s sparrow from her piece, ‘The Roman Standard’, marks the second time in a span of 3 months that the sculpture had been disrupted and the bronze bird stolen. However, this time Emin’s sparrow was returned within a few days by an individual who has yet to be named by authorities. The sculpture was handed over to police who in turn passed it on to BBC Radio Merseyside last Saturday. Will the bronze sparrow take ‘flight’ again? That is the £60,000 question.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Obama’s Obedient Artist: Is Shepard Fairey a Farce?

Obama’s Obedient Artist: Is Shepard Fairey a Farce? HOPE by Shepard Fairey

I recently read an article about Shepard Fairey which suggested that he is the sole reason for street art shifting toward the mainstream art world today. I don’t agree with that. In my opinion Fairey is a minor dot concerning mainstream acceptance of street art. True, his image of Obama titled ‘HOPE’ has sparked a following, but that hardly makes him a major player in the underground scene or mainstream scene. In fact, one could say that he is simply riding the coat tails of Obama in order to achieve art stardom or that Obama is using Fairey in order to appeal to the youth of the United States. What better way to appear hip than to utilize the skills of a street artist, right? One thing is for certain, no matter who is using who or if it is truly a mutual effort-- there is a message just under the surface of ‘HOPE’ that should be examined before hype sways opinions.

For those who don’t know, Shepard Fairey is a street artist who is known for his guerrilla art tactics-- as in placing posters, stickers, and creating stencil work and other aspects of street art in places that are often in violation of the law. Due to the nature of Fairey’s art he has been arrested several times. For years he focused on images involving the slogan “Obey” as a way of provoking people to question their obedience within the context of society. While anti-corporation and anti-government themes are not overly original-- especially as far as street art is concerned-- Fairey’s work at that time had a message and a following that was beyond the control of any specific political party.

Enter Obama. Fairey’s Obama inspired art is due to his fandom for the candidate. In fact, the ‘radical artist’ was cautious about approaching Obama as a subject for his work due to the concerns he had about how his use of the Obama image would be viewed by the Democrat Party and the public. He was worried that his work might hurt Obama’s campaign. Thus, the street artist known for being radical and against political and corporate obedience sought acceptance openly from a political party-- he traded his edgy street virtue for a new vision of hope.

Fairey has stated that that at the time Obama’s camp gave him an “unofficial wink and nod” concerning his desire to use Obama’s image within the context of his work. The unofficial acceptance was enough to spur Fairey into production. In a sense, his work no longer explored the concepts of his ‘Obey’ imagery-- at least not in the way it had. Instead, his new message became ‘Obama’ which ironically challenged his previous visual statements about obedience and the avoidance of political and corporate hype as far as I’m concerned. I'd go as far as to say that Fairey's recent work fractures the very foundation of his past. Thus, the validity of his work is in question in a manner that goes beyond the common charges of plagiarism that has haunted his progression as an artist-- more on that later.

Guns and Roses by Shepard Fairey

Left: Political power comes from the barrel of a gun - Artist unknown. 1968. Chinese poster from the Great Proletarian Cultural Revolution period. The title of this poster quotes the famous pronouncement made by Mao Tse-Tung. Right: Fairey's plagiarized version titled, Guns and Roses. Original concept? You decide.

Now to the surface of the matter. The original concept for the Obama ’HOPE’ image involved heavy borrowing from Alberto Korda's famed shot of revolutionary Che Guevara. It involved the slogan ‘PROGRESS’ instead of “HOPE” and was very successful having sold out within minutes of being released. Fairey was contacted again by the Obama campaign shortly after the success of the red, white, and blue ‘PROGRESS’ Obama print. The Obama campaign sought an officially sanctioned poster in the same style. However, Obama’s campaign was worried that the ’PROGRESS’ slogan would be considered Marxist by the public. Thus, with Obama’s official endorsement came change of a different nature.

Under the ‘pay grade’-- I mean watchful eye-- of the Obama campaign Fairey had to use a photo and slogan approved by the Obama campaign. In a sense, he was told what to do as well as the message to convey. The end result is an image that is nothing more than political-- as well as corporate-- propaganda just under the surface. The redesigned image was destined to feature the now famous- and not so Marxist- ‘HOPE’ slogan that has captured the attention of millions. Fairey, obedient to the Obama campaign, altered the meaning of his original message as well as the image itself. In my opinion, that action demands questions concerning the validity of Shepard Fairey and his art. Does Fairey stay true to the streets when making a statement? True to himself? True to the philosophies he has built a career on? Or can his message be bought and sold? Assimilated into the very entities he once railed against?

Fairey has stated, “I didn't want anything I did to be a liability or an unwanted endorsement," concerning the art he has created with Obama as his inspiration. Fairey’s Obama inspired merchandise has earned over $400,000 for the Obama Campaign. Fairey claims that he has donated 100% of the profit from his Obama inspired works to the Obama Campaign, stating, "I have not kept one dime from the Obama posters," in a recent article. In a sense, he has tipped his hat to Obama. That is exactly what troubles me about Shepard Fairey. He will go lengths to obtain unofficial and official approval from the candidate he supports while at the same time failing to ask permission when ‘borrowing’ images from the work of other artists for his own art. If he was worried about the liability his images might be for Obama I would think that he would show some respect concerning the liability he may or may not project upon the careers of those artists and their estates.

Untitled Silk-screen poster - Rene Mederos, Cuba, 1972. This double portrait by one of Cuba’s most famous poster artists depicts the revolutionaries Che Guevara and Camilo Cienfuegos as seen on the Art for a Change article. A must read!

From Art for a Change-- Screenshot taken from the "Bombing Science" website 7/18/2007, where the Fairey rip-off of Mederos’ poster was being sold as a T-shirt. Fairey printed the graphic without permission from the Mederos estate. Fairey never publicly acknowledged or apologized for his use of Rene Mederos image. However, that did not stop his bookkeeper from pulling the shirt off the site, acknowledging the copyright violation, and offering a royalty check to the estate-- according to Art for a Change and Lincoln Cushing, an art historian and author who brokered a royalty agreement between Fairey and the Mederos estate. If Fairey is paying homage to artists like Mederos and the causes they fought for it would be nice if he would do it the right way by acknowledging their legacy as well as the copyright of their work.

I realize that many people will not enjoy reading about my opinions of Shepard Fairey. During discussions I have had about Fairey and his recent work it is often stated that the most important aspect is that street art is gaining the acceptance and credit that it deserves. Many people feel that Shepard Fairey is spearheading the validation of street art as a legitimate form of art. In fact, some people have suggested that Fairey’s Obama inspired work is changing how the mainstream art world views street art due to the success of the Obama ‘HOPE’ image. I’m sorry, but I don’t agree with that. The fight for said acceptance has involved several key players-- not just Shepard Fairey. The blunt of that work was paved in the 1980s… long before the success of Shepard Fairey. I'm certain the history of the acceptance of street art goes back further than that.

Fairey knows the history... because he has obviously 'borrowed' more than a few images from the 1920's and 1960's. Credit should be given where credit is due-- that goes for the rich history of street art and for the art that Fairey has profited from in his own work by 'borrowing' at will. Selective history is great for hype-- especially if the art in questions involved a popular candidate-- but in the end it will make Fairey look like a fool-- if his Obama inspired work is remembered in the first place. Selective history can also build a career as long a people don't take notice of it. Unfortunately for Fairey... some people have-- for example, the article on Art for a Change.

To sum this up. Artists can flip-flop just as much as politicians. They can also avoid questions as politicians do. I have to question the ethics behind Fairey’s art and I had hoped to go straight to the source. Unfortunately, it does not seem that Shepard Fairey is open to answering questions. I first made contact on October 22nd 2007. My emails to his website had went unanswered. However, on September 4th I received an email from David Scharff. Mr. Scharff stated that he represented Shepard Fairey and Studio Number One. He asked me if anyone had replied to my interview requests. I informed him that I had been trying to make contact and asked again if an interview was possible. It is now September 21st and I’ve not received an unofficial or official response from Fairey or his team. Shepard, if you are reading this I would like to challenge you to a town hall debate about your art, ethics, and the hype surrounding both. Note my sarcasm-- though I will be in Miami this December for Art Basel if you are interested...

Before the hate mail and comments arrive I want to make it clear that the rejection by lack of response from Fairey and his team is not the reason for my harsh response concerning him. If I did have an opportunity to interview him the questions would have been tough and they would have dealt with some of the very issues I’ve mentioned in this post. It would have been nice for him to face it directly so that he could tackle some of the negative views involving his art and practice. Thus, I can only assume that serious questions-- hard line questions-- are being avoided all together with little follow-up as to the statements from answers he has given in past interviews. My interview requests are refused all the time-- that is not the issue. However, I'm normally told "yes" or "no" within a reasonable amount of time. I can only assume that tough questions are being avoided concerning the validity of his art and the contradictions of his practice. That said, I have a responsibility to report artists and work as I see it-- especially when they are covered in the news three times in under a week as being an influential force.

What do you think about Shepard Fairey and his art? In fighting the system visually has he-- in the end- joined the very system he once stood against? What do you think about his 'borrowing' without permission or failing to acknowledge credit until his actions are discovered? By 'borrowing' from images without permission or acknowledgment does Shepard Fairey mock the social issues those artists represented and stood for? Should he pay homage where homage is due by informing people about the artists he has 'borrowed' from as well as what their work stood for? Is he the reason for the boom in interest concerning street art? Is Fairey to the US what BANKSY is to the UK? What would you do if he 'borrowed' from you? Is parody sometimes used as an excuse to steal images? Does Obama's choice in calling on Fairey for campaign material reflect support for the Orphan Works bill? Is Fairey an example of how the Orphan Works bill may end up abused if passed? Should that concern artists in this election? Is Fairey a farce? Does it matter? What say you?

EDIT:

Don't use the Picasso philosophy in order to justify Shepard Fairey’s art. First, Picasso’s words are often taken out of context. Second, even if he did mean it that way there were no legal protections for visual artists at that time. There are today and they must be acknowledged or else we are all victims. Though if the Orphan Works bill is passed I’m sure we will see more artists like Fairey trying to exploit the work of others as long as they can before being caught. Perhaps Fairey could form an art movement called Fairism if it is passed?

For the purpose of educating-- observe quotes from a recent interview with Shepard Fairey:

“When I'm using someone else's work as a reference point, I'm just trying to give them props.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

If Fairey wants to give those artists ‘props’ don’t you think he should acknowledge them by name or at least respect what their image stood for if the artist is not known? Should he show examples of the work he 'referenced' alongside his work or at least acknowledge them on his website?

“I give money to the Zapatistas for all the prints of Subcomandante Marcos that I made. I just raised almost $100,000 for Darfur. I challenge anybody to fuck with that, know what I mean? It's not like I'm just jumping on some cool rebel cause for the sake of exploiting it for profit. People like to talk shit, but it's usually to justify their own apathy.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

I get it. Since Fairey donates money to good causes we are not supposed to question his methods or possible violations of artist rights concerning his work? One could say he is exploiting the causes as a buffer-- as a protective barrier-- to fend off anyone who challenges his intentions or art. I'm sorry, but I don't think that people should use those who have suffered as a shield to protect themselves.

“I don't want to demean anyone's struggles through casual appropriation of something powerful; that's not my intention.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

Casual appropriation? If that is the case why did his bookkeeper offer a royalty check to the Mederos estate? Why was there very little press about that? Seems it was hushed up.

“A lot of the stuff that I do is designed to try to circulate things that I think are awesome back into a new crowd.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

By projecting it as your own work?

“There's a piece by [Cuban artist] René Mederos that I used, thinking, "Well, how would I ever pay this guy anyway because he's in Cuba?" All I really changed about that graphic was I put flowers into the gun and put a peace logo in it. With Castro and Che on horses I was definitely manipulating the original intention, but at the same time, it was a really beautifully done poster and tweaking it for my anti-war agenda was a way to pass that graphic along. So when [Mederos' estate] contacted me, I immediately paid him the exact same royalty rate that any artist would be paid.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

Nice save. So it is OK as long as the artist or estate does not find out? It is OK to knowingly rip off another artist and violate copyright laws because they might be hard to reach? Is it best to 'borrow' from work outside of the US so that maybe people won't notice?

“No artist has ever come to me and said, "Hey, I'm unhappy that you took this and used it." Most say, "I really like what you're doing; I'm glad you did that. Now that we know each other, let's do a more official collaboration." They see the way I'm using the images is not disrespectful, and they dig it.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

Names please.

“I don't have a specific political affiliation.” = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

Say what? HOPE? Obama?

“One of the reasons I started my clothing line was because I went into an Urban Outfitters and they were bootlegging my star logo on T-shirts. To see it in there, just ripped off, was definitely upsetting to me, because I was still totally broke at the time. And the reason I get pissed off about stuff like that is because I didn't build up the resonance for that image just to hand it off to someone to exploit." = Shepard Fairey from his interview with Liam O'Donoghue for Mother Jones.

Shepard Fairey can 'borrow' or 'reference' others, but we can't reference him? How wealthy was Mederos when he started creating his art? What about Felix Beltran, Gary Grimshaw, Rupert Garcia, Pirkle Jones, Ralph "Bingo" Chaplin, Vladimir Kozlinsky, Dmitry Moor, or Koloman Moser? Granted some of the works created by the artists listed are indeed within public domain. However, if Fairey is going to suggest that he is giving 'props' to those who came before he should at least acknowlege the art that he has used and the history behind those works.

A simple page dedicated to those artists and the history and meaning of their work on his website would go a long way in making things right. I might even appreciate his work if that were to happen. I actually liked his work until I discovered the truth behind his deception. However, considering that he has mentioned the risk of being 'busted' for 'borrowing' or 'referencing' other artists in some of his statements I don't think he cares about the history or meaning behind those works or the artists themselves. Shepard Fairey cares about Shepard Fairey. Maybe that is why he avoids some interviews? The contradictions are very amusing.

Links of Interest:

www.obeygiant.com

www.art-for-a-change.com/Obey/index.htm

www.motherjones.com/interview/2008/03/interview-shepard-fairey.html

www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/09/17/DD0M12SGKS.DTL&feed=rss.entertainment

http://blog.wired.com/underwire/2008/09/poster-boy-shep.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Myartspace Scholarship Reminder

First Prize:$5000 for undergraduate student, $5000 for graduate student

Second Prize:$2000 for undegraduate student, $2000 for graduate student

Third Prize:$1000 for undergraduate student, $1000 for graduate student

Myartspace recently launched a student art scholarship competition for undergraduate and graduate students. The competition is free to enter and is open to art students throughout the world. In order to enter and submit a portfolio/gallery students must be a member of the myartspace community. Membership is free.

The scholarship program is intended for students who exhibit exceptional artistic excellence in their chosen medium. Including photography and video, both contemporary and traditional in nature. Myartspace is providing 3 scholarship prizes for undergraduate students and separately 3 scholarship prizes for graduate students. Creating a portfolio and gallery is quick and easy using the Gallery Wizard on the site.

The deadline for submission is November 21, 2008. Scholarship winners are announced on December 19th, 2008. Students interested in signing up for the myartspace scholarship competition can find out more details by clicking visiting-- www.myartspace.com/scholarships

Take care, stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Blog Buzz

Buzz from the art side of the blogosphere:

Art Fag City
www.artfagcity.com
The Art Fag City blog featured several exhibit reviews this week. Including Paddy Johnson’s insight into the wrongness of the Ron Amstuz installation titled Right Roads and Wrong Ways and the idea that maybe Rita Ackerman is stuck with her exhibit at Andrea Rosen Gallery.


Rita Ackerman, Installation View, Don’t Give Me Salad (Nurses), Image via: Andrea Rosen Gallery

Edward Winkleman Blog
www.edwardwinkleman.blogspot.com
Edward Winkleman’s blog experienced a wave of political and social commentary this week-- more so than usual in my opinion. Including an inside look at the politics behind Yevgeniy Fiks work and the effects of global warming on art making and collecting.

You can't make this stuff up folks!

Art News Blog
www.artnewsblog.com
There are a few topics of interest on Art News Blog from this week. Including a topic about Being an Artist featuring excerpts from Australian artist Hazel Dooney’s personal journal as well as an entry about an artist that is just a little bit private about his work.

Modern Art Notes
www.artsjournal.com/man/
Tyler Green’s Modern Art Notes gives us the real story of the week

Art Space Talk: Sharon Shapiro

Sharon Shapiro is fascinated by the conflict between inner and outer existence; for instance, the need to stay composed and still while the interior is churning. She views painting as a good vessel for that tension. There is a decorative aspect to her work that is influenced in part by her childhood memories of color and patterns. However, underneath that colorful surface lurks isolation, fragility, and yearning.

Nine Lives, acrylic on canvas, 36” x 46”

Brian Sherwin: Sharon, for over a decade you used your art in order to explore the complexities of growing up female in America. In your work you explore the conflict between inner and outer existence. You have described it as conveying the need to stay composed while one’s interior is churning. Can you go into further detail about the thoughts behind your art?

Sharon Shapiro: I often see people-- women in particular-- who have an outer persona and a very different inner self, which to a large part society has nurtured. I've always been fascinated by this split, and I seek out those moments that reveal strength and vulnerability at the same time. There is a moment, for example in a painting like Spark, where her jaw is slightly clenched, and you can tell from her knuckles that she is gripping the phone, waiting perhaps for a piece of news, or listening intently to someones voice on the other end. She is both powerful and fragile in her sun hat and bikini top talking on the phone in her yard. Over the years, my work has slowly evolved to include children, men,-- and even animals because all of these beings possess these two sides that manifest sometimes at once.

Teddy R., acrylic on canvas, 60" x 38"

BS: At what point did your work shift into the direction you have been going-- as in, why did you decide to make these issues the focus of your art? For example, was it a sudden change from what you had been exploring previously?

SS: I've always painted the figure, from very early on. I've always focused on inner tension, and when the work changes it's a slow evolution. It's always been about protecting the true self, and alternately revealing the true self.

BS: Tell us more about the psychological aspects of your art. The human condition obviously plays a role within the context of your art. Have you studied psychology formally by any chance?

SS: No, I haven't, but I do seek in a lot of my work a psychological undertone, whether it be about childhood and memory, or something from the past that makes you uncomfortable in the present. Mystery is a part of my work but I don't want that to be all that it is about.

Go Ahead, watercolor on paper, 15" x 11"

BS: So what is the specific message that you strive to convey with your art? For example, do you strive to empower women by exposing some of these issues or do they serve as a reminder of that collective experience, so to speak?

SS: I think it strives to encourage all viewers, male and female, to recognize the duality of self, and how vulnerability is an important part of being a strong person. You want to empower children to be strong and confident, even though they are very susceptible to being injured, emotionally. Women particularly feel like they need to overcompensate in certain ways, either by not showing fragility at all or being afraid to be confident.

BS: Speaking of gender issues. What are your thoughts on sexual equality or inequality in the art world? For example, did you experience any form inequality while studying at the San Francisco Art Institute or at the Atlanta College of Art? Have you experienced anything of that nature during exhibits? Have you observed it… is it a concern that you have?

SS: Not so much in school, no. I have seen it and experienced it in the art world, but I try to rise above it and stick to being professional.

Badlands, acrylic on canvas, 60" x 48"

BS: Tell us more about your process. For example, do you work from preliminary drawings? Do you use reference photos?

SS: Historically I've used found photos from old magazines, especially men's magazines from the '50's and 60's for my source material. More recently I've been sourcing my own photographs.... Teddy R. was painted from photos that I took of my daughter's friend wearing my dress. Badlands is a self-portrait where I am standing in water wearing the same dress. I love the idea of the founding fathers being worn by a woman. Can she be as strong? Can she be as important? I think so, and this is a very timely issue. I don't do preliminary drawings for the paintings per se, but I have been doing drawings lately that are stand-alone works.

BS: And what about other influences? For example, are you influenced by any specific artist?

SS: I'm influenced by just about everything around me, including books, music, movies, walking outdoors. I can say that I have looked often at the work of Alice Neel, Jenny Saville, Balthus, and Lucian Freud, to name a few.

BS: You have been involved with exhibits at Solomon Projects, Lawrence Asher Gallery, Hodges Taylor Gallery, and a number of other galleries throughout the United States. Will you be involved with any upcoming exhibits?

SS: I just had a show at ADA Gallery in Richmond, VA last month, and he will be going to the art fair in Miami in December. I"ve got some shows lined up in for this fall in Charlottesville and in Central Virginia. Right now I'm working on strategic next steps in DC and Miami, and will keep you posted.

BS: My understanding is that you also accept commissions. If any of our readers are interested in that how should they contact you?

SS: I am phasing out commissions, but if someone is interested and they get a hold of me in the next couple of months I might be able to accommodate them. The best way to reach me is through my website, www.sharonshapiro.com or email me directly, shapiroart at earthlink DOT net.
Spotless, acrylic on canvas, 38” x 50”

BS: Do you accept open studio visits?

SS: Yes, of course, as long I have a little notice....

BS: Finally, is there anything else you would like to say about your art?

SS: Hmm, well, I'm really into watercolors right now, and I feel they present a lot of opportunity for contemporary content. Thanks for the fun interview, Brian!

You can learn more about Sharon Shapiro by visiting her website-- www.sharonshapiro.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

The Influence of Anime on Art Development and Appreciation in the United States

I recently discovered the FutureModern blog (www.futuremodern.blogspot.com). While reading an entry my attention was captured by the following sentence: “What we thought of as art is about to be reconfigured by a new generation born after 1985, raised in a world of electronic exotica, instant access to information, and avatars.” I thought about the statement-- about how that specific generation and the art collectors of tomorrow will mostly likely be attracted to interactive art involving high technology. I then remembered another influence that said generation has been born into and how it may shape the future of artistic development and appreciation in the United States. That influence is… anime.

While pondering the influence that anime has had on art I thought about my experience as a student observer during my college years. I had planned to become an art teacher and was assigned to observe elementary art sessions, a junior high art class, and a high school art class. However, within just a few days of the program I noticed the impact of anime in the classrooms. I observed drawing after drawing of wide eyed characters in similar poses and with similar dress drawn by students from all grade levels. In other words, the young kids were drawing in the same manner as the high school students. That fact concerned me.

True, there were variations as to the skill of the individuals, but the visual consensus was obvious. The majority of the students were simply not moving beyond those specific works from one grade to another… they were just getting better at it, so to speak. When asked to draw a realistic person or animal most of the students would end up drawing in the same anime inspired way. It was as if they had been conditioned to do so even though the art teachers had never taught a lesson about anime-- I don’t think they knew much about anime in the first place. Once again the recollection of that experience has caused me to reflect on my own youth and early adulthood and my observations of the influence anime has had on the creation and appreciation of art in the United States.

I can remember the start of the anime boom in the United States. I recall that it happened between 1989 and 1991 and that it was spearheaded by Katsuhiro Otomo’s film adaptation of his manga titled Akira. I can remember a commercial-- with a warning message at the start-- involving scenes from Akira and a few other films stating that anime was the ‘new and exciting art’ and that viewers were observing the ‘Japanese animation invasion of the United States” or something along those lines. The commercial ended with the nuclear explosion scene from Akira. I can also remember noticing that my peers started to add wide eyes to their drawings about the same time frame that said commercial was originally aired. I’ll admit that some of my art as a young teen shared some of the same features-- hey! It was easier to draw big eyes than realistic eyes at that time, right? The influence of anime had taken root early on.

By the time I was in high school practically all of the students in my art classes created at least a few works that could easily be connected to the influence of anime. I remember thinking about the anime commercial I had seen several years before that featured Akira as a figurehead of anime when viewing the work of my peers and my own work. However, I recall that I was not ‘excited’. In fact, I started to notice that a lot of the work seemed to look the same. Needless to say, the corporate minds behind the ‘Japanese animation invasion of the United States’ succeed in their advance into popular media. They had also succeeded in invading the developing imaginations and artistic ability of the youth whether that was their intention or not.

My observations continued during my years in college. It seemed that each new class brought with it at least a dozen students who were overly influenced by anime in some respect and that they meshed said influence into their art as well as their lives. Not only did they sketch or draw cookie-cutter characters based off of anime, but they also shared some of the physical features of the anime characters in the films and in their own work-- such as dyed pink hair wearing ‘school girl’ uniforms. The alarming increase in the number of people drawing in an anime inspired manner as well as the direct influence anime had on their lives was both amusing and troubling to observe from a cultural standpoint-- especially for someone who witnessed the aftereffects of the ‘boom‘ and the years following the ‘invasion‘ first hand. It was at that time that I made the decision to never adhere to that influence in my own art again.-- not even as a doodle.

I’m not suggesting that anime is bad or that it should be restricted or anything of that nature. I enjoy the films and a few series. However, I do think that it is sad that it took the ‘Japanese animation invasion of the United States’ to spark widespread interest in creating visual art, specifically drawing, amongst our youth. I think it is a perfect example of how art education and appreciation is lacking in our school system. Art teachers, most likely due to minimal resources and supplies, are unable to inspire students to find an authentic voice within the context of their personal art. Instead, inspiration has been found elsewhere and the end result is largely an onslaught of cookie-cut images that rarely allow a young artist to develop his or her drawing skills beyond those extremely stylized efforts.

Based on my ongoing observations I must say that I think it is apparent that anime has had a negative cultural impact in the United States as far as visual art education is concerned as well as in how young American’s view Japanese culture. For example, along with the anime influence in their art many of them display a ridiculous perception of what it means to be Japanese. I‘m sorry, but even historically based anime films tend to convey an extremely conflicted version of that respected history. Due to the ‘Japanese animation invasion of the United States’ in the late 80’s and early 90’s we have kids, teens, and young adults who may never advance beyond the shell of their anime comfort zone in drawing and who appear to think there is more to learn about Japanese culture and traditions from episodes of InuYasha than can be found in a text book or documentary about the subject. In that sense, the ‘invasion’ has fostered generalizations and stereotypes about what art should be and about an entire country.

The influence is everywhere! For example, debates about the validity of art influenced by anime can cause a blaze of comments in online art forums. There is always a few participants in those discussions who offer an emotive response for or against the question at hand. One of the frequent complaints you will find about art sites is the fact that anime inspired works tend to overwhelm certain online art communities and their respected forums. More than a few art sites are dominated by works influenced by anime in that you can‘t do a search of site members without finding dozens, if not hundreds, of anime influenced artists for every non-anime influenced artist you discover. Thus, it is not hard to find artists who decide to leave those sites for another site that is less overrun, so to speak.

As non-anime influenced artists flee to what they consider better art sites the influence of anime on young artists continues to expand and is easily observed on art sites throughout the net. Several art sites allow you to view images that have recently been uploaded by their members. Do it sometime... I bet you will see that more anime influenced art is uploaded than anything else. I assume that some art sites prey on the influence that anime has on young artists due to their interest in site traffic rather than art itself. However, artists are pointing out their concern and many have lashed out at those very art sites over what they see as site favoritism for a specific direction of art. If you don’t believe me visit a few forums involving art and see some of the reactions people have against ‘Do You Like Anime?’, ‘Who Draws Anime?’, or ’Is Anime Art?’ type entries. It is also interesting if you do a Yahoo or Google search with the name of an art site placed before 'don't like anime'.

The expanding growth of influence that anime has enjoyed in the creative direction of students in the United States is due, in my opinion, to the failed approach of art education in our classrooms. The system of education in the United States has done little to offer other directions for early visual art development and appreciation in my estimation. The enrichment of art development and appreciation in this country is on the backs of art teachers who desperately need better funding in order to improve art programs. Sadly, I don’t think we will see that anytime soon. Thus, anime will continue to rule the day in art classrooms across the United States as it has done for nearly two decades now.

Again, I think that it is sad that it took the ‘Japanese animation invasion of the United States’ to spark widespread interest in creating visual art, specifically drawing, amongst our youth. So to answer the anime commercial I viewed in my youth as I recall it. No, the influence that anime has had on art education and appreciation in the United States is not the ‘new art’ nor is it ‘exciting‘. In fact, I view the influence as being rather limiting as far as artistic growth is concerned. I also think that it has become an obstacle in the developing imaginations of our youth.

With all of this in mind-- and to close before I end up writing a book-- I am curious to see how the the development and appreciation of art will change in the United States based off the influence anime has had since the boom in the late 80’s and early 90’s. It is obvious that the influence has dominated the creative aspirations of the youth in this country for years now. While the increased interest in drawing is positive the fact that the influence tends to restrict the artistic development of those same students is not. The majority of public school art teachers that I’ve spoken with would agree. So how will the influence of anime be reflected in the art world of the future? What happens when the kids of today who have been raised watching anime, playing anime inspired video games, and drawing anime influenced characters become the art collectors of tomorrow?

You can already find 20-something artists utilizing the ‘wide eyed’ anime features within the context of their art. You can see the anime influence slowly advance in the art shown in art magazines, mainstream galleries, and influential art fairs. If the anime influence is widely present in the in the art world of tomorrow should it be considered a natural development in art or an unnatural corporate driven mutation of the direction of art in the United States? If the progression is negative what can we do to halt it? If you view it as positive what should we do to foster it? Is the influence of anime a blessing or a curse concerning the advancement of art in the United States? What are your thoughts on this issue?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Space Talk: Mie Olise Kjaergaard

I was introduced to the art of Mie Olise Kjaergaard last year. Kjaergaard’s art is inspired by abandoned places and desolate spaces. She captures the essence of these spaces primarily through painting, but she also constructs models of wood and cardboard. She is trained as an architect and is interested in constructions, perspectives, and scales of places that have been left behind. In her work she asks, "What happened here? Did I leave it myself? Who left it? Why?"

Kjaergaard was one of the 4 finalists in the Saatchi Competition 4 New Sensations. She is considered by some to be a rising star in the London art scene. It has even been suggested that Mie is from the new generation of YBA’s. Kjaergaard has had a number of accomplishments since that time.

In 2007 Kjaergaard was selected as one of the 50 finalists in the Myartspace New York, New York Competition. The jury included James Rondeau of the Art Institute of Chicago, Jessica Morgan of the Tate Modern, and Steven Zevitas of New American Paintings. She is currently represented by Barbara Davis Gallery. This is the second interview I have conducted with Mie Olise Kjaergaard.
Rounded Bands High, acrylic and polymer on canvas, 36 x 24 in., 2008

Brian Sherwin: Mie, this is your second interview with Myartspace. During our last interview you had just found out that you were one of the four artists in Saatchi’s 4 New Sensations exhibit. Since that time you have had several accomplishments. For example, you were one of the 50 finalists in the Myartspace New York, New York 2007 competition. How have things been since then? Have you been involved in any other exhibits or competitions that you would like to mention?

Mie Olise Kjaergaard: I just had my first US solo show at Barbara Davis Gallery in Texas. Also, I was just accepted into the United Kingdom’s biggest juried Painting Competition John Moores Painting Prize at Liverpool Museums. Currently I am working on my up-coming show at Standpoint Gallery in London, alongside Mary Mattingly.

BS: I read that you have been awarded an ISCP Residency in New York for 2009/2010. Can you tell our readers about that residency?

MOK: It is an international residency, where people from all over the world come in to work. The program also contains guest critics, studio visits and they have a curatorial program. It is a great opportunity to meet people in New York while working in an atmosphere that is full of inspiration and possibilities. Only 26 artists are accepted each year, so it is an exclusive little crowd, and I can´t wait to start.
Twisted Wood from High Grounds, acrylic and polymer on canvas, 72 x 60 in, 2008

BS: During our last conversation you also mentioned an idea you had for your Saatchi 4 New Sensations project. You called it ‘Future of Place’. My understanding is that you planned to exhibit the project at Frieze. How did that go for you? Did everything go as planned?

MOK: It went really well, Barbara Davis discovered me there, and I got a lot of new contacts and friends.

BS: Do you have any updates about The Istanbul Project? You mentioned before that The Istanbul Project is a collaboration called The Triangle Project. The project involves artists from New York, Istanbul, and Copenhagen. Again, do you have any updates about that project?

MOK: They came to do projects in New York while I was working on my show for Barbara Davis. They are now planning on going to Istanbul again this autumn. I think I met a lot of interesting people through the project and hope I will have time to participate a little more.

BS: Since graduating from Central St. Martin's in 2007 you have lived partly in New York, Copenhagen, and London. I don’t believe we discussed this before… how have your travels influenced you? Do you absorb those experiences into your work, so to speak? For example, how does observing variations in architecture based on geographic location impact your thought process as far as your work is concerned?

MOK: Well, I actually don’t think the large cities I live in are very influential for my work. My work is very much remembered places, places that I build on to and create, on top of some ideas of places I have seen or been. I don’t build or paint a specific place.

This week I returned from the Arctic Circle, The Pyramid City, that I went to last year as well. The location is an abandoned Russian coalminers city that still contains furniture and other items left by the people who once resided there. It stands as an example of a utopia that fell to the ground. I went back this year to get into the buildings. This time I brought a film photographer who could help me make video and photograph. I differentiate between the images I paint and build and the images I film or photograph. What exists I will capture yet manipulate, and the other way around, what I paint is what I can´t “capture”. (smiles)

I am doing a lot of residencies in the next 2 years: Mallorca, Iceland, Tokyo, LA, Berlin, New York, I think this will inspire me a lot. The experiences will probably influence my work quite a bit.

Flying Trawler, acrylic and polymer on canvas, 120 x 72 in., 2008

BS: Speaking of architecture and the themes that you focus upon… has the direction of your art changed since last we spoke? For example, are you exploring any new themes within the context of your work? Or have you remained steadfast in your exploration of abandoned places and desolate spaces… and the questions that arise from those sources of inspiration?

MOK: The experience of finally finding my language has been quite strong. I have been working in so many fields, and to finally stumble on this obvious subject is still very magical to me – I grew up at a wooden ship, and at a sawmill, my dad built ships and wooden houses, we moved around and I have lived in many constructions during the years. In a way it is a mystery how it should take me so long to get to that.

At the same time nothing stands still. I think my work has changed because if you look at the paintings they have developed a lot. My last exhibition became more absurd, both in colors and in the mutations. Still, I like the dryness in subject, because it contrasts my more juicy way of painting with the splatters and drips.

Also, it is a natural way for me to start working in video and photography. To invite people to come along and help me fx. filming. I am much more conceptual in these ideas, though my work always have the poetic feeling about the space as the most important element-- the photographic images leaves a possibility to cut right into the idea. Also, sound, my collaboration with Goodiepal last year, and jazz pianist Nikolaj Hess this year is something that I am very excited about.
Growing Corner, acrylic and polymer on canvas, 90 x 82 in, 2008

BS: Tell us more about the connections between your paintings and constructions… how your thought process shifts when working on one or the other. I assume that working on a painting sometimes inspires ideas for constructions… and vice versa, correct?

MOK: Yes, they influence each other. The constructions are of course 3-dimensional, and in that way it is almost like walking into the paintings sometimes – jumping a scale and a dimension. But as the paintings are talking of spaces that mutates and becomes something new, the constructions are very site specific. I build models of the spaces I build the 1:1 constructions in, and it is all about relating to the specific space. That is why it has been interesting to do a series, because the changes are determined on the different situations. It is like the same thing-- morphing differently because of different situations.

BS: What are you working on at this time? Can you give us some insight into your recent work?

MOK: In the Pyramid City I made a sound installation captured on video where I play the Goodiepal-piece that I brought to Istanbul last year. At the main square, in front of a statue of Lenin, and with no one else but seagulls screaming in the empty city, I connected loudspeakers to a car battery and played it out in the valley, very loud!

Another film was recorded in the music rooms of the cultural center. Music instruments, a piano, drums, harmonica - and on the piano was a set of notes. So Nikolaj Hess will create a piece of music based on those specific notes, but also taken out of context, and we will differentiate it and pair it with sound recorded on site. Some of this work will be exhibited on the Standpoint Show.

I am painting again, and writing a bit.

Vietmine Standing, acrylic and polymer on canvas, 72 x 60 in, 2008

BS: Finally, is there anything else you would like to say about your art or the current goals that you have?

MOK: I just would like to continue the work I have in mind. I would also like to have time to study and read-- which I think the residencies will be very good to provide the possibility for. I think real life as an artist is what is happening now after I graduated. Traveling for some time, working and just meeting new people and societies are very exciting for me right now.

You can learn more about Mie Olise Kjaergaard by visiting her website, www.olise.dk. You can read updates about her projects by visiting her blog, www.mieolise.blogspot.com. Kjaergaard is currently represented by Barbara Davis Gallery, www.barbaradavisgallery.com. You can read more of my interviews by visiting the following page, www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Damien Hirst takes a shark-sized bite out of traditional galleries by taking a different marketing path

The Kingdom (lot 5, Evening sale)tiger shark, glass, steel, silicone and formaldehyde solution with steel plinth, 214 by 383.6 by 141.8cm., executed in 2008.

Sotheby's London is in the process of auctioning off 223 artworks by Damien Hirst directly from the studio of the artist. The Sotheby's London auction, titled Beautiful Inside My Head Forever, has caused much debate concerning the harm it could have on the primary market. Some traditional galleries and supporters of traditional galleries have been in an uproar over the influence that an auction house can have on the art market. The success of the first night has made their concern a blunt reality.

Hirst has played his part in fueling the fire. While he has stated that he will never stop working with galleries he has also went on to say that selling at an auction house is a very “democratic way to sell art” and that it is a “natural evolution for contemporary art”. Hirst has made other statements that question the validity of traditional galleries and enforce the assumption that they cater to specific collectors. Such as, “There’s a hell of a lot of money in art - but the artists don’t get it”, and, “The artist doesn’t make any money, but everyone else does.”. Concerning the current auction, which ends today, Hirst stated that he embraces the challenge of selling his work in that way. For weeks critics and art world insiders have speculated about the risk that Hirst had taken with his career. Criticism aside, the result from last night was in Hirst’s favor. Will other artist heed his call?

Needless to say, hundreds of traditional gallery owners and supporters do not want the primary market to evolve in that manner. What Hirst observes as evolution is considered by many to be an unneeded and possibly dangerous revolutionary step against the long-standing system of art commerce. Only time will tell if that success will spur other artists to deal directly with auction houses instead of their galleries. One thing is for certain, some traditional galleries focusing on major artists are undoubtedly nervous about the success of Beautiful Inside My Head Forever.

My guess is that the plight facing traditional galleries will become worse before it gets any better. A good gallery owner learns to adapt to changes in the art market. However, galleries are faced with stiff competition in the market of today. Many feel that they have to scramble to be accepted into major art fairs before rival galleries ‘steal’ their slot. If the art fair is invitation only they wait on pins and needles hoping that they will be selected. Now they have even more competition to face in the form of auction houses representing the blunt of an artists career.

Traditional gallery owners are faced with questions about how they can remain valid in a market that appears to be dominated by nontraditional ways of conducting commerce involving art. It is as if there is a joint front against the way things were, so to speak. The question is… will this shift in art market dynamics be a positive change for artists? Or has Hirst bitten off more than what others will be able to chew?

Links of Interest:

www.sothebys.com

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Protest Art... Your Thoughts?

Photograph of an installation that took place in Sydney, Australia. Each body bag represented a soldier killed in Iraq.

Photograph of a public art installation at Portland State University that acknowledged how many people had been killed in the Iraq war at that time. Each red flag represented 5 Americans killed. Each white flag represented 5 Iraqis killed.

Photograph of an ongoning installation on Peaks Island, ME. Each strip of plastic has the name and age of a soldier killed in Iraq.

What is your opinion of protest art-- specifically protest art involving the war in Iraq? In recent years there have been several mainstream exhibits dedicated to the exploration of war and concerns in Iraq. There have also been a number of anti-war protests involving the utilization of art on college campuses throughout the United States-- hundreds of installations involving the number of service people killed. Many art students have focused on the issue for school exhibits. With this in mind I ask the following questions: Do you think that protest art has the power to sway opinions about war? Or would you say that these works do little to change opinions as far as war is concerned? Do these works make a difference? Do they make an impact? If not, why?

Concerning the men and women serving in Iraq... should the morale of service men and women on leave and on the war front be considered when these works are displayed in public? After all, they realize the death in Iraq-- they see it daily. With that said, do they need to be reminded of it when on leave or by an image sent to them from someone back home? Should we be concerned that they may become disheartened upon viewing these public works while on leave or upon learning about them while serving actively in Iraq? Should these works be seen as supporting these men and women or do they cast doubt on what they have fought for? Where does responsibility fall concerning this issue?

I ask these questions because a good friend of mine recently came home from the war. He was offended that a local college had allowed the creation of a protest installation, similar to the images included in this article, in a high traffic public area and that the college had allowed certain student groups to hold politically driven rallies in the location. He learned that one of the rallies near the installation involved chants of “No more babies killed by our guns in Iraq!” and other chants that made assumptions about the intentions of the men and women serving in Iraq instead of the intentions of the US government. It troubled him.

One night while having a few drinks he discussed protest art and rallies involving protest art with me. I took the position that such works and events are protected by the constitution and that the people organizing the installations and rallies have that choice. He looked at me and said, “I chose to serve. I did not choose the war. And you guys wonder why there are so many suicides in Iraq”. Needless to say, his words have stuck in my mind. Are there ethical issues that we should be answering and responsible for aside from securing the right to create these works and to use them within the context of a rally? What say you?

Art student Tom Bylander created an installation in response to the 3rd anniversary of the war in Iraq. He attached an American 25 cent piece is on each eye of each skull which added up to $500 worth of quarters.

Wake by Carrie Iverson. Features images of American soldiers killed in Iraq.

Detail of Mission Accomplished, by Feizal Valli. The installation contains a toy soldier for each American killed in Iraq.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Death Row Fish Food?

Helena (installation detail)

You may remember Marco Evaristti from his exhibit in 2000 that involved blenders and living goldfish. That specific exhibit allowed the public to switch the blenders on in what Evaristti described as a project exploring the theme of “beauty’s transience” and the “fine line between existence and nothingness“. The installation, titled Helena, was repeated in 2006 for the exhibition titled Destroyed Worlds and the Utopia of Reconstruction. The installations attracted press and stirred an emotive response from the public-- a warranted outrage for what many observed as brutality. In fact, during one opening activists destroyed the work. Evaristti is at it again-- only this time he plans to feed a deceased human to hundreds of goldfish in a large aquarium.

Evaristti has been involved with an ongoing project, titled Five2Twelve, based on the visits he has had with death row inmate Gene Hathorn-- a man convicted of murdering his step-brother, step-mother, and father. Hathorn, better known as death row inmate # 0008000 by the United States legal system, is serving his sentence at the Polunsky Unit in Livingston, Texas. The artist has stated that the death penalty is an “American nightmare” and has worked alongside Hathorn and other collaborators in order to reveal that death row inmates are more than just a number-- more than just dangerous criminals.

Hathorn is due for execution and has stated that he wants to donate his body to Evaristti for one final collaborative effort if he is unable to gain a stay of execution. The artist has stated that the installation involving Hathorn’s body will be titled MEAL and that it will involve a large aquarium filled with goldfish and the freeze dried remains of Hathorn-- which apparently will be grounded into fish food sized flakes by a company that has agreed to do the process in private.

An excerpt from Evaristti’s journal-- which is documented on his website-- reads, “After my day with Gene, I thought about my visit to the cemetery on the morning of my first visit and now I knew a person who would end up there. How Bizarre and meaningless. He was an individual, not a number. I got an idea. We could do more than getting his poems and drawings out of this isolated and closed place. We could do something that would really open the eyes of the public to the atrocity of the death penalty. He could donate his dead body, once executed, to me in order for me to preserve it and make it into fish food. The fish food should then be part of an installation consisting of a huge aquarium, the can of fish food and an invitation for people to feed the fish.”

In my opinion, Evaristti’s message is one that can easily be debated-- especially by family and friends of victims. Hathorn killed three members of his family. In that sense, I’m not certain that MEAL will have the meaning that Evaristti is striving for. I sent an email to Evaristti's website email address thinking that he would allow me to conduct an interview with him. I thought it would be a good way for Evaristti to spread the word about his project and to inform people about certain aspects of the project-- including details about Hathorn that would allow him to be seen as more than just a death row inmate. Unfortunately, there has been no response. The lack of response has caused me to question Evaristti's intentions as far as MEAL is concerned. For example, does he really want to draw attention to the fate of Hathorn? Or is he simply exploiting the situation that Hathorn has found himself in? In life Hathorn is currently just a number and in death he will just be millions of flakes fed to goldfish… and I think that sums up the message that most people will take from Evaristti’s MEAL-- if it happens.

Gurney, guilded bronze, silk, leather, 2008

Links of Interest:

www.evaristti.com

Take care, stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

My Art Advice: The Artist Statement

I’ve received several questions concerning the need for having-- and the frustration of writing-- an artist statement. This is a topic of interest to me. I find the fact that there is debate over whether they are of importance or not to be fascinating. It amazes me that there are so many people with strong opinions involving the composition of a relatively brief text-- in some cases less than 100 words. I think the blunt of the loathing is due to the fact that an artist statement demands a lot from the artist writing it. The artist statement is pushy-- it demands that the artist justify his or her art and to reveal the intended purpose of said art. In other words, the artist statement can push artists out of their safe zone. This is very true when you consider that most people are their own worst critic. That said, I think writing an artist statement is important for that very reason. Artists need to critique themselves.

Writing an artist statement forces an artist to critique his or her practice and artwork in as few words as possible-- few words that can say a lot. One could say that writing an artist statement demands the artist to expose himself or herself to a tightly controlled frame of writing that spurs self-reflection. Almost as controlled as some of the brief conversations we may have about our art during chance introductions if there is an opportunity to do so. In that sense I think the artist statement can be a powerful tool in developing the ability of an artist to communicate verbally about his or her art during certain encounters. Writing an artist statement can help prepare an artist for situations when he or she may need to speak clearly and concisely about his or her art. Stumbling with your words can make you appear foolish, correct? Writing an artist statement is the perfect training ground for learning how to speak about your art without pause. Thus, I think it is good practice to write an artist statement-- to tackle what may seem difficult-- even if the artist never reveals the statement to anyone else.

I’ve noticed two opinionated sides when it comes to the need for an artist statement. The supportive side will claim that the artist statement is of importance because it helps guide viewers so that they have a better understanding of the art they are viewing. In the extreme people will go as far as to say that the artist statement is a reflection of how well the artist in question can communicate both verbally and visually-- implying that an artist who writes a poor artist statement is at least partially discredited as an artist-- as in the validity of his or her art may also be questioned.

The opposing side will claim that the artist statement is not necessary because the artwork should be the statement. People who oppose artist statements generally feel that the statement can become a distraction as far as the artwork is concerned. In the extreme those who oppose artist statements will go as far as to say that the statement is an insult to all visual artists because it cheapens the value of visual language by projecting the idea that visual art fails to communicate openly with viewers.

Regardless of your opinion about writing an artist statement you must acknowledge the importance of having one in the sense that artists are often required to submit a statement in order to be considered for an exhibit or to apply for residencies and other forms of financial or material support. Thus, it is often necessary to write them and to write them well. The artist statement is not going away any time soon as near as I can tell. Thus, artists need to consider that at some point they may have to write one. So why not just get it over with and do it, right?

There are good ways and bad ways to write an artist statement. The success of an artist statement, based on my experience, often depends on what the artist leaves out. I’m not going to claim to be an expert on the subject, but I will say that I’ve read thousands of statements as the senior editor for Myartspace. Thus, I have a few suggestions. Avoid cookie-cutter statements! It might be OK to observe a sample artist statement, but don’t simply change a few words and call it your own. Chances are that others have had the same idea. You risk appearing very unprofessional. Instead, try to write a statement that is unique. Just be honest. For example, if you don't talk with 'big words' in person try not to use them in your statement. You want your statement to be a reflection of who you are-- not what you can look up.

With the above in mind, you should also avoid services that provide a statement for you. If you do a few searches online you will find companies that offer artist statement services. If you are stressed out about an artist statement you might be tempted to use those services. DON’T. It will not look good for you if people find out that you hired someone to write your statement. If exposed you risk damaging your reputation… especially if you try to use that statement when applying for a residency or school. You must also consider that most likely those companies shell out cookie-cutter statements in the first place-- all warning signs scream SCAM. Save your money while securing your dignity at the same time!

In regards to writing your artist statement there are other issues to avoid within the context of the statement itself. For example, don't mention your childhood unless it is relevant to your work today-- and even if it is be careful about going into details. People don't care that you picked up your first crayon at age 1 nor do they care if you started drawing circles at age 3. The same goes for mentioning grade school art awards or even high school art award-- no one cares! You would be surprised how many artists mention these rather trivial events as if they are markings of genius -- and they are trivial. Who cares. Including pointless information like that will make it appear as if you are mentioning your childhood because you have nothing else to speak of. Again, if your childhood is relevant to the art you make today… make the mention of your childhood relevant in your artist statement!

Avoid bravado charges such as, "I was born an artist!". How do you know that you were born an artist? Can you remember thinking that far back? Did you come out with a brush in one hand and a palette in the other? Perhaps you had a tiny camera in your hands? I think it is safe to say that there are millions of artist statements containing the ‘born an artist’ line. Again, you want your artist statement to be unique AND to be taken serious.

Some other things to avoid concerning your artist statement:

1. Depending on the situation you want to avoid "I try", "I want", or "I hope". You want to avoid them if it makes you appear negative or insecure about your art. For example, you don't want to say "I hope that the viewer will see...", you want to say "The viewer will see...". You want to use words that show that you are the master of your work instead of your work being the master of you. You want to show that you are in control and that you have confidence in your ability. Just be wary of coming off arrogant. It is a balancing act.

2. Avoid projecting the idea that your work alone can change the world. Even if your art has a positive message you will want to avoid being overly positive-- as in sappy. "My art will bring love to the world" or "my art will bring peace to the world" should NEVER be in a statement-- and yes I have seen statements containing lines like this. You will find that most people will not take that serious. You don't want to come off as if you think your art will change the world because at that point you have to defend the reason why you think your work is so great and so inspiring compared to hundreds of years of art history and compared to other contemporary artists-- which number in the millions if not billions.

3. Avoid the superhero/mystic complex. Don’t mention things like, "my work is magical", or "as if by magic", or “my art has the power to” because most people simply won't buy into it. They will simply see it as fantasy. You may honestly feel that your art is magic or that it has power-- maybe it does-- but that does not mean that you should mention that in your statement-- especially if you are writing it for an application. I suppose it does depend on the context. Still, you would be better off mentioning those things in your other art writing instead of your artist statement. Be tactful.

4. Avoid being the leader of your own rebellion. The rebel image has worked for several artists, but that does not mean that it will work for you. Thus, you should probably avoid mentioning things like, “my art is a revolution“, or “I’m searching for a new art!“, or “my art will awaken the masses”. Honestly, can you defend your art as being the art of tomorrow? Can you honestly say that your art is a sign of the direction the art world is going? Can you say that your body of work will cause a revolution while keeping a straight face? I hope that you can defend all of that.

5. Avoid pointless information about your process. You should focus on the here and now when writing an artist statement as far as your process is concerned. You want your statement to be fresh-- to reflect what you are doing now. For example, there is no point in mentioning that you worked in a different medium a decade ago unless it is relevant to what you are doing now. If you were a painter who now focuses on sculpting there is really no reason to mention your experience as a painter unless it is directly linked to your work as a sculptor. You don’t want to confuse people about what exactly it is that you do today. In other words, you don’t want them to ask “where are the paintings?” when they should be concentrating on the sculptures you have been creating for the last decade.

6. Avoid displaying an outdated artist statement on your website. I see this often. Someone will have an artist statement that they posted a few years ago on their website only to tell me during the interview process that the statement is no longer a valid representation of their current art. If your artist statement is no longer valid you should probably update it with one that is. In that sense, your artist statement is an on going process. You can’t simply write it, post it, and forget it without causing confusion at some point.

7. Avoid remarks that readers may find offensive. For example, if you have a degree in art you probably don't want to come off as if you think that you are better than the next artist because of that fact. The same goes if you consider yourself a self-taught artist in that you don't want to downplay the education that others have received. Avoid mentioning things like, "as a self-taught artist my work is more pure", or "as a self-taught artist my art has not been stained by art school". You never know who will be reading your artist statement and you don't want to get off on a bad start by offending someone who does not share your elitist views-- whichever side they fall on.

In closing, artist statements come and go. Your statement should change as much as you do. After all, it is a reflection of who you are and the work that you are creating at this time. Thus, it is vital to keep your artist statement up to date. Don’t post it online, use it for an application process, or hand it out at an exhibit if it is not relevant to your current work. Remember that you don't have to lay everything down on the line with your artist statement. It should not be considered the final answer as to who you are or what your art is about. In fact, it should spur readers to ask further questions about your art and process. View your artist statement as an open invitation to the reader to learn more about you and your work. If anything you may want to write an artist statement simply to document where you were at with your work at a specific time.

Take care, Stay true,

Brian Sherwin
Senor Editor
www.myartspace.com

Art Space Talk: Angel Otero

I was introduced to the art of Angel Otero during the New Insight exhibit at Art Chicago earlier this year. Angel earned a BFA from the School of the Art Institute of Chicago in 2007. He is currently an MFA candidate at SAIC. He has been involved with exhibits at Bucket Rider Gallery (now the Andrew Rafacz Gallery), Galeria Prinardi USA, New Space Chicago and several other galleries.

Brian Sherwin: Angel, I observed your work at the New Insight exhibit at Art Chicago earlier this year. For those who don't know, New Insight is an exhibition of artwork by promising young contemporary artists. The exhibit was curated by Susanne Ghez, Director of the Renaissance Society at the University of Chicago and coordinated by Sarah Krepp, artist and professor at UIUC. Can you tell us about your experience at New Insight?

Angel Otero: It was a great experience. It gave me the opportunity to show my work, but also I was able to interact with fellow students from other institutions and a lot of the people involved in the contemporary art scene.

Pretty Crowded, oil on canvas, 60” x 72”, 2008

BS: Angel, you were finishing your studies at the School Of the Art Institute of Chicago (SAIC) when I first contacted you. Can you tell our readers about your experience at SAIC? Have you had any influential instructors? What is the program like? Do you have any advice for students who are considering SAIC?

AO: I think I've had a unique and amazing experience at SAIC... In fact I also received my BFA at SAIC after I transferred almost 4 years ago from the University of Puerto Rico. I arrived in Chicago thinking that contemporary art was Basquiat or Warhol. I didnt know any of the names that I hear everywhere now... from Damien Hirst to Jeff Koons, or from Peter Doig to Luc Tuymans... etc...

I felt so ignorant and lost, I remember In my first critique the professor asked me "so how's life in the 50's", and I actually thought it was a good comment (my english was so bad at the time) until someone at the end of the class told me that apparently he had just negatively criticized my work. But this increased my ambition to start reading more magazines and books on contemporary art and it also pushed me to experiment more with my work.

Instructors including Terry Myers, Michelle Grabner, and Jim Lutes gave me some of the best advise and critiques on my work. Even if they hated the work they would say it in a way that made me want to work more. Now as an MFA student the story is a little different, there is more pressure, but it is still very positive. The MFA program is a great program with a varied selection of faculty, visiting artists and facilities for their students.

As for my advice for prospective students interested in the program, I would say… keep in mind that applying for grad school is not only about having a good portfolio, but also accepting that it is an established community wherein the student support each other and their work. I think if you really want to work without that much distraction with good snow fall outside that keeps you in the studio longer, Chicago is the place for you... (laughs)

BS: Angel, tell us about your work. Perhaps you could discuss your process? Give us some insight into the thoughts behind your work...

AO: My work consists mostly of painting, where abstraction and my experience growing up back home, where I was surrounded by mountains and creativity in a poverty stricken area, play a big role. The landscape that I grew up with inspired me to create these abstract structures that look dense but fragile, full of color and texture, with a lot of viscosity. Sometimes these structures are on top of a small mountain or sometimes the viewer is inside of it.

At the same time material is a copilot at the time of process. I mix my mediums inside containers, usually acrylics or oil paints, but each with different mediums, cold wax, stand oil, linseed, gold or silver pigments, spray paint, clay, sprinkles or bleach and so on., to make a collage of texture in order to pursue different moods and experiences within the painting.

I should mention that probably 80% of the work is intuitive. I come with a plan and do some drawings of it, some of them look like story boards. And I start that piece but shortly after that it starts molding in different ways, usually ending up as a very positive experience and process giving me a feeling of confidence just as the piece is almost finished.

BS: What are the social implications of your work? Is there a message that you strive to convey?

AO: I don’t think I'm looking for any specific message. Most of it is for the sake of painting, the joys and problems that come with it. I feel the need to paint. I try to put the medium itself as the main form of expression. Depending on the placement of a certain medium between other mediums, its personality is amplified giving it the ability to express mood and experience. I combine these personalities with camouflaged subjects.

BS: Can you go into detail about your influences? For example, are you influenced by any specific artists? What about specific aspects of culture?

AO: Well I’m really into the painters paintings like Willem de Kooning, Georg Baselitz, Joan Mitchell, Philip Guston, etc…

I have been interested in Neo Rauch lately. I think his work is great and impressive in that he collages all this information so well and in such a painterly way. I also love conceptual art and three dimensional art, it all helps me see painting differently.

BS: What are you working on at this time?

AO: I have been kind of figurative lately. I’ve been painting these kind of installations that recreate portraits using pots, plants, abstract little sculptures, wood, ladders, etc, etc, etc… but everything painted.

I’m not sure where it is going to end, but so far it has been a fun problem.
Untitled (Abuela), oil on canvas, 84” x 84”, 2008

BS: Angel, where can our readers see your work in person? Will you be involved with any upcoming exhibits?

AO: Well, I’m still in school so I’m taking it easy with that. However, because of Art Chicago I have received a lot of attention from some galleries. I was invited to a group show similar to that one in Tenerife Spain, at a gallery named Leyendecker, and there are some other shows coming soon, but I guess I’ll put the notice up on my website at, www.angelotero.com.

BS: Finally, is there anything else you would like to say about your art?

AO: It feels good to do what I have always wanted to do…

You can learn more about Angel Otero by visiting his website-- www.angelotero.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

What’s in your Wallet? Better question-- What’s in your Savings and Studio?

What’s in your Wallet? Better question-- What’s in your Savings and Studio?

When people think about artists they often think about people living a bohemian lifestyle. They imagine a group of people who are not concerned with financial or material gain and that are instead only focused on what they can gain and give creatively. That image--that myth-- is supported by the popular image of what it is to be ‘an artist’ that is depicted in many novels and films. It does not help that many artists adhere to the big screen philosophies of those stereotypes. However, most artists that I’ve known are very concerned about their finances and they don’t necessarily desire to be one of the ‘have nots’ simply to fit some noble image of selflessness. In fact, I think the majority of us strive to give something back to our community-- and to ourselves-- while exploring creativity, AND to get something in return be it respect, money, or both. I know, I know… some of you will say that art is about creating not about money… but know that I can point you to examples of people with that same philosophy who still place a price tag on their art. I’m just being realistic… so do not throw me to the lions yet-- I’ve had enough of those try to maul me in the past in the form of credit card debt. That is why I think it is important for artists to think about their finances in advance.

Times are tough. Gas prices near my residence just passed the $4 mark again. To put it bluntly, the economy is in the hole and the decisions you make with your money now may have a major impact on your future. This goes for everyone, but especially artists because when the economy is bad creative futures-- as in the future of your art and practice-- are often in peril. Why? Because with rising prices comes the rising expense of buying the materials of our creative process as well as an increase in fees for the promotion that we need in order to further gain exposure. In other words, the mediums you take for granted today-- in that you have them at your disposal-- may end up being the mediums you can’t afford tomorrow. I’m concerned that people may have to reduce or restrict their creative capacity because they did not think ahead. I understand that we all fall on hard times, but if I can share some wisdom and perhaps prevent someone else from making the same mistakes I made in the past I will do so. It is as simple as that.

As a painter I’ve fell a few times myself. I can remember having to buy acrylics because I could not afford oils… and then using donated inks because I could not afford acrylics-- and that was when the economy was ‘better‘. I will not say that it was a bad experience because I learned to appreciate acrylics and inks as a medium. However, with the current state of the economy what would have been considered a minor financial setback a few years ago can very well become a financial pitfall today. A setback today like the one I had in the past would have placed my creative future on the rocks more so than it was at that time. I guess you could say that I learned a valuable lesson about allocating my financial resources when I was unable to afford what I wanted to use and that it has made me a bit wiser today. I learned to think ahead and I think it is time for all of us, especially artists, to think ahead due to the times that we are facing. That is not to suggest that I know more than anyone else-- I just want to share what little wisdom I have.

So what should artists do to prevent-- or at least stave off-- financial pitfalls? Simple. Establish a nest egg for your creative endeavors. The way I see it artists have two paths of financial responsibility that they should follow. The first path is general savings, as in creating a savings account so that you will have money during financial or medical emergencies. The second path involves the creative nest egg I mentioned in that artists should think about having a second savings account to support their creative practice during hard economic times if needed. I advise separate accounts simply because that way it is easier, at least for me, to stay clear of the creative nest egg until I actually need it. Both paths involve preliminary work and the strength to keep your hand out of the cookie jar no matter how much the hunger pains you.

The preliminary work involves getting rid of all-- or most-- of the debt that you currently have. For example, if you have credit card debt you will want to get that out of the way before setting out on those two paths in my opinion. Why? Because all to often people earn interest in their savings account while not really making any steps forward because at the same time their credit card interest is eating their income. It can be a vicious cycle… a tug of war involving your wallet and your dignity. Thus, I found it best to knock credit card debt out of the way before focusing on the two savings accounts. This preliminary work means that an artist needs to prevent him or herself from being caught by the lure of excessive material need.

In a sense, artist need to avoid material gain-- a new TV, designer clothing, what have you-- in order to provide art materials he or she may need in the studio later-- paint, clay, pencils, what have you. One could say that we need to play into the myth of ‘the artist’-- as in avoiding material (consumer) gain-- on our own terms. Instead of buying a new gadget with cash-- or furthering credit card debt-- one should probably use that money to pay off part of their credit card debt, correct? Once the credit card debt is out of the way the two paths mentioned before are opened. From that point on artists should focus the same energy on strengthening their savings.

This does not mean that the two accounts need to be treated equally. Obviously the savings account for emergencies should take importance. However, that does not mean the art material nest egg should be neglected. Just be realistic about it. Instead of ordering out or buying a new DVD think ahead and place that money in the savings account for your future studio material needs. That thick crust pizza may fill your stomach today, but what will you do if you are not able to satiate your creative hunger later? I think the better choice is to chow down on ramen noodles now so that you can create art with your chosen materials later.

It is all about responsibility-- being responsible for your life and your artistic growth. More often than not people blame corporations for their debt by using corporations as a scapegoat because they are unable to accept poor financial decision making. They use their debt as an example of the evils of corporate America and how corporations have destroyed the idea of the ‘American Dream’. It is not hard to find company with people who have the same view. However, I think it is more realistic to say that many people have destroyed their own dreams by not being responsible with their finances and trying to ‘keep up’ with their neighbors-- who are most likely in the same boat! I’ve been on that same boat so I know exactly of what I speak. Loathing parties should be avoided because in the end nothing is gained aside from further resentment for the nature of the financial beast.

Being angry will not pay your debt. Be realistic… no one forces you to apply for a credit card nor do they force you to buy the latest craze. True, mass advertising will try to talk you into spending money on the newest luxury cell phone, but I would like to think that we can avoid that call. Regardless of your position on corporations you must admit that no one prevents you from saving. A few dollars in your savings account per month is better than nothing, right? There are countless stories of people making something from nothing so don’t act as if you are beyond the point of saving for your future and for your art. Only you can make it happen.

I realize that everyone is different. What worked for me may not work for everyone else. Thus, it is important to remember that there are different routes to take in order to secure your creative future just incase the economy stumbles further into decline. For example, one of my peers buys a few materials at discount each month so that she can store them in mass if ever she needs to rely on them. She has a closet in her studio that is full of canvas rolls, brush sets, and her favorite oil paint. If prices go up she will be prepared-- hopefully prepared enough to wait out the hard times with the materials she has stored. That is not a bad idea if you have extra storage space and don’t go over the top with it. By over the top I mean that it is probably not a good idea to start stock piling turpentine in your garage. You could say that her choice is drastic, but I’ve noticed art supplies have went up in cost a lot in the last year alone-- at least where I am.

In closing, I’m fully aware that the ambitious individual will find ways to create art no matter what financial situation he or she is faced with. However, I think that most of us would rather continue where we are now with our materials of choice rather than to pick up on using nontraditional materials out of necessity. Thus, it is important to have a nest egg for your material needs-- as in the materials you create art with. Find the nest egg that works for you… be it financial or by simply storing materials for future use. Be prepared so that you can be active in your studio and promote yourself even in the worst of economic times. I learned that lesson the hard way in the past. I hope that you do not.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Competition Fraud: The Art of Cheating?

I read a story today about a dispute between a model and a photographer. Disputes between models and artists are not all that uncommon, but this one involved an art competition so it caught my interest. The model claims that the photographer entered a photograph involving him into the competition without permission. Apparently the model was upset because he is nude in the image and feels that he is being punished for something he did when he was ‘young and wild‘. The contract/release between the model and photographer-- if there even was one-- may not be an issue as far as the competition is concerned. However, the fact that the model claims that the competition entry that included him was created over a decade ago is an issue. That information is important because the competition clearly stated in the rules that all entries must have been created in the last year. If the claim is true that would mean that the entry is fraudulent.

There is more to this story. The model-- perhaps out of spite-- is calling for the photographer, who won a top slot in the competition with the photograph in question, to be stripped of his award. If the photographer knowingly violated the terms of the competition that may very well be the solution. However, the facts are not out yet on this story and the competition rules were not exactly clear in the article. Thus, I’m hesitant to mention names because of that lack of information. I can’t say that someone is guilty until I know the facts, right?

For example, what if the photographer-- depending on what the rules implied and the understanding the photographer had of said rules-- simply photographed one of his old photographs? If the rules simply stated that the work itself, as in the creation of the photograph and not what is depicted in the photograph, must be no more than a year old would an act like that be considered cheating? Would it be an exploitation of the rules? Or should it be considered a legitimate new work of art if that is the case? After all, in that scenario the new photograph may very well fall into the accepted time line, correct? That said, the facts surrounding this dispute, based on the article I observed, are not exactly clear.

This story caused me to reflect on two concerns. The first being the rights of models with or without a contract/release and the second being the fact that some artists are willing to cheat or manipulate rules in order to help their chances in art competitions-- artists that practice the art of cheating, so to speak. If an art photograph of a nude person from years ago harms the reputation of that person today how should it be handled in your opinion? If there is proof that an artists has ‘cheated’ or manipulated the system, so to speak, in an art competition how should that be handled by the competition sponsors or others involved with the artist-- such as the gallery representing the artist? Should the artist be widely exposed for his or her deception? Should legal action be taken? What are your thoughts on these issues?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Space Talk: Caroline Mak

The systems that emerge in Caroline Mak's installations contain references to disciplines ranging from biology, topography and the decorative arts. She has stated that natural processes are translated, reflected and re-created in her installations. In the process of construction, systems become apparent in the spaces they are assigned to, each self-contained worlds with their own inherent logic.

Disposable Gloves and Cheap Pearls, 2005. Expandable insulation foam, ink, lace, plastic pearls. 14' x 8'.

Disposable Gloves and Cheap Pearls (detail)

Brian Sherwin: Caroline, I understand that you studied art at Stanford University and the University of Chicago. Can you recall those experiences? For example, did you have any influential instructors? Also, do you have any advice for students who are interested in those programs at this time?

Caroline Mak: I was a biology major at Stanford (and only minored in art). I definitely didn't think I'd be an artist while I was in college, but my experience studying biology at a major research institution was fairly influential in how I approach my practice now. Studying for a bachelor's degree in science I believe afforded me a greater breadth of experience, than a more traditional artistic academic path would have, and it taught me how to experiment and address problems in a way that continues to affect my work now.

My MFA program at University of Chicago was small and intense, and my practice changed drastically during the first year I was there. It was the first time I had been able to make work uninterrupted for two years non-stop, while your advisors are continually questioning your work, and really making you think about the direction of your practice - it shaped me as an artist, but also exhausted me too!

BS: You have stated that by performing and enacting a series of repetitive transformative actions you bestow upon the material an ability to further decay, multiply or spread beyond its original confines. By doing this you explore the juxtaposition between the familiar and the foreign, repulsion and attraction, and utility and decoration. Can you tell us about the thoughts behind your work and why these themes are of interest to you?

CM: My background and interest in science doesn't manifest itself in artwork about science, nor do I think it falls into this realm of 'bio-art', but I am very interested in the systems that exist in the natural world, and allow for these processes of growth and decay to happen. I try to envision my installation area, whether it's a corridor in a gallery or an outdoor space, as presenting me with a set of conditions that I then apply to the materials I'm working with.

As I didn't have a conventional sculptor's training, I tend to gravitate towards non-traditional materials, ranging from paper towels to hundreds of yards of latex tubing (the installation at Socrates Sculpture Park), employing techniques that often verge towards labor intensive craft processes, which results in forms and shapes that seem familiar like those that could exist in the natural world, yet bizarre and potentially repulsive.

Cellular Spaces, 2007, bubble wrap, latex paint. 22 ft x 14 ft
Cellular Spaces (detail)

BS: Can you go into further detail about your methods and process and how you utilize said methods and process in order to further explore these transformative themes? Perhaps you can discuss a specific piece as an example? Such as Cellular Spaces?

CM: Cellular Spaces began as an investigation into the idea that there could be a 'skin' encasing a uniform amount of air (the individual bubbles in bubble wrap), and that each sheet of bubble wrap would always encase the same volume of gas. I wanted to explore the way that these multiple units could all come together to form a larger cohesive structure, especially utilizing the translucent qualities of bubble wrap. At that time I'd been looking at a lot of geological structures such as cave formations, and was struck by their formal similarities on a microscopic level, to our intestinal folds and structures.

BS: Caroline, your art has been described as "detailed and wonderfully formal in an obsessive kind of way". What are your thoughts on that observation?

CM: Sounds fairly accurate!

BS: What are the social implications of your work? Do you explore aspects of society as you see it within the context?

CM: I don't create my work to have any specific social message, and any social implications that result are not intentional, which isn't to say that they're not relevant, I just think I tend to shy away from making any obvious political or social statements in my work.

Root Architecture, 2007, Socrates Sculpture Park, New York

BS: What about influences? Are you influenced or inspired by any specific event or artist?

CM: While I think I have a range of artists who influence me, I often find that specific projects come about through seeing natural phenomena or reading about a specific experiment or new material in a science journal or blog.

BS: Can you tell us about your recent work? What are you working on at this time? Do you have any plans that you are exploring for future works?

CM: I've become very fascinated with stalactites and stalagmites in the past few months and have been playing with the possibilities of creating man-made analogues of these natural geological growths.

Untitled, 2008, masking tape & aluminium tape on wooden pillar. dimensions variable.

BS: Your work has been exhibited in the US, Germany, and Hong Kong. I assume that you were present during these openings. Can you explain how your travels have influenced your art? Have you noticed a difference in reaction to you art depending on which country you are exhibiting in?

CM: Unfortunately I couldn't make it to the Berlin show! That show (www.nylonriots.com) was a collaborative project with my friend Kevin, and was about the movement of goods across borders, so that would have been an appropriate show to be present at...

Showing in Hong Kong was interesting because that's where I grew up, and the art scene there is quite different from that in New York, but the installation I did in Hong Kong was part of the art fair, which is already a mildly surreal experience. I definitely think having lived in different cultures does affect how I approach materials - I'm always aware of how different materials and objects have different lives and usages in different cultural spheres.

BS: Speaking of exhibits, I understand that you are involved with an exhibit at the Islip Art Museum in NY. Can you tell us about that project?

CM: That was a group show in their Carriage House space, where each artist did a site-specific installation for a room. My installation is in an old bathroom space which was challenging. I ended up using the exposed pipes in the bathroom and my own PVC pipes, and mapping out the unseen sections in an imaginary network using neon tape, onto the floor and walls.

BS: Finally, is there anything else you would like to say about your art?

CM: Thanks for taking the time to look! check back for future developments...

You can learn more about Caroline Mak by visiting her website-- www.carolinemak.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Jurors for Bridge Art Fair / Art Basel Miami 2008 Myartspace Competition Announced!

Jurors for Bridge Art Fair / Art Basel Miami 2008 Myartspace Competition Announced!

www.myartspace.com, the premier online venue for the contemporary art world, is sponsoring a Juried competition. We want to represent three of the contemporary artists at the Art Basel Miami event in early December at the Bridge Miami venue. The competition, like others from myartspace, will have world-class jurors reviewing the work of the submissions. Fifty finalists will be selected and three winners will have their work represented at the fair.

With over 40,000 members, and more than two years of history, myartspace has been a key force in the art industry at availing opportunity for its rapidly growing community. The myartspace community consists of artists, collectors, gallerists, art appreciators, educators, curators, art critics and many others. Membership to myartspace is free, and members can upload an unlimited amount of art work, music, video and audio narration. And the jurors are...

Elisabeth Sussman, Senior Curator, The Whitney Museum:

Elisabeth Sussman returned to the Whitney in 2004 (she was curator at the Whitney from 1991 to 1998). Her Whitney exhibitions included Mike Kelley: Catholic Tastes (1993); the 1993 Biennial Exhibition; Nan Goldin: I’ll Be Your Mirror (1996), with David Armstrong; and Keith Haring (1997). For the San Francisco Museum of Modern Art, Ms. Sussman co-organized, with Renate Petzinger of the Museum Wiesbaden, a recent retrospective on the work of Eva Hesse. The exhibition received the International Art Critics Association First Prize for the best monographic exhibition outside of New York in 2001 and 2002. For SFMOMA, Ms. Sussman also organized, with Sandra Phillips, a Diane Arbus retrospective, currently on view at the Los Angeles County Museum of Art. The catalogue for the Arbus exhibition has received the 2004 Infinity Award for Publication from the International Center of Photography.

Ms. Sussman was a Fellow of the Rockefeller Foundation at the Rockefeller Study and Conference Center in Bellagio, Italy, in 1999. In 2003 she was a Scholar at the Getty Research Institute. She is the author of many publications, including Lisette Model (2001). Before coming to the Whitney, Ms. Sussman served as Interim Director (1991) and Deputy Director for Programs (1989-91) at the Institute of Contemporary Art in Boston. Also at the ICA, she was Chief Curator from 1982 to 1989, and Curator from 1976 to 1982. She has taught at M.I.T. and Tufts.

Janet Bishop, Senior Curator of Painting and Sculpture, San Francisco Museum of Modern Art (SFMOMA):

Janet Bishop is the Senior Curator of Painting and Sculpture at the San Francisco Museum of Modern Art Since 2000. Bishop worked as a observation assistant at the Avery Architectural and Fine Arts Library at Columbia University and in the print room at the Herbert F. Johnson Museum of Art at Cornell University. Janet holds a B.A. in Art History and Psychology from Cornell University and an M.A. in Art History from Columbia University.

JoAnne Northrup, Senior Curator, San Jose Museum of Art:

JoAnne Northrup is a Senior Curator of the San Jose Museum of Art. Prior to this, from 1995-2001 she served as Curator, Exhibits and Collections at the de Saisset Museum, Santa Clara University, and from 1992-95 she held a curatorial position at the Norton Simon Museum in Pasadena, California. Northrup earned her Master's Degree in Art History/Museum Studies from the University of Southern California, and her Bachelor's Degree in Art History from the University of California, Santa Barbara.

Since accepting the position at SJMA, Northrup has curated numerous exhibitions that fuse popular culture and contemporary art, including Un/Familiar Territory; Domestic Odyssey; Girl Power! Laurie Long; Heavenly Bodies ; and Jennifer Steinkamp, which is on a national tour. Her most recent entitled Robots: Evolution of a Cultural Icon, opened in April 2008. The exhibition featured sculptures, paintings, photographs, digital media, and installations created by more than 20 artists from across the US.

Michael Workman, Founder, Bridge Art Fair

Michael Workman is Founder and Director of the Bridge Art Fair and Bridge, NFP, a Chicago-based arts publishing and programming organization. Bridge, NFP, publishes the Pushcart-prize winning bimonthly Bridge Magazine, for which he serves as Publisher and Editor-in-Chief. Bridge, NFP also organizes the annual Artboat exhibition on the first Saturday in May at Navy Pier and pioneered a multi-use facility that provides incubation space at 119 N. Peoria for developing arts organizations, currently occupied by 1R and Bucket Rider galleries. He received his Bachelor's from Northwestern University in 2001.

Workman writes a column on visual art, Eye Exam, for the Chicago alternative weekly newspaper, NewCity. He is also Chicago correspondent for the bi-monthly Italian art publication Flash Art and works as an arts critic and commentator for Chicago's NPR affiliate, WBEZ-FM. His writing has appeared in catalog essays for the Chicago Cultural Center and elsewhere, and his fiction, journalism and critical writing has appeared in New Art Examiner, the Chicago Reader, zingmagazine, TenbyTen and Contemporary magazine. Michael holds a Bachelor's degree in English Literature and Philosophy from Northwestern University.

Competition Snapshot:

- Deadline for registration and submission is November 15, 2008.
- Competition is open to myartspace members. Membership is free.
- Registration fee is $50, but for early registration by October 15, 2008 the fee is $25.
- Prestigious jury panel will review and judge submissions.
- Fifty finalists will be selected and announced by the jury panel.
- Three winners will have their art represented at Art Basel Miami / Bridge Miami Beach.
- Winners to be announced on November 25, 2008.


Links of Interest:

www.myartspace.com

www.myartspace.com/miamibasel/

www.myartspace.com/miamibasel/jurors.html

www.bridgeartfair.com/

Reminder concerning the Myartspace Scholarship competition:

www.myartspace.com/, the premier online venue for the contemporary art world is now offering a series of art scholarships to its community members for both undergraduate and graduate students. Membership to myartspace is free as is the entry into the scholarship competition.

The scholarship is intended for students who exhibit exceptional artistic excellence in all mediums of the visual arts including photography and video, both contemporary and traditional in nature. The scholarship arises from the commitment to supporting artists who are committed to their skill and development as an artist.

For two years myartspace has been a key figure in availing opportunity in the arts on the web and in global events. Myartspace is providing 3 scholarship prizes for undergraduate students and separately 3 scholarship prizes for graduate students. $16,000 in prize money is up for grabs! The deadline for registration and online submission of work is November 21, 2008. You must upload your JPEGS/videos into a myartspace online gallery. Up to 20 images can be submitted for consideration. Scholarship winners will be announced on December 19, 2008.

For more information visit-- www.myartspace.com/scholarships/

Art Space Talk: Michelle Sank

Michelle Sank was born in Cape Town, South Africa. She has been living and working in the UK since 1987. Her photographs have been exhibited in England, Europe, Australia, Mexico and the U.S.A. She has been published in art and photography journals and magazines including Next Level, Katalog, The British Journal of Photography and PhotoReview. She is represented by the Print Room at the Photographers Gallery, London and her work is held in the permanent collections of The Museum of Fine Arts, Houston, Texas and The Woodstock Centre for Photography, New York among others.

Image from Reality Crossings by Michelle Sank

Brian Sherwin: Michelle, can you discuss some of your first experiences with a camera? What attracted you to photography? Also, do you have any formal training in photographer-- as in, did you attend any academic programs for that study?

Michelle Sank: I discovered photography by chance - It was introduced in a Fine Art course I was studying at the Michaelis School of Fine Art, Cape Town. I immediately became committed to the medium.

BS: I understand that you view your work as a form of social documentary. Can you go into further detail about that and the message you strive to convey to viewers?

MS: My work although not journalistic deals with social issues - I am drawn to groups or individuals that don't quite fit the norm.Through my portraits I attempt to show the social, psychological, physical nuances of the people I work - a sense of humanity. Often these people lives have been difficult in some way.

Image from In the Arms of Babes by Michelle Sank

BS: In your exploration of the human condition do you adhere to any specific school of psychological thought? For example, do you approach theories of specific psychologists, such as Carl Jung, when thinking about the direction you will go with your work?

MS: No. not specifically - I work very intuitively and am drawn to my subjects through something they are emitting at that point in time - a mood, a look, a stance, dress, how the light is working with all that as well.

BS: I understand that you have lived in Capt Town, South Africa and a few other places throughout the world. How have those travels influenced you as an artist?

MS: I was brought up in South Africa and lived there into my early adult life. I believe growing up in the Apartheid system and myself being part of a refugee community drew me to photograph people living on the edge of society. I also think the exoticness of Africa in place, colour, light and cultures has strongly influenced the work I make.
Image from Endgame by Michelle Sank

BS: What about other influences? Are you influenced by any specific artists?

MS: My strongest earliest influence was that of David Goldblatt who became a mentor to me when I started. I now enjoy the work of photographers like Phillip di Corcia, Stephen Shore, Joel Sternfeld… etc.

BS: Tell about some of your series. ‘Bye-Bye Baby’, ‘Reality Crossings’, and ‘Tidal’ for example.

MS: Bye-Bye Baby was a self-initiated project which evolved through my concern for the youth I observed. These images deal with the notion of developing adulthood within the milieu of British society today. In Bye-Bye Baby I am exploring the way young boys and girls interpret their understanding of masculinity and femininity. Having left the purity of their childhood worlds, they seem to take on the trappings of the grown ups they mimic and of the status quo as set out in popular culture and the media.

Reality Crossings is from a commission for the 2nd Fotofestival in Mannheim, Ludwigshafen and Heidelberg. My proposal was to create a visual document about youth in Mannheim and the surrounding areas. My planned approach was to photograph a cross section of young people in both the city and its surrounds working with both local and immigrant communities. The portraits have been produced through a mix of street photography and negotiated youth group collaborations. I am interested in the way that individuals are shaped by social structures, how gender, sexuality, class, ethnicity 'enter into' us as subjects. By undertaking a series of portraits in varying physical and social environments, I hoped to capture the nuances, norms and sense of identity that are particular to and a reflection of youth within contemporary society in the Mannheim vicinity today.

The images for Tidal are from a residency I undertook in the small port town of Cobh, near Cork city in Ireland. Every day I would walk up and down the short promenade by the water and I became fascinated and intrigued by the cross-section of young people I encountered and their attachment to the sea. This has shaped their social interaction and given rise to a particular sub-culture in relation to their recreational activities and future aspirations.In addition this small town serves as a microcosm for what is happening in many parts of Western Europe where young people from Eastern Europe, Africa, Asia etc all come in search of work and security breaking down ethnic and cultural isolation and precipitating a new evolution in societies.
These portraits were produced against the background of the sea, itself a symbol of the passage of time, of change, of journeys into and discoveries of pastures new

Image from The Water's Edge by Michelle Sank

BS: Can you discuss the connection you feel with the people you photograph? Is there a connection? Philosophically speaking, can you describe that connection?

MS: I am very connected to my subjects whether it is on the street or in more constructed working environments. It is very much a two way process and I have always said that the interaction I have is as meaningful as the photograph.

BS: How does an idea for a series come to you? At what point do you say “this could work”… or does it just happen depending on the situation?

MS: As mentioned I work very organically and sometimes just by walking around and observing, the seed of an idea for a project happens. Sometimes projects come to me through various gallery commissions I have undertaken

Image from Celestial Echoes by Michelle Sank

BS: Can you tell us about your recent work? What are you working on at this time?
MS: I have just made some portrait work in South Africa in the townships, a school and a refugee camp

BS: Finally, you are represented by Galerie Les Filles du Calvaire in Paris and The Photographer’s Gallery in London, correct? Will you be involved with any upcoming exhibits?

MS: I have been part of a group show on Adolescence with Les Filles du Calvaire but there are no plans at the moment for that to be shown elsewhere.

You can learn more about Michelle Sank by visiting her website-- www.michellesank.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Wim Delvoye is banned from exhibiting tattooed pigs in China

Eight tattooed pigs by Wim Delvoye have been pulled before the opening of SHContemporary in Shanghai, China. The pigs were tattooed with Walt Disney characters and other symbols. There has been no official comment about the ban from the art fair organizers, but Delvoye has made his frustration known, stating, “We have collectors who've traveled to China all the way from Europe to see the pigs. They're very disappointed.''. If they had been purchased by collectors the pigs would have been slaughtered and their preserved skins sold for over $10,000 a piece. Delvoye went on to say that he does not understand why the ban was so “aggressive“.

Wim Delvoye has been tattooing pigs since the 1990s. In recent years it seems that more artists are killing animals in the name of what they call art. Is it art? What are your thoughts on this project? Should a line be drawn between branding animals for slaughter and consumption and tattooing and slaughtering animals in the name of art? What say you?

Jasmine with Unicorn, 2004, 140 x 100 cm, tattoo on pigskin, tanned

Links of Interest:

www.wimdelvoye.be

My Art Advice: How can I make a living off of my art?

Q. I am writing to you, as I need some advice, and I hope you can help me. I am an artist, predominately a painter/sketch artist, and have been exhibiting frequently for the past two or three years. I have multiple websites, online galleries, and have joined many artist networking sites. My activity has gained a fantastic response for my artwork. And that is great! It keeps me optimistic. However, I am having a major issue with sales, or lack thereof. I can't seem to sell anything! I wouldn't dare say that it's not worth it to keep pursuing my dream of making a living from my artwork. My ultimate goal is to be able to quit my day job, though I'm not expecting to become a millionaire. I just don't know what I am doing wrong here.

I calculate the cost of a piece by cost of supplies, size of the piece, and time spent on each. My range is from $75 to $2,000 per piece. I advertise constantly, physically and online, but I just can't seem to get a sale. Any thoughts? Words of wisdom? Anything you may be able to provide is greatly appreciated!

A. I’m concerned about your price range. Being consistent with your price range is a must. The range you mentioned has a fairly wide gap. Thus, I’m wondering how many works are in the $75 to $100 range compared to the number of works that you have priced $1,000 and up. More often than not artists will hurt the foundation of their marketing plan by charging more for pieces that they feel a strong personal connection to. Emotive pricing can quickly become an obstacle that blocks your goal. $75 here, $150 there, followed by $1,000 and another piece for $4,375 may look good on paper, but in the mind of someone interested in your work the wide range of prices may cause some confusion-- leaving them to ask what exactly they are paying for compared to the next piece.

True, every piece you make is personal to a degree, but if you are pricing works that you are really attached to for $2,000 or more you may very well be pricing yourself out of the range of what most people are willing to spend-- especially if you have yet to make a name for yourself with a consistent history of selling your art. In other words, you might want to think about not selling certain works if your attachment to them results in prices that are several hundred dollars more than paintings that you are willing to let go for $75.

If you want to make a living off of your art you need to be business-minded. One of the basic rules of business is to buy low and sell high. Thus, you should think about your expenses and find ways to lower your financial burden. For example, if you work with expensive materials you might consider downgrading to something that is more affordable so that your art can be more affordable when you sell it online. Save the expensive paints for works that you plan to exhibit in brick & mortar galleries-- and just so you know, you always want at least 20 good paintings on hand for when you land an exhibit.

There are other ways to save money-- and if you plan on living off of your art you will want to save as much money as you can. For example, if you paint on pre-stretched canvas you may want to learn how to stretch your own. Paying between $5 and $10 for each 16 x 20 pre-stretched canvas that you use can add up really quick. In other words, you can save thousands of dollars per year just by learning how to stretch your own. You may also consider experimenting with other surfaces that are cheaper than canvas. These choices will allow you to price your work lower while still making a profit. Again, save the good materials for the art you plan to exhibit in brick & mortar galleries or until you establish a base of collectors who are interested in your more expensive works.

You will want to keep your business face on at all times, so to speak. That involves following your intuition and preventing yourself from spending money on services or information that you don’t really need for your marketing plan. For example, avoid the ‘how to make a living off of you art’ books-- I can‘t stress that enough. I know people who have spent hundreds of dollars on those books only to find out that they could have learned some of the same information online for free. Most of those books are written by ‘art coaches’ with the full intention of luring readers toward their services-- this is not football… you don’t need a coach. However, you may need a team… so remember to help your peers out where you can so that hopefully they will return the favor in your time of need.

Now for the most important advice I have for you-- Don’t jump the gun at the first sign of success. The last thing you want to do is to quit your day job only to discover that your art is not making enough to pay your monthly expenses. You have big dreams-- but forcing those dreams to happen is not worth the loss of your car, home, or anything else. Success rarely happens overnight. Even if you have success you must realize that making a full-time living off of your art is always a gamble. However, there are other options. For example, if you work full-time you could try to save some money up so that you can work part-time instead. With that option you will still have a sense of job security-- and hopefully some benefits-- while allowing yourself the extra time that you need in order to focus on your art, your marketing, and your dream.

On a side note-- if you take that option you may consider applying for a part-time job at an art supply store-- that way you can obtain discounts on art materials in order to further lower your expenses. Also, you may want to consider selling prints instead of original work-- just know that finding an affordable printing service can be tricky. Just remember to have a little nest egg saved up no matter what you decide to do.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Dust and Dreams at Burning Man

Even a week after Burning Man, dust still lingers. The playa sand is a fine-silt and clings to everything it touches. You eat it, breathe it, and sleep with it. Surprisingly though, this does not stop 50,000 people from making the long trek all the way out to the Black Rock Desert, where the annual Burning Man Festival is held.

Burning Man, if you are not familiar, is a week long participatory art festival. Or as many participants describe it, “…an experiment in community, radical self-expression, and radical self-reliance." The festival culminates on the Saturday night before labor day with the burning of a wooden effigy.

Burning Man seems to be a very necessary event—despite the fact that it requires an obscene amount of unnecessary energy. Ironically, last years theme was “Green.”

This year’s theme was the American Dream and all the stars and stripes were out. On my first day, while getting a feel of the land, I saw a bearded man dressed in a fancy mauve corset. After admiring the intricacies of the corset, I soon noticed he was also wearing a top hat and looked strikingly like Abraham Lincoln. I attempted to question the man but he scampered off into a mass of dust and people.

These sorts of sightings are commonplace at Burning Man. A good handful of the people, or Burners—as they are referred to on the playa—seem to be trying very hard to out-weird one another. Often, to the point at which, they all blend together.

Lost Burner

Among these peacockian dress-up battles, there is plenty of art to be seen. The majority of the large artworks installed are spread out in various places within the playa. The playa is several miles wide and circular in shape. One must bike or hitch a ride on a “Mutant Vehicle” in order to see some of the furthest artworks.



The art at Burning Man is hit or miss. You occasionally stumble across some very provocative work but just as often you are disappointed.

Manhole, Joseph M Dupre

It is also sometimes hard to tell whether or not the work was intended for night or day. Some though, like Peter Hudson’s “Tantalus,” and Steve Heck's “Sound Cave,” manage to engage either way.



Tantalus, Peter Hudson



Sound Cave, Steve Heck

Though most artists prepare their artwork for the wind and the heat, not all survive the battle.



There seems to be a disparity between art that receives funding from Burning Man and ones that don’t.

Popaver Rubrum Giganteum, Gary Miller and Babylon, Arthur Rodriguez

It is hard enough for an artist to pay for a project that will be exhibited in a gallery let alone the desert. The amount of work that is put into installing and maintaining the artworks at Burning Man is staggering and commendable.

Babylon, Arthur Rodriguez

Altered States, Kate Raudenbush

Detail

You are All so Many of Me, Michael Emery

Detail

The Temple

The End, Bob Marzewski

It is hard to say how significant Burning Man is to our times. None of the artworks I experienced really captured the condition of our spiraling nation. I think Burning Man as a whole may represent the state of the collective American Dream better than any of the artworks it displayed. I recall, while driving into Burning Man, bumper to bumper, during a complete whiteout, my friend remarking, “I feel like were refugees being ran out into the desert.” I agreed.

The Burning of The Man

My Art Advice: Just another starving artist?

Q. I’ve created art for over a decade and have an MFA to back my professionalism as an artist but I‘ve not had any real success. I can’t believe that I’ve devoted so much time, money, and resources only to be another starving artist. I don‘t want to waste time exhibiting in galleries unless they represent artists that are on the same level as me academically. Do you have any advice for people in my situation?

A. The first step is to stop thinking on terms involving the ‘starving artist’ image that you have accepted for yourself. The problem with the ‘starving artist’ image is that it is a romanticized view of what it is to be a painter, sculptor, what have you, who is struggling to establish a market for his or her art. It has become an easy to obtain label that many people suggest should have some form of respect granted to it. In other words, people decide that if they can’t be a successful artist they might as well address themselves as a ‘starving artist’ because it sounds better than accepting failure directly. In my eyes, calling oneself a ‘starving artist’ can make an otherwise creative lion appear to be nothing more than a paper tiger. Do you want to appear weak? Or do you want to accept your assumed failure and advance from there?

Artists rarely accept the fact that they can fail-- you are not alone in that regard. Some choose to sugar coat their lack of success by accepting ‘starving artist’ as some form of noble title-- at least that is what I‘ve observed. Thus, I think it is vital for artists to accept their marketing failure and to try and figure out why they have failed. You need to think about your marketing plan and ask yourself questions based off of your experiences. Yes, you will need to critique the business of your art if you desire to overcome the label that you have willingly embraced. Instead of thinking like a starving artist you need to think like an entrepreneur as far as marketing your art is concerned. For example, if brick & mortar marketing has failed you perhaps online marketing is a better option-- or vice versa. Many artists who have not had success in brick & mortar galleries have went on to have great success marketing and selling their art online-- it can happen. You need to discover what works for you and not let your MFA get in the way-- more on that later.

Before you think about your plan of action as an entrepreneur you must first think about your idea of what failure and success is to you. For example, if your idea of success as an artist involves exhibiting at a high profile gallery, having a group exhibit with Damien Hirst and Tracey Emin, or earning millions from your art there is a chance that you will never reach your vision of success. Waiting for those dreams to become reality will only serve to place you in the confines of constant failure-- you will end up restricting yourself and in the end you will place your art under the lock and key of dreams that will most likely never come true. Thus, you may need to rethink your position concerning art marketing success so that your goals are attainable… and dare I say, realistic.

Being realistic about your art and your market will involve conditioning yourself to take advantage of situations that you may-- with your current train of thought-- view as mediocre experiences. To put it bluntly, you need to get over yourself and realize that perhaps your work is not ready to be marketed on a high profile scale-- you must accept that you may never reach that level. True, artists reach that level everyday with little to no experience backing their movement in the art world. However, you need to remember that you are not those people and that you may not have the same experiences they have had-- so take advantage of the experiences you could be having instead of waiting for your big day to come.

Unfortunately, the fact that you have worked on your art for over a decade does not matter as far as marketing your art is concerned. It is not like you work to a certain point before the golden gates of marketing success open with trumpets blaring in the background. I know artists who have worked for decades with little to no marketing success simply because they adhered to the ‘staving artist’ mentality as you have apparently done. They stayed in that safe zone waiting for a miracle. They failed to realize that any success is good success and that the success we have is largely based on the actions that we take. On the other hand, I’ve known artists who have established themselves in less than five years due to accepting opportunities that were within their reach. Forgive my bluntness, but it seems that you need a wake up call before you end up on the Island of Starving Artists waiting for a ship that may never arrive.

You have an art degree. Great. I’m sure that you worked hard to earn your MFA. Education is important and you can utilize what you have learned and the connections that you have made to advance yourself toward marketing success. However, you must realize that not everyone views an MFA as a sign of professionalism. In fact, your bold statement could be seen as arrogance or insecurity-- take your pick. If you are as vocal about your MFA in person as you are with stressing that fact in online messages I can see why you have found it difficult to market yourself.

No, I’m not suggesting that your MFA is worthless… I’m simply pointing out that it should not be the sole point that you make in order to validate yourself as a ‘professional’ or as an artist. Be careful of doing that. It may work in some circles that view an MFA as the end all-be all of accomplishments, but more often than not it will do more harm than good if you make that accomplishment your strongest pitch, so to speak. In other words, sometimes stressing the merit of your professionalism based on your educational experiences-- which I assume occurred years ago-- can make you appear unprofessional in certain situations. Especially when you downplay the work of other artists simply because you hold an MFA and they do not.

I realize my answer is probably not the answer that you were hoping for. I try not to cater to fantasy. So if you feel that my response is rude that only means that maybe, just maybe, I’ve given you some things to think about. Where you go with that is up to you.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Space Talk: Reem Bassous

It has been said that war never changes-- that the weapons and reasons change, but the outcome is always the same… destruction. This concept is reflected in the art of Reem Bassous. In many ways her art, specifically her warscapes, stand as a testament of her experiences in Beirut, Lebanon, as well as to the realization of the horror of war in general. Scenes of devastation are present in her portraits as well-- faces fractured by the events they have witnessed. While hope can be discovered within the context of Reem’s art there is also the ever-present haunting reminder that the history surrounding warfare tends to repeat itself.

Homebody, 2008. Mixed Media on Paper and Drafting Film, 22"x30"

Brian Sherwin: Reem you studied at the Lebanese American University and the George Washington University. Can you tell us about your academic background? For example, did you have any influential instructors?

Reem Bassous: At the Lebanese American University I studied under 3 teachers, one of whom was trained at the Royal College of London, and the other two who had French training, at the Ecole des Beaux-Arts, in Paris, and the Lebanese University in Beirut (which is different from the Lebanese American University). Out of all three, one in specific, Rita Faddoul, was the first to introduce the aesthetics of painting to me. She was the first to show me that painting was far more than material. You know, having lived in Beirut during the civil war, we had no exposure to the outside world, and the arts were at the bottom of the list, education-wise. So I knew very little about painting. I was in a Liberal Arts program with a concentration in Painting, but nonetheless, the classes offered were not enough to give one a solid understanding and ability in Painting. By the time I graduated, I still needed further instruction which I couldn't have obtained in Beirut.

At The George Washington University, I studied under Thom Brown. I believe that I owe a lot to him. While Prof. Faddoul introduced the aesthetics of Painting to me, it was he who challenged me the most. I think he understood where I came from but also saw that I was willing to do the work, so he took a chance on me. I think he has a true gift with students. He was able to work with me on the ideas I was interested in pursuing, all the while offering strong guidance and constructive criticism.

While at GWU, I also took classes at the Washington Studio School where I later taught. The person I studied under was Jo Weiss- both she and Thom Brown remain a strong influence in my work today. Jo and I come from the same frame of mind when it comes to Painting. She understands where I am going with an idea. After Graduate school I participated in the Drawing Marathon at the New York Studio School with Graham Nickson. It was probably the best academic endeavor I had taken part in. Graham is a fantastic teacher.

Allegory of Peace, 2006. Charcoal on Paper, 8"x8.5"

BS: I understand that you grew up in Athens, Greece and Beirut, Lebanon. How have your experiences living in Greece, Lebanon, and the United States... the cultural differences... influenced your work?

RB: My family and I have traveled extensively since I was a child. We were first based in Greece, then Beirut. I then moved to Washington DC to go to grad school. Living in Greece was a very special time in my childhood. It was stable and happy. Up until now, Greek culture represents a big part of what I think of as home (my parents now live on the island of Cyprus).
We moved back to Beirut in 1982, after I had turned 4. It was during a very bad time in the civil war. My parents always gave my brother and I a safe place to be and a lovely home. There were a lot of very difficult times and we lived in bomb shelters on and off for several years. As a child, none of that is a big deal- it's just reality- you adjust and move on.

We lived in a very close-knit community since there was an embargo on the country and people were more or less confined to their neighborhoods for safety reasons, so we became very close to neighbors and we all looked out for each other. I think that it wasn't until I moved to the U.S that I realized that my childhood and life in Beirut had not been normal. I lost a lot during the war- friends and family members, and a chance to have a normal life. But when the whole country is living that way, you understand that you aren't special and that you have to survive in the very best way that you can.

With respect to living in the U.S, it came very naturally. I had visited the U.S before I moved to DC, and was very familiar with American culture. I had studied at an American school in Beirut and was able to speak English very well and so in that respect, there was no barrier. When you move so much (I have also lived in Malaysia for over a year) you realize that in the end we are all people and are very much the same.

Colossus, 2007. Acrylic on Canvas, 24"x60"

BS: Reem, war and the outcome of war has had an impact on your artistic direction. Can you explain this influence to our readers? What are your thoughts on war?

RB: I have very strong feelings about war. Even though, as I mentioned before, you get used to living in a war, that doesn't make the memories of war any sweeter. War is a horrible, horrible thing. The things one sees and experiences are unnatural things that should never be experienced.

For a very long time I resisted introducing the subject of war in my work. I think I was still struggling with my memories of it... Finally, little by little, it crept slowly and very indirectly into the work before it took center stage. In my earlier paintings, it was more subtly introduced whereas in my most recent work, the warzones are clearly shown. In my recent work, I felt like I finally had arrived at a place where I can make the statement that I wanted to make with respect to war and it felt natural and unforced. I think that I am angrier than ever that in this day and age wars are still being waged, and painting is the only way I can fully covey that.

That said, once you get yourself involved in the act of painting, you get lost in the shapes and lines and decision-making that make a painting, and you temporarily forget the subject that lies behind the image. It's tricky though because the strong feelings that I have towards war are great determinants of the mark- so I mustn't completely allow the image to take precedence over the idea behind it.

CocaCola Warscape, 2008. Acrylic on Canvas. 24"x30"

BS: Can you tell us more about your warscape series and the social implications of these works?

RB: I started the warscape series in 2006. It was long overdue. I work from pictures taken in Lebanon only. I have to specify, my experience is limited to war in Beirut, so I do not use images taken in other warzones. Though the outcome of the painting is a general statement on war, I feel like I can't read pictures from foreign warzones like I can from my own country. When you know the neighborhoods, the street signs, the roads, it makes the experience a little more real. Since I am not copying the picture but rather using it as a means, it is important for me that I know the warscape that I am painting.

These paintings may make a small dent, or not at all. That's not entirely up to me. I have little choice but to make these works. I think that at the end of the day, if anyone sees the work, maybe, just maybe they can educate people on the horrors of war.

Downtown, 2008. Acrylic on Canvas, 44"x44"

BS: Would you say that there is a spiritual aspect to your work?

RB: I hope so. The works by other artists that most move me are ones that offer more than just a technically sound image. I don't think we can deny that aspect of ourselves as people, and so it has to surface in the work.

BS: Discuss some of your other influences. For example, are you influenced by any specific artist?

RB: My favorite has always been Alberto Giacometti. From the Abstract Expressionist era, I love Willem DeKooning, Lee Krasner and Joan Mitchel. Favorite contemporary artists are Frank Auerbach, Leon Kossoff, Cecily Brown, Nicola Lopez and Sarah Sze.

Skoot, 2008. Mixed Media on paper and Drafting Film, 22"30"

BS: Reem, what are you working on at this time?

RB: The warscapes, still. I think this series will be an ongoing one for quite some time... The only new thing I am experimenting with within the series is extending beyond the surface of the paper or canvas and making the composition much less predictable, as it would in fact be in a real warscape.

BS: Finally, is there anything else you would like to say about your art?

RB: Not much else. I have said a lot already.

You can learn more about Reem Bassous by visiting her website-- www.reembassous.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Do you think Jeff Koons went overboard with his yacht design?

I recently learned that Jeff Koons had been commissioned by Dakis Joannou, billionaire businessman and art collector, to create exterior art for his new yacht. The yacht launch party was as excessive as Koons concept for the yacht-- including an art world A-list guest roster. Jeffery Deitch, Larry Gagosian, Marian Goodman, and Nicholas Serota attended the christening of the yacht, named ’Guilty’, along with other guests. Koons has stated that he based the design on a World War I camouflage pattern. All aboard or abandon ship? You be the judge. What do you think about Koons yacht art?

Links of interest:

www.artnewsblog.com/2008/09/dakis-joannous-jeff-koons-yacht.htm

www.yachts.monacoeye.com/files/guilty.php

Art Space Talk: Tracey Snelling

Tracey Snelling creates structures that reference popular culture and history. She finds inspiration in film, architecture, books, and landscapes, as well as viewing the environments that surround her. A photograph of an actual building can lead to a mixed media sculpture of that building, which in turn is photographed. By doing this she explores the psychological aspects of doors, windows, shelter, home, etc.

In a sense, she takes the subject of her work to a new level by utilizing scale and embracing an end result that challenges the perception of viewers. In her own words, “overlooked and neglected buildings suddenly become the focus, receiving the attention they deserve. Weeds growing in the concrete cracks and an old piece of trash are not things to avoid, but rather they are details to pay attention to". Her structures remind the viewer that every detail in life has value-- that every detail, all the things that we often fail to notice in our busy lives, can have meaning if only we observe them.

Chinatown, 60x44x48", mixed media, 2006

Brian Sherwin: Tracey, you are inspired by what you see while driving-- be it on a lively street filled with movement or a street lined with the decay of past glory… abandoned buildings and industrial ruins. It is my understanding that when you view these cityscapes you create stories about the people who live-- or once lived-- in those locations. Can you discuss this and the motivation behind your art?

Tracey Snelling: I am inspired by what I see when I drive, but also by what I see when I walk around my neighborhood, travel, visit friends, or see new places. Several things interest me when I view a place: the visual landscape, the mood of the place, the culture of the place, and the people that live there. Sometimes I won't have enough information about the person or people that live in a place, so I will make up a story about that place.
Chinatown (detail)

BS: So what is the beauty you observe in neglected or abandoned buildings compared to say… a new development in a lively area? Do you focus on things that others might see as trivial?

TS: I'm not sure where the attraction to old buildings came from. I can't remember a time when I wasn't attracted to buildings that had been around for some time. But I have noticed that my tastes have expanded. Where once I was repelled by older strip malls, now I am enthralled. Uglier buildings have become more beautiful to me. The peeling of paint, old hand painted signs, smudges of dirt, and the unbelievable but inevitable breakthrough of weeds through concrete are all appealing to me.
3 Intersection Buildings, installation view, mixed media, 2006

BS: What do you consider when creating the spaces that have been unlocked by your imagination, so to speak. Tell us about your process of creating these spaces. What materials do you prefer to use? How do you give the spaces you create a life of their own?

TS: The structures begin in a few different ways: either purely from my imagination, from an image or combination of images that I find, or from photographs that I take. I usually build them as I go. There are no strict blueprints, in general. I use most of the same materials that general contractors use to build my small structures. As I work on the pieces, they develop a life of their own. Photographs, sound, lights, and video add a sense of reality to the works.
Quick Stop, 18.5x18.5x2.5", mixed media, 2006, edition of 5

BS: So when you create these structures do you view it as if you have inhabited the structure or do you view it as an outsider looking in-- philosophically speaking?

TS: I usually imagine who would live there and what the place would look and feel like. I rarely think of myself as living there though! If I am building a place that I have been to, such as Istanbul, I will refer to my photographs and other information, but also pay close attention to my recollection of my feelings while there.

Another Shocking Psychological Thriller is an installation of sculptures and video works that depict a story of murder, desire, and mystery. This embattled tale of crime and deception takes place on 3 screens. Do they represent the past, present, and future, or do they reflect the reality of a fractured schizophrenic mind? The three part video piece explores the idea of suspense through using found footage from film noir and other genres, along with original footage. The story moves from the house, to the landscape, to a drive-in screen, continually complementing and augmenting the narrative.

BS: What are the social-- or psychological --implications of your work? Do you strive to give viewers a message about society or the human condition with your art? Do you ask questions about identity as reflected by the sites you have seen? Or do you prefer to leave your work open to interpretation so that viewers can create their own stories and meaning from what you have provided?

TS: It varies from sculpture to sculpture. When looking at other cultures and places, I try to have an open view of the place, expressing what I see and feel. I try not to censure myself, but rather to show the good and bad aspects of a place, and everything in between. Occasionally, I will aim to express a particular viewpoint, as I did in the sculpture "We Are One". This is a sculpture made up of different buildings from around the world: the White House (with prayer rugs and a crystal ball inside), the Taj Mahal, a Chinese building, etc. The word "together" is written in graffiti style in different languages all over the sculpture.

In "Last House on the Left" I have recreated 4 houses from different American horror films. On one hand, the installation is an homage to the film genre that I grew up with; on the other hand, it's a comment on the fascination us Americans have with violence and horror.

Many of the sculptures are defined just enough to give a hint of a story, so that the viewer may bring his or her own experience to the piece while viewing it.

In the installation "Convenient," travel, road trips, and the stops along the way are featured. The projection combines real video with green screen and animation techniques. In the windows of the motel, Jason (from Friday the 13th) catches the woman, a lone woman plays with the vibrating bed, and a couple have sex.

BS: So how is your upbringing… your own past… reflected within the context of your art? That is… if you don't mind me asking.

TS: Well, when I was 7 years old we moved from the city to the country. Often I find myself recreating buildings and houses that echo a place I have been to or have seen when I was younger.

BS: What are you working on at this time?

TS: I am working on a project called "Woman on the Run" which will be at Selfridges in London this fall. It's a mixed media installation made up of buildings that are 6 to 8 feet tall, with video, sound, lights, and neon signs. The buildings are very similar to my small ones I build, but blown up to a larger scale. The installation centers around a film noir mystery I have made up, about a woman on the lam, wanted for questioning in a crime. Later this year, I will be doing a residency in Beijing with Galerie Urs Miele.

BS: Your work has been exhibited at several art fairs-- Next Art Fair, Pulse New York, and several others. What do you enjoy about art fairs in general compared to exhibiting at a traditional gallery space?

TS: Though a traditional gallery space is much more appealing for the obvious reasons, there are some benefits to an art fair. I look at it as an introduction. It's an opportunity for those who aren't familiar with my work to experience it. I've also had the chance to meet some great people while at fairs, and to discover other artists' work.

Another Alley, 42x96x10”, mixed media installation with two dvd's and soundtrack, 2005

BS: Where can our readers view your work at this time? Will you be involved with any upcoming exhibits?

TS: I am in an exhibit called "Road Trips" at the San Jose Museum of Art. I will also be having the installation "Woman on the Run" at Selfridges in London, along with a solo show at Wedel Gallery in London.

BS: Finally, is there anything else you would like to say about your art or the goals that you have at this time?

TS: I would really like to start doing installations in unusual, unexpected buildings and spaces. I'd also like to eventually design a life size building of some sort. Film is something that interests me, and I would like to explore this more. I eventually want to make a full length film, based on an idea I cannot tell...

You can learn more about Tracey Snelling by visiting her website-- www.thelittleartfactory.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Vanity Publications: Publicity you don’t want

Vanity Publications: Publicity you don’t want

I’ve mentioned the dangers of vanity publications back in 2006. However, due to some recent questions that have been asked I feel that I should discuss the issue once more. Vanity publications deserve the same caution that should be given to vanity galleries. Both can be harmful to your future goals and both can become obstacles that block the path of your ambition.

The first step is to not confuse startup publications with vanity publications. For example, it is acceptable for a young art publication to ask for a minor publishing fee until they are better funded. However, if the publication does not appear to have a selection process for who they feature-- or if they fail to tell you specifics on the type of artwork that will be selected-- you should be very wary. If the website for the publication seems to push the idea of ordering copies for your friends and family-- RUN.

If the publication is new to the game-- as in they have not even released their first issue, catalog, book, what have you-- you should probably wait until you can see the type of work that is accepted before you submit your art. If jurors are involved in the selection process you should research those jurors in order to decide if the publication is a serious venture. In other words, you don’t want to test the waters if you don’t know who else will be lurking in the deep.

The following is an updated version of my previous article concerning vanity publications:

I'm certain that at one point in every artists life he or she will be tempted-- or will know someone who has-- to order and submit work to some $19.95 publication claiming to be on the 'cutting edge' of ‘artistic publications‘. Publications like this offer artists the chance to have their work 'recognized nationally by art critics and collectors' simply by submitting artwork. They often claim to be the perfect PR move for aspiring artists. What you read may sound good, but the end result may be very bad for your career as an artist.

Imagine, you are surfing the net and you discover a website or forum post that mentions how you can have your art published. The company offers you the chance to have your work displayed in a book with other talented artists. All you have to do is submit your work and you may be selected for the publication. Seems like a good PR move, right? WRONG.

A few days later you receive an email stating that your image has been selected. Your heart stops with excitement. After calming down you joyfully order a dozen copies for your friends, family, and one for yourself. You think about all of the people who will finally see your work.

"Will I become famous", "Will this help me obtain that grant?", "Maybe that MFA program will take me seriously now.", "Gallery representation is knocking on my door!"... thought after thought crosses your mind. Your work is finally going to be published! You go to bed after telling all of the people close to you-- and a few you don't like... for bragging rights-- about your achievement. You dream of becoming an 'art star' over night after the publication is released. Sweet dreams? I can tell you right now-- based on the experiences of some of my artist friends-- that they are not made of this!

A couple of months pass and you finally receive your copies of the publication. Excited, you rip open the box containing the books and anxiously tear away the plastic wrapping from the first book you grab. You can't wait to see your artwork and the work of all the other talented artists represented in the publication. Horror strikes!

You discover that the book contains page after page of mediocre artwork. You turn the page and focus on a picture of a stick man riding a stick horse followed by a picture of a snowman dancing with a dog. You discover your own image on the opposite page as you stray away from the absurd images. You question yourself, "Talented artists... fine art?" as the phone rings. It is one of your friends calling. He wants his copy of the book. Did you make a mistake? Yes. The question is, do you know how big of a mistake you may have made. One thing is for certain, this mistake could cost you far more than $19.95.

These types of books are nothing more than vanity publications. They target aspiring artists who are hoping to bypass the 'grit' of the art business in order to 'make it big'. These companies prey on the dreams of creative individuals. The artist submits, gains acceptance, and orders a dozen copies-- that is how this art scam works. The catch is that everyone who submits will most likely get accepted. There may be a hundred different versions of the same publication created, each containing art by different artists. The company has long since cashed your check by the time you find out that the publication is not what it was represented to be-- that is where their 'fine print' comes into play.

True, the book is about artists and their art, the company did not lie about that, but the caliber of the artists published can vary greatly. A serious artist would most likely not want his or her art shown in the same context as others who may be mere 'hobby painters'. The negative side of having your work in a vanity publication is that your art may be devalued by those who observe your work alongside art that is of a lesser quality-- you may appear desperate. Once the book is printed your ill decision is documented for all to see. Trust me, these books can move-- I've seen books like this sold at minor art fairs, art sections in book stores, and on library shelves. The damage can haunt your career as an artist for years or become a rather nasty inside joke. Good PR move? Nope.

If the concern is for exposure there are smart choices an artist can make before falling into the vanity publication trap. Free online galleries, like the free accounts supported by www.myartspace.com, are good PR moves for any artist. True, the artists on an art site may have different levels of skill and talent, but each individual is represented by his or her own online gallery, so to speak. You gallery is just that, your gallery. They are not all lumped into one solid shell-- or contained in the same pages like vanity publications.

Unlike vanity publications, an online gallery offers the individual artist to stick out rather than being represented as having equal skill and merit. An online gallery can be utilized to gain exposure-- and one could say far more exposure than what any physical publications could ever achieve. The artist is not represented by every other artist upon the site. He or she is represented by his or her own personal space. Your online gallery is a representation of you alone. Vanity publications represent everyone as a whole, regardless of skill or merit, which has an end result of misrepresenting talented artists to whomever picks up a copy of the book. Don’t allow yourself to be trapped.

A little PR can go a long way, but if done in the wrong manner it can make an artist seem desperate. However, I understand that our need for being "seen" sometimes clouds our decision making and choices. Thus, I will stress that the best way to be "seen" is to maintain an online gallery and to research publications before you pay a fee and submit. Having a free account on a website of your choice that offers the capability of creating online galleries of your work is a far better PR move than relying on any form of vanity publication.

Allow me to be frank, do you want to be a coffee-table memory or a successful artist? Vanity publishers can be the lemon-car dealers of the art world! Remember, famous artists of the past-- as far as I know-- did not pay to be included into vanity publications. I’m sure there are some exceptions, but I’m also sure that any example probably was not overly happy with his or her choice at that specific time. Artists simply need to put their work out where people can see it-- be it online or offline-- in a way that allows the artist to keep his or her dignity. Today we have the option of displaying our art online for thousands to see daily on an online gallery. Take advantage of it. Create your gallery today. Find a site that you enjoy and create your gallery-- there are many to choose from-- get started!

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Bridge Art Fair Miami 2008 Juried Competition

Bridge Art Fair Miami 2008 Juried Competition

www.myartspace.com, the premier online venue for contemporary art has launched an exciting new, juried competition to its community members. The top-3 winners of the competition will have their work represented at Bridge Art Fair Miami Beach, taking place concurrent with the spectacular Art Basel Miami Beach, December 4-7, 2008.

The deadline for registration and submission is November 15, 2008.In order to enter the competition, artists must be a member of myartspace.com. Membership is free, and members can upload an unlimited amount of fine art, audio, video and audio narration and create a highly contemporary art viewing experience. Registration for the Myartspace/Bridge Art Fair Miami 2008 competition is $50, but will be reduced by 50% to $25 before October 31, 2008. The winners will be announced on November 25, 2008.

Catherine McCormack-Skiba, the founder of myartspace noted, "We are thrilled to be presenting some of the top artists from myartspace.com at Bridge Art Fair during Art Basel Miami Beach, one of the most prestigious gatherings of the international contemporary art world. With our treasure of hot contemporary artists, we feel its imperative that they be well represented during Art Basel Miami. This juried competition brings out the best in our artists and will be a great representation of our large and growing community. "

Michael Workman, Founder and Director of the Bridge Art Fair said, "We are pleased to host the winners of this competition, presented by myartspace, one of the most innovative new approaches to presenting emerging contemporary art online. Bridge Art Fair and myartspace.com share an interest in new models and non-traditional venues for presenting a transnational representation of emerging contemporary art, so this competition is a great fit for Bridge Art Fair Miami."

Competition Snapshot:

- Deadline for registration and submission is November 15, 2008.

- Competition is open to myartspace members. Membership is free.

- Registration fee is $50, but for early registration by October 15, 2008 the fee is $25.

- Prestigious jury panel to be announced by September 10th to review and judge submissions.

- Fifty finalists will be selected and announced by the jury panel.

- Three winners will have their art represented at Art Basel Miami / Bridge Miami Beach.

- Winners to be announced on November 25, 2008.

myartspace is an online community for the contemporary art world. Membership is free. For more details about the Miami Basel 2008 competition click on the following link: www.myartspace.com/miamibasel.