Be Wary of Lemon Art Dealers!

We have all heard of lemon car dealers-- car dealers who lure customers toward vehicles that they know are not worth the listed asking price-- but did you know that some art dealers have the lemon car dealer mentality? Lemon art dealers lure art collectors into buying art that has been artificially priced. In other words, they overprice artwork that does not have an established market. Lemon art dealers attempt to create a high market for art that has yet to be established naturally within the context of the art market.

The work pushed by a lemon art dealer can be technically sound. They can be masterful works. However, the artist behind the work has not been allowed to mature naturally in the art world. His or her prices have not been allowed to become established on their own, so to speak. This can be a dangerous situation for a young artist to be in. True, a young artist desires to make a splash in the art world-- that said, it is best not to do it as a dealers lemon. Unfortunately, it is easy for an artist to fall for this ploy.

As mentioned, the unethical practice of the lemon art dealer normally involves a young emerging artist who lacks a time-tested track record as far as the art market is concerned. The dealer strives to push the artist beyond his or her capacity by increasing prices without justification. Unfortunately, this practice can harm the future market potential of the artist who is pushed into it-- if exposed. Thus, there are signs that art collectors and emerging artists should acknowledge before negotiating with an art dealer.

Art collectors want to make sure that the piece they invest in involves an honest-- or at least near honest-- value as far as the current market for the specific artist is concerned. Emerging artists want to make sure that their market is naturally established over time so that their career growth is sustained. Unfortunately, a lemon art dealer can be just as deceptive as a lemon car dealer in that he or she will go great lengths to create a market that does not really exist. The questionable character and business practice of the lemon art dealer can be discovered by his or her actions-- as they say, actions speak louder than words. Below are three situations to look out for:

1. Overpricing at contemporary art fairs: A lemon art dealer will artificially increase prices when showing at a contemporary art fair. This is a bad business practice because it can upset collectors who discover the mark up. Perhaps the lemon art dealer hopes that no one will notice that similar works by the artist are far cheaper at the gallery. Unfortunately, if this action is exposed it will cast doubt on the validity of the artist involved and potentially the validity of every artist represented by the same unethical art dealer. Word of mouth can spread fast-- mesh that with blogs and the little white lies of the lemon art dealer can become a firestorm of scrutiny. A little research can reveal the facts.

2. Excessive promotional hype for an artist who was ‘unknown‘ before being represented by the gallery: A lemon art dealer will utilize excessive promotional hype in order to mask obvious flaws concerning the price of specific works that have yet to be time-tested by the art market. The idea being that if there is a ton of press about a young artist than that young artist must be a wonderful investment, right? In this scenario the art dealer is trying to artificially establish the young artist beyond his or her years of experience. While this has worked for some… it also leaves the young artist with little to fall back on if it goes wrong. Keep in mind that not all hype is bad. However, be wary if it appears as though the art dealer is trying to force how the young artist should be perceived by the media and collectors. Red flags should go up if it seems that there are more press releases about an upcoming exhibit for an emerging artist at the gallery than past reviews for that specific artist. Go with your gut.

3. Unrealistic pricing: Another tactic of lemon art dealers involves persuading young emerging artists to ask ridiculously high prices compared to what they had asked prior to gallery representation. Have you seen a young artist selling for $20,000 a pop? If so, the influence of a lemon art dealer was most likely behind the price. Lemon art dealers are easy to spot-- the little details give them away. Young artists need to protect their own investment-- the time they have spent toward mastering their art. In other words, be realistic about your prices. You are not Damien Hirst…yet. Starting out with excessively high prices often translates to work gathering dust in a storage area. A young artist should avoid this at all cost. Being a lemon can stain an otherwise promising career.

Lemon art dealers have long been present in the art market. However, there has been an obvious increase in the last decade. In fact, ethical art dealers will sometimes take this unethical path in times of economic desperation. Thus, the art market is swamped with artwork by untested artists involving prices ranging in the upper thousands even though said artists had only sold a handful of pieces-- at much lower prices-- before being represented. When the economy is stable one may overlook these issues, but when times are hard people are more apt to examine the details surrounding the rise of a young artist under his or her art dealer. Thus, young artists need to observe how they are being represented. They need to ask themselves if they are being groomed for quick cash or if they are being groomed for a long and success stay in the art market.

Again, during difficult economic times hype tends to loose its artificial luster. Thus, art collectors are more apt to focus on how time-tested an artist is-- especially if the collector plans to purchase for the purpose of investment. During times of financial crisis-- like we are experiencing now-- it becomes easier to discover which art dealers pitch lemons and which have remained true to the conventional aspects of the art market. A natural splash into the mainstream art world is better than making a splash that is caught in the throws of deception.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Five Reasons to Join myartspace

Five Reasons to Join myartspace

1. It's Free and Unlimited: myartspace is the premier online network for the art world. It's free to join. It allows users to upload unlimited images, music, videos and audio narrations. You can create an unlimited number of galleries to organize your work. No limits. So how does it compare to the competition? We would encourage you to compare yourself:

Saatchi/YourGallery -- You can create one gallery that can contain up to 20 images for free. You can't upload or attach music to your galleries of work. myartspace allows you to organize your work into contemporary Flash galleries. But check out the work at their site and ours. A Saatchi Gallery. A myartspace gallery. You decide.

Or you compare our HTML gallery to look at apples-to-apples. And a lot of our competitors charge money just to be a member. Some let you upload 3 images per month unless you are a paying member. We encourage you to look at the other sites. Make the judgement yourself. At myartspace, we use online advertising and competitions to help offset the costs of building the site. So we can deliver the latest technology and unlimited storage for free to our community.

2. It's Contemporary and Cool: myartspace is hip. It's cool. It's contemporary. It lets artist build contemporary presentations of their works with music, audio narration, video and more. So you can create an experience that's much different than all other online sites for artists. And, if you want, you can take your gallery and "embed" it into other pages (like your www.myspace.com profile and bulletins, or your www.livejournal.com entries).

Some good examples include:

Galleries with music: Amanda Potter, Sarah Maple, Allison Currie
Galleries with narration: Dayton Castleman and Seth Camm
Galleries with video: Derek Ogbourne and Frank de las Mercedes
Galleries in HTML: Todd Burroughs, Paul Mardikian and Viorel George Popescu
e-Catalog in PDF Format: Lois Foley.

3. It takes a community to make it work! myartspace is a community with artists, collectors, curators, art critics, educators, gallery owners, and more. The community has painters, photographers, sculptors, videographers, and everything in between. myartspace has one of the largest collections of online interviews with emerging and established artists. myartspace sponsors all sorts of community events including world-class juried competitions.

In 2006 we sponsored the South of France Competition. Four winners were wisked to the South of France for a week. In 2007 we ran New York, New York -- a 3-week show in Chelsea, New York. Winners from the corners of the earth were flown in and hosted to a gala show opening. In 2008 myartspace sponsored a juried photography competition -- the myartspace/HotShoe International competition AND now the Miami Basel Juried Competition. In 2009 our competition will take us to London, England and Shanghai, China. And in 2010 myartspace will hold its winning global exhibition in Mumbai, India.

4. Wanna Sell your art; We can be your platform: Artists are linking up with collectors and selling their art today through their personal networks on myartspace. In November myartspace will be introducing our solution to art selling -- the New York Art Exchange (nyaxe). It allows artists to set up their own store and list their work. And, of course, the work can contain additional photos, video, and narration. Online galleries will be springing up to sell work using the myartspace platform. And galleries can extend an invitation to you to represent your work in their galleries -- whether online or in Chelsea.

5. And it offers a premium membership for even more! myartspace is a free, open community. But for those artist that want more professional capabilities we offer premium services for artists. Premium subscribers can have their own personal web addresses. They can have HTML and Flash galleries. They can create their own PDF e-Catalogs of their work. They can post news events and press releases, issue eVites to heir exhibitions and upcoming shows and much more. Premium Services is $75 per year. For more information on premium services, click HERE.

So in short, we would love for you to check out our site and see if it works for you. We're proud of our membership and our growth over the past two years. Come check out the premier online social network for the art world. www.myartspace.com

Peter Doig Retrospective at Schirn Kunsthalle

Hitch Hiker, a 1989-90 painting by Peter Doig on display now at the Schirn Kunsthalle via Tate Modern.

A Peter Doig retrospective is currently on display at Schirn Kunsthalle in Frankfurt am Main, Germany. The exhibition features examples of Doig’s work spanning the last two decades. Included are 130 painted posters, 50 paintings and a few works on paper. The retrospective includes some of Doig’s most celebrated landscapes. This will be the third retrospective for Peter Doig this year. Earlier this year there was a Peter Doig retrospective at the Tate Modern and the Paris Museum of Modern Art. The current Peter Doig retrospective will come to a close on January 4, 2009.

Peter Doig has been very active in the last two decades. In 1993 he won the first prize at the John Moores exhibition with his painting Blotter. This brought public recognition, cemented in 1994, when he was nominated for the Turner Prize. From 1995 to 2000 he was a trustee of the Tate Gallery.

Link of Interest:

Peter Doig Retrospective [Schirn Kunsthalle]

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Picasso Harlequin Withdrawn from Auction

A painting by Pablo Picasso has been withdrawn from a Sotheby's Impressionist and Modern art auction in New York. The painting, which is a 1909 work titled "Arlequin", was expected to fetch more than $30 million at auction. Sotheby's says that the owners withdrew the painting for personal reasons. However, critics have suggested that it was withdrawn due to the recent financial crisis that has shaken the foundation of the art market. The harlequin painting was owned by the late Italian born American surrealist painter Enrico Donati. Donati paid $12,000 for the painting in the 1940s. Is this a sign of what is to come?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Market Crisis: Galleries NEED to Embrace the Internet... and eCommerce!

Art Market Crisis: Galleries NEED to Embrace the Internet... and eCommerce!

One of the critical problems facing the art world is the fact that many art dealers continue to play by the rules of old during times of economic crisis. They often fail to adapt in a meaningful way and roll on as if nothing had happened. Unfortunately, something has happened-- the economy is in a state of peril. Current economic woes have cast a shadow over the art world. These concerns have turned to fear-- and that fear has turned to paranoia in some circles. Some have suggested that if the economy continues to worsen we will see hundreds of brick & mortar galleries close throughout the world. Thus, the time to adapt to this dire market is now! Art dealers need to accept and utilize alternative forms of commerce-- including eCommerce.

Businesses owners must truly adapt in order to sustain themselves during times of economic struggle. This translates to laying off staff, adjusting prices, OR taking some initiative by utilizing different paths of commerce that may be foreign to theie business structure. Selling art is a business-- when business is rough you either count your losses or close your doors. In other words, art dealers need to discover new ways to keep their doors open during difficult times. They need to take note of the positive change that eCommerce has spurred for other types of business. For many art dealers that will involve braving the art market frontier of the internet that has been ridiculed by certain circles of the art world since the 1990s. My opinion is that eCommerce may allow some galleries to keep their doors open during times of economic despair while offering alternative funding during the best of times. Art dealers must adapt to this extension of the global market.

Businesses have learned to adapt to specific market situations by utilizing the internet and eCommerce. Unfortunately, many art dealers tend to hide themselves within a protective bubble of fantasies that dictate that the structure of the art market is without fault and must never change. You can observe the attitudes created by that bubble in how certain circles of the art world have been stubborn about utilizing the internet and eCommerce. Certain individuals want the dynamics of the art market to be etched in stone. Unfortunately, that attitude is why many businesses fail in general. To put it bluntly, when it comes to business nothing is etched in stone.

In order to adapt to a difficult market a business must truly adapt. This is accomplished by exploring different manners of commerce. Lack of initiative, ambition, and the ability to accept changes in how business can be conducted has cast doom on many businesses and it is also why a gallery can end up closing its doors for the last time. This is why it is vital for art dealers to accept eCommerce in order to expand their market. With little effort an art dealer can introduce his or her represented artists to the global art market 24/7. That is the amazing thing about eCommerce-- when the gallery is closed for the night and the art dealer is sleeping a collector overseas may very well request to purchase a piece. From there being practical about secure payments and shipping are the only steps left within the context of the deal.

So how can art dealers utilize eCommerce in order to stabilize their business during difficult economic times? How can they obtain alternative cash flow in order to keep their doors open? It is simple really. By utilizing eCommerce meshed with social networking art dealers can represent more artists-- including emerging artists with affordable prices. An art dealer could technically represent hundreds of artists online with ease while focusing on his or her core artists in the physical gallery space. In other words, an art dealer can represent his or her core artists (primary representation) in the physical space of the gallery while representing others (secondary representation), as well as their core artists, online. This would allow art dealers to take on less established artists so that they can offer affordably priced art to the global market during hard economic times. It would also be a source of alternative income when the market is more stable. By utilizing the internet and eCommerce an art dealer can keep his or her business open to the world 24/7. The technology is here. Use it!

Links of Interest:

Do Galleries Need eCommerce?

www.myartspace.com/blog/2008/10/do-galleries-need-ecommerce.html

eCommerce Can Work For Artists

www.myartspace.com/blog/2008/10/ecommerce-can-work-for-artists.html

Why Art Sites Work

www.myartspace.com/blog/2008/10/why-art-sites-work.html

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

www.myartspace.com/blog/2008/09/art-and-internet-artists-are-here-when_27.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

The Vision of Steve Lazarides

The Vision of Steve Lazarides
www.lazinc.com/artists

Gallery owner Steve Lazarides delivered blunt force trauma to the foundation of the traditional art world with his Outsiders exhibit. The exhibit, which featured Polly Morgan, Jonathan Yeo, Antony Micallef, Mark Jenkins and others, proves that an art exhibit can be successful without direct advertising and media hype. Lazarides and his artists reveal what can be accomplished by taking an unorthodox approach to exhibiting and marketing. In that I see great vision-- it is the kind of positive change that we need in the dynamics of the art world. I admire Steve Lazarides for what he has accomplished.

www.jonathanyeo.com
“Jonathan Yeo might be termed an inside-Outsider. A talented self-taught portrait painter, he's nonetheless created some of the most controversial and amusing artworks of the past few years.” -- Steve Lazarides

The proof is in the numbers-- over 30,000 visitors found their way to the exhibit in New York even though no direct advertising was involved. Awareness for the exhibit was spread by word of mouth-- from one artist to another, from one teenager to fifty-- which then spread like wildfire on the internet. The power of this cycle of communication is important if compared to recent media hyped exhibits, such as the Gilbert & George retrospective, which received less foot traffic even though G & G are considered titans of the art world establishment.
www.antonymicallef.com
“Antony Micallef is an accomplished painter and sculptor who has managed to achieve recognition within the art establishment, and yet continue to maintain an uneasy relationship with the mainstream.”-- Steve Lazarides

Many of the artists represented by Steve Lazarides have relied on the internet to some degree in order to establish public awareness of their work. Thus, the popularity of the exhibit reveals the influence that the internet can have on the art world as well as the art market. These artists have strayed from the traditional path of the art world-- they have carved out their own destiny by utilizing websites, blogs, and social networking. By creating their own path these artists have ended up exhibiting in major museums and galleries.

www.pollymorgan.co.uk
“Polly Morgan's 'To Every Seed His Own Body'. Her art fits in with the rest of the Outsiders in that it inventively jolts the viewer into re-evaluating their environment.”-- Steve Lazarides

Due to the internet the public finally has a say in what they desire to view. One could say that the Outsiders reveals the direction of art that the public is demanding. Of the exhibit Lazarides has stated, “the work is very accessible – you don't need an art history degree to understand it; the same way an idea isn't necessarily any less powerful if not communicated in a complex manner.” The question is… will other gallery owners take note of this accomplishment? Will they be more open to emerging artists who do not fit their traditional expectations? Will they acknowledge that utilizing social networks and blogs can be a positive direction to take?

Links of Interest:

The Outsiders

www.myartspace.com/blog/2008/10/outsiders.html

Myartspace Interview with Mark Jenkins

www.myartspace.com/blog/2008/02/art-space-talk-mark-jenkins.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Banksy: One Nation Under CCTV scheduled for removal

Banksy and his team created One Nation Under CCTV last April. Banksy and company erected scaffolding in a Post Office yard in Newman Street near Oxford Circus in order to create the 23ft-high mural. Apparently the team was in full view of a security CCTV camera during the process. Banksy had worked behind polythene sheeting in order to conceal his identity. The piece is now scheduled for removal.

The Westminster City Council has ordered the removal of the 23ft-high mural stating that it encourages graffiti. The consensus of the Council is that it should be removed for the greater good. This is not the first time that a piece by Banksy has been removed for the "greater good" and I doubt it will be the last.

What do you think about this decision? Should street works by artists of note be protected from removal? Do these works encourage graffiti in mass? What say you?

I learned about this story on the Coxsoft Art News blog. Coxsoft previews London art exhibitions and reports on anything of special interest in the visual arts worldwide-- from ice sculpture to body painting. Check Coxsoft out!

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Myartspace Interviews: Wafaa Bilal, Vito Acconci, Christian Schumann

A look at past interviews that have been featured on www.myartspace.com.

Imbue, Lamda photographic print, Approximately 44 by 48 inches (smaller-sized prints also available)

Interview with Wafaa Bilal:
“Activist art gets a bad reputation; art is political in nature. You cannot separate the two. Even if you decide not to do political art, that is itself a political act according to Adorno. Which comes first, art or politics? I think art becomes the reflection and the record of time…but life is politics, and usually art imitates life, except occasionally when life imitates art.” -- Wafaa Bilal
READ MORE
Fan City, convertible architectural unit, 1981

Interview with Vito Acconci:

“Everybody uses labels: they give you a handle on things – an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out…” -- Vito Acconci
READ MORE

Plastic Youth, 2007, Acrylic on canvas, 52" x 74"

Interview with Christian Schumann:
“I never make sketches. Everything is developed in an intuitive manner. The approach I developed growing up is derived from a mush of ideas from expressionism and the Beats. In painting, one act creates the idea of the next - it is a conversation of sorts which slowly turns into a frustrating puzzle with my own limited nature. Increasingly, the only requirement I need for working is just to have time to do it in the first place as the whole process requires so much of it.” -- Christian Schumann
READ MORE

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Bill Henson Controversy: Art will no longer be an excuse for child exploitation.

Bill Henson Controversy Fuels Legal Action

Australia-- In the wake of the Bill Henson controversy laws regulating child nudity and art will be overhauled in New South Wales. If passed the new laws will prevent photographers and filmmakers from using “artistic purpose” as a legal defense for working with nude underage models. For those who don’t know, Bill Henson has been under media fire in Australia due to a controversial exhibit involving photographs of nude models as young as 12. The outrage was fueled further when it was revealed that a principal had given Henson an unauthorized tour of a school-- the artist visited the school in order to scout for potential models. Henson recently censored his own exhibit at a New York gallery in a step to keep the controversy from following him overseas.

The new legislation will include a new offence involving voyeurism and tougher laws that target teachers and other adults who abuse their position of authority over children. The legislation will also include a new offence to address the practice of meeting a child after exposing the child to indecent material for sexual purposes. That offense alone will carry a maximum sentence of ten years.

The swift change in rules regarding underage nude models and the breakdown of the “artistic purpose” defense was fueled due to public outcry over an exhibit of Henson’s work earlier this year. Law enforcement had been informed of the exhibit from upset individuals who received an invite by email from the gallery. The invite included a nude image of a 12 year old girl. Thirty-two images were seized from the gallery after police shut the exhibition down.

Bill Henson was not charged with any violations. In fact, the NSW Director of Public Prosecutions, Nicholas Cowdery, refused to prosecute the artist. The 32 seized images were declared non-pornographic. However, the ruling on Henson’s photographs opened the floodgates for the new laws and the termination of the “artistic purpose” defense due to concern that individuals with ill intentions would exploit the ruling in order to justify their otherwise illegal photographs and films. Under the proposed laws adults in a position of authority who are found guilty of indecent offences against children will be liable to a maximum sentence of 25 years in jail.

Links of Interest:

The Bill Henson Controversy: Art or Child Porn?

www.myartspace.com/blog/2008/10/bill-henson-controversy-art-or-child.html

Art Critic Benjamin Genocchio Makes Poor Choices About Controversial Photographer
www.myartspace.com/blog/2008/10/art-critic-benjamin-genocchio-makes.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Myartspace Art Scholarship Update

Early Registrants will obtain a free Premium trial on www.myartspace.com and have a shot at winning an i-Phone! The art scholarship competition is free to enter!

www.myartspace.com has created an art scholarship program for undergraduate and graduate art students. The scholarship is intended for students who exhibit exceptional artistic excellence in their chosen medium. Both contemporary and traditional art will be considered. There will be three prizes for undergraduate art students and three prizes for graduate art students. Myartspace is free to join and the art scholarship competition is free to enter. We plan to expand on this program each year.

Prize Breakdown:

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

Update to Art Scholarship Competition Rules:

Due to the successful interest on the part of our program, and at the request of a large number of schools, www.myartspace.com has decided to extend the entry to the scholarship program until December 16, 2008.

www.myartspace.com has created an early registration deadline of November 21, 2008. Registrants that register by November 21, 2008 will be given a free, 3-month premium subscription to myartspace. A full-year premium subscription costs $75-- so this is a great way to try out premium features for 3 months on the site at no cost. The upgrade provides a host of powerful features for users such as their own personal URL on myartspace. Two i-Phones will be awarded through a random drawing to early registrants as well.

Scholarship winners will be notified by December 23, 2008. A public announcement of winners will be made January 7, 2009. For more information visit www.myartspace.com/scholarships

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Elizabeth Peyton at the New Museum

Portrait of Poitr Uklanski (1996), Elizabeth Peyton via NYTimes

The Elizabeth Peyton exhibit at the New Museum features over 100 works by the artist. The exhibit, titled “Live Forever: Elizabeth Peyton”, will be open until January 11th, 2009. Her work can be found in the collection of the Museum of Modern Art in New York and the Centre Pompidou in Paris

Elizabeth Peyton emerged in the early 1990s along with painters such as Lisa Yuskavage and John Currin. Her portraits are often characterized by elongated, slender figures with androgynous features which at times resemble fashion illustration. These portraits generally portray individuals that Peyton has established personal rapport with or portraits linked to her imagination-- individuals she wished she had known. The exhibit at the New Museum involves examples of Peyton’s work from the last fifteen years.

Peyton’s celebrity subjects have included Liam Gallagher (Oasis), Keith Richards (The Rolling Stones), Kurt Cobain (Nirvana), John Lennon (The Beatles), and Eminem-- among others. Her portrait of John Lennon sold for $800,000 in 2006. Peyton is often credited for having revived the tradition of portrait painting during a time when portrait painting was considered by many to be “dead”.

Links of Interest:

Roberta Smith on Elizabeth Peyton’s Show at The New Museum [Badatsports]
Live Forever: Elizabeth Peyton [New Museum]
The Personal and the Painterly [NYTimes]

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Space Talk: Matt Small

Matt Small-- also known as Matty-- is a traditional urban artist who paints directly onto used pieces of found metal and other objects. Small’s subjects are taken directly from the streets. They are all filmed without their knowledge at which point the artist uses the documentation as references for his work. The portraits are painted on found- objects such as concrete and metal, using household materials like gloss or poster paint, which he applies very thickly. By giving each portrait names such as Ahmed, Andre and Terry, he gives the ‘anonymous faces of urban youth’ a character. The combination of subject and materials captures the essence of London street life.

Winston, Sculptural painting made from assemble pieces of metal, 45cm x 30cm x 12cm, 2007

BS: Matt, can you introduce yourself to our readers?

MS: My name is Matthew Small. I am a dude from Camden north London where I have lived all of my 33 years. I am an artist who has been described by some (many) to paint moody, young negroids and other foreigners, the sort of people you don’t normally do portraits of if you’re an artist. I paint people who don’t get acknowledged much in society, be they black or white, it ain't no race thing.

Paul, Mixed media on found metal, 91cm x 76cm, 2007

BS: Matt, you studied at Westminster and the Royal College of Art. What can you tell us about your academic years?

MS: I studied illustration, I always liked drawing and stuff and wanted to have a career in it. I thought that illustration would be a feasible way of making money in the art world. So I did an art foundation and then a degree in illustration and then a masters at the RCA.
Youngstarr, Mixed media on found metal, 110cm x 110cm, 2007

BS: So why did you decide to pursue fine art instead of illustration?

MS: I thought the illustration world would be the way, but I soon realized that answering briefs for someone else, doing stuff that I didn’t give a hoot about was really stifling my creative development. I basically couldn’t be an illustrator because I was more interested in making art that was about things I cared about, subject matter that was related to me, the world that I saw, the people I encountered on a day to day basis. I wanted to illustrate their story not some bollocks crap design for a corn flakes packet or a load of illustrations for some numb-nut magazine
Samuel, Mixed media on assembled pieces of found metal, 110cm x 90cm, 2006

BS: With that in mind, how would you describe your art to someone who is approaching your work for the first time?

MS: My art is portraiture that focuses on the person who isn’t normally deemed worthy of being focused on. I paint the little bod who is sitting on the wall by his housing estate, I paint the little runt who has a hoody on that people don’t want to look because they feel threatened for some reason, I paint the things that I think need to be highlighted, the unappreciated.

BS: How is that choice reflected in the materials that you utilize?

MS: I paint on materials that I suppose represent the people I paint. For example, fridge doors and ovens. I create on objects that have been discarded, tossed away, left to rot, abandoned, unloved shit. These materials help enhance the message I’m conveying in the picture.

JB, mixed media on found metal, 65cm x 50cm, 2006

BS: Give us some more insight into the materials you use and surfaces that you utilize within the context of your work…

MS: I work with anything I can get my hands on, I like the idea of being ‘unconventional’, just picking up all manner of different types of paint and throwing them all together, and like I said, working on bits of cars and fridges.

I use a lot of household paints and industrial materials. For example, concrete and bricks. I like having bits of the environment in the work. It all goes into bringing out the essence of the city.

William, Mixed media on found concrete slab, 140cm x 179cm, 2007

BS: Tell about your process. Do you start out with a sketchbook-- prelim sketches-- or is your work based on intuition alone?

MS: I film my subjects on the street, I find a suitable frame to work from then draw it up on to the canvas. I work in sections really. After sketching up the picture I then paint the tones of the face, then I will maybe leave the picture for a little while, for how ever long, a week or a couple of hours it all depends on whether I feel bothered to do it all in one go. It often comes down to if I have enough time to do it all before I pick up my boy from school, that sort of thing. But all-in-all in terms of actual time a picture takes me on average about 40000000
hours.

BS: Tell us more about your influences-- what inspires you?

MS: When I wake up and see my little boy I feel inspired. When I go out and mooch about town I feel inspired. Day to day living is inspirational for my work as I want to represent a reality that is personal to my existence and hopefully which is similar and connected to others around me. It’s a London thing I suppose. It’s nice to draw upon your community, to highlight the area you come from and the people who live there.

Jason, Mixed media on found metal, 80cm x 50cm, 2006

BS: Have any specific artists influenced you?

MS: I always believed that to have a unique voice you shouldn’t really look at other artists. So I never really consciously let myself be influenced by anyone. Then I realized I was being anal.

I enjoy Marlene Dumas as she focused on a section of society that was not accepted as having any worth-- prostitutes. I was happy to see an artist deal with such subject matter with total conviction and at the same time have her own style of painting that really captured the mood and essence of those she was depicting.

David, Sculptural work made from hand painted assembled metal on found street sign, 100cm x 60cm, 2007

BS: Living as an artist is sometimes difficult financially. Do you hold a part-time job?

MS: I have never had a job in my life and I intend to go to my grave never having had one. I get by.

BS: You've produced a lots of work in a relatively short frame of time. Do you have a favorite piece?

MS: I always try to produce favorite pieces, I think I put myself into all of my work so it is all personal to me and each piece represents an achievement. However, of all the pictures that I was happiest with it was a piece called David which was like a 3d painting that I made for the ‘This is England’ show last year.
Lawrence, Mixed Media on found metal, 65cm x 90cm, 2005

BS: What do you think of the recent boom of mainstream interest in street art?

MS: I don’t know really. Sometimes I’m sick to death of it all. I hate when scenes get hyped up and you get loads of wanky people getting involved that don’t have a clue or give a shit really about the essence of the culture. You get hedge fund bankers and city boys who are attracted by the money and don't give a crap about the reality of the real people who are making the art on the streets.

I see street art as a platform for all to have a voice, to be seen and felt, that’s what’s so beautiful about it. The city becomes a canvas for all. Now it does feel a bit like, because of all the hype and attention directed towards street art, some artists are using the street to advertise their product. It feels slightly manipulative to me that the street is used to promote your soon to be released print or up coming show. I think what’s happened is the innocence has gone a bit.

I do believe that art on the streets is eternal, the need for the street to be heard will mean there’s always someone out there who will be doing this without the thought of money being their sole agenda. I don’t know, who am I to have an opinion, I’m just an ‘urban artist’

Becky, Mixed media on found wood, 80cm x 78cm, 2008

BS: My understanding is that your work is currently on display at Ronnie Wood’s London based gallery Scream. So what is your opinion of galleries in general?

MS: All galleries are money grabbing snakes.

BS: Finally, what are your plans in the near future? Any upcoming exhibitions?

MS: I have a show at black rat press in March then I’m having a show in South Africa in November next year which will be with the Bank Gallery.

You can learn more about Matt Small by visiting his website-- www.mattysmall.com. More information about Matt can be found art-- www.screamlondon.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

Meat After Meat Joy, curated by Heide Hatry Group exhibition

Group Exhibition runs October 16 - November 15, 2008

The flesh is weak but the spirit is strong. Using meat, as a material is most certainly an interesting concept with predisposed associations and references. Once passed a slightly sickening sweet scent at the opening there are interesting levels to investigate. The material is life and death symbolically of course but it is also a signifier something was and is no longer itself. Though it is almost impossible to get around the “spectacle” of the material, Heide Hatry plays down that aspect in order to dig deeper into the collection of works.

(c)Betty Hirst, American Flag 2008, Meat and lard on panel, 33 x 60 inches, courtesy of the gallery

Betty Hirst’s works are visceral chunks formed into sculptures. In Hirst’s “American Flag” piece she creates horizontal lines of meat and lard sprouting maggots deteriorating before your eyes within its frame. Possibly, we have come to this collectively, a carcass of ideals left to fester. In her work “Dried Baby” the meat infant is a basic figure with minor details alluding to gender. Faceless lying on a light pink satin material under a single hanging gallery light, small stains have begun to settle into the fabric. The disturbing warmth of the yellow light washes over the work as in a strange hatchery... (C) Betty Hirst,Baby II 2008, Meat, 14 x 8.5 x 3 inches, courtesy of the gallery

In Zahng Huan’s video “My New York 2002 – Performance Whitney Biennial” Huan’s meat suit is as bulked up as any contemporary super hero. He is now publicly fully exposed, vulnerable without the most basic protection of his own skin. (c) Zahng Huan - My New York 2002, Performance, Whitney Biennial, courtesy of the gallery

Carolee Schneemann’s Meat Joy (1964) performance in which both men and women roll around biting raw chicken unleash unabashed desire bound to the body but not exclusive to it. They roll and slide, playfully confident in their “being” without concerns of social or sexual pre-conditions and judgment.

Curious by nature, I oddly found myself wanting to touch the work to experience its texture first hand. Would it really feel different because of its placement in a gallery and presence as art object than preparing it for dinner? This is where the brain kicks in to add its two cents to the experience.

Heide Hatry wearing a black jumper with thin slices peeking through cut outs invited me to touch it. Naturally, I did hoping to find an unexpected reaction. Still supple with a slightly dried thin layer, the meat against her body gave way as if I were touching something deeper. She had given me something which felt very personal, a moment to see beneath the layers of skin through the cut outs of the jumper. What she had given was a rare experience.

DANEYAL MAHMOOD GALLERY
511 WEST 25 ST, 3FL
NEW YORK CITY 10001
phone: 212 675 2966
Tues.-Sat. 11am to 6pm
www.daneyalmahmood.com

Take care,

Dianne Bowen
Guest Blogger
www.diannebowen.com
www.myartspace.com/dianne.bowen
www.wwwoopenmouth.blogspot.com

The Artist Statement...again

Based on the number of questions I’ve received about this topic I think it is safe to say that writing an artist statement can sometimes be the hardest aspect of taking the professional path with art. It can be very difficult for some artists to write about exactly what they are doing even though they are fully aware of what they are doing. For some each word used to describe their art becomes a philosophical game of Russian roulette-- “Did I say the right thing? “, “Does this make me look stupid?”, and a dozen other questions barrage the task of writing an artist statement. Loathing aside, writing an artist statement is something that must be done and done well. Don’t allow it to become an obstacle on your path. Master it with the same persistence that you have had in mastering your chosen medium(s).

More often than not an artist will attempt to shrug off the need for having an artist statement by suggesting that his or her art should speak for itself. That noble view is rarely enough to spearhead a career. The simple truth is that an artist statement can play a huge role in the success or failure that an artist experiences as far as school applications, grant applications, and exhibit enquires are concerned. The ‘my art defines itself’ attitude will not work in these scenarios because there are millions of artists who say the same thing to the point that the anti-artist statement statement is generic. In other words, saying ’my art defines itself’ does not say much to those who require an artist statement in the first place. In fact, ‘my art defines itself’ often translates to ‘I’m lazy’ or ‘I don’t know what I’m doing’ to individuals who expect an artist statement. To put it bluntly, if you don’t care to write about your art why should anyone else care to learn about it?

The ‘my art defines itself’ position is generic because it is obvious that people will discover something when viewing art-- chances are they will discover something beyond the intention of the person who created the piece. This is why having an artist statement can benefit an artist. The point of an artist statement is to inform people about how YOU see your work while still leaving how your work is interpreted open-- if desired. The thoughts behind your process and methods may not always be obvious to the viewer. Thus, the artist statement serves as an introduction of sorts. In other words, your artist statement can be a starting point for individuals who are interested in learning or writing about your art.

When discussing the importance of having an artist statement I’m often hit with “But so-and-so does not have an artist statement!“ from artists who attempt to find any reason they can to avoid writing one. While it is true that some successful artists do not currently utilize an artist statement I can promise you that at some point ‘so-and-so’ did. Face it, an artist like Damien Hirst does not need to actively use an artist statement. His work has been widely discussed in the press and online-- his statement is known. An emerging artist does not have it so easy. Thus, having an artist statement is important for an emerging artist because it can answer questions that may otherwise go unanswered.

In closing, your artist statement should be close to your practice in that it should grow with you. In other words, the artist statement you write today may not reflect the work you are creating a year from now. At some point you will need to make changes to your artist statement as your work evolves. However, in order to make changes to your artist statement you need to have one to work from. Thus, it is vital to throw caution aside and write! You probably won’t get it right the first time… just keep writing and be sure to get feedback from peers. With luck you may not need to rely on an artist statement five years down the road-- though some of us think that it is important to have one regardless of fame.

Links of Interest:
www.myartspace.com/blog/2008/09/my-art-advice-artist-statement.html

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Myartspace Advice for Emerging Artists

I’ve been thinking about what www.myartspace.com has accomplished with the Art Space Talk series of interviews that I‘ve conducted. Since October of 2006 I have conducted over 400 interviews in person, by phone, and by email with emerging and established artists. I’ve been told that myartspace has one of the largest-- if not the largest-- collections of artist interviews online at this time. I take great joy in the fact that these interviews have made an impact.

The impact is obvious if one observes the details. For example, in the last year I’ve observed other online art communities attempt to emulate the success that myartspace has had by conducting interviews of their own. Needless to say, they have a lot of catching up to do. However, what pleases me most is the fact that dozens of art students have contacted me to let me know that they have used specific myartspace interviews for their research papers. At the end of the day that is what matters to me-- art education.

The myartspace interviews contain information that emerging artists can learn from. By reading the myartspace interview series young artists can obtain advice from world renowned artists. Below are some quotes from past interviews I’ve conducted for myartspace that I think might be helpful to emerging artists:

“Fine Art is not a career - commercial art is. You may be so talented that no one will buy your work until after you're dead, like Vincent van Gogh. Focus on things that happened to you that you can't figure out.” -- James Rosenquist

“The internet has extended the possibility of making art to more people, and particularly of enabling it to be seen by others. I am sure the internet is having a profound impact on art, particularly those who have grown up with it, but making good art will remain as difficult (and as easy) as it ever was. Having a lasting impact may become more not less difficult.” -- Michael Craig-Martin

“Don't look for art outside yourself,- you can only find it within yourself.- and most likely,- you are already stepping on it!” -- Julian Stanczak

“I can only say that one has to be very single minded, if not obstinate and think that just doing the work is important though one does really need some encouragement. However one usually has something one needs, to express which gives one great satisfaction and there is a pleasure of knowing other artists.” -- Sylvia Sleigh

“You exploiting you... and going against your inner voice... your gut feeling, your instinct. No matter what is being denied or offered, the true you knows better. You have to learn to hear it.” -- William T. Wiley

“focus on what you are interested in. Then go see as much of that kind of painting you can find. Museums and galleries can be a place to learn and obviously you should read and inform yourself. Continue to educate yourself and paint as much as you can. I think that is what artists have always done.” -- Thornton Willis

“I guess if I had advice for any potential students of any art school that would be to make a lot of friends - interact and try to spend time with the most creative, constructive people you can find as these friendships could really matter later on.” -- Christian Schumann

“My students have almost all made networking sites part of their daily life. I seriously wonder where they find the time. Young artists have great opportunities to see what is out there, to form connections and communities and to promote themselves.” -- Holly Hughes

“Play with fashion if you wish, but don't be a slave to it - it can change and leave you behind. Also it is freeing to have another way of making a living so you are not dependent on the market.” -- Janet Fish

“Everybody uses labels: they give you a handle on things – an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out…” -- Vito Acconci

“Draw and paint everyday. Create a unique body of work. Study what is important and make your art about the most important thing. Read Rilke's Letters to a Young Poet. Honor your visions by noting them whenever you have them. Always carry a sketchbook and enter in it daily. Create a website for your work and print a postcard and a business card and give them out. Write an artist's statement -- over and over again. Learn to talk about your work so that it inspires others. Go to galleries and meet other artists. A certain amount of solitude is necessary but don't be isolated. Study the masters. Immerse yourself and become obsessed with your art and art in general.” -- Alex Grey

“Activist art gets a bad reputation; art is political in nature. You cannot separate the two. Even if you decide not to do political art, that is itself a political act according to Adorno. Which comes first, art or politics? I think art becomes the reflection and the record of time…but life is politics, and usually art imitates life, except occasionally when life imitates art.” -- Wafaa Bilal

“Sites like Myartspace, PAM, and Lumen Eclipse are amazing resources for artists, curators, critics, and traditional gallerists. If not actual gate keepers, these sites maintain a level of criticality in the work they show and in their programming that keeps them vital. Few museums, even those with deep pockets and a commitment to collecting video, can rival the breath of some of these sites. That being said, I'm not a fan of more is better. Unlike most web 2.0 sites like YouTube and MySpace, where quantity doesn't always equal quality, the above mentioned sites maintain a focus. I don't believe that the medium is always the message and that just because it's a video and uploaded somewhere it's worth watching.” -- Janet Biggs

“don’t be fussy about the shows you are asked to be in, although still aim for bigger and better shows. The more exhibitions you are in the more likely you will be offered venues that are more prestigious and you will get a better deal.” -- Derek Ogbourne

“Other than "Breathe," "Be open," and "Look and Paint,"… I had a list of "10 dos" which I suggested that my students at the academy adhere to daily.
1. Hydrate (drink a gallon of pure water a day)
2. Eat Right (eat three well balanced meals)
3. Be Physical (exercise ,walk, or play a sport,regularly)
4. Study (learn all you can about your primary interests)
5. Make some money(work. be responsible,not greedy.You have to eat and pay the rent)
6. Make Art (believe in it, develop it and enjoy it.)
7. Meditate or Pray.(find and practice a spiritual discipline)
8. Sleep (8 hours a night to recharge and dream)
9. Love (develop a few close honest friendships)
10. Know Thyself (Be clear. write. decide when an issue is your own or when it is someone else's)” -- Bo Bartlett

“Make art all the time-- and really all the time. You won’t grow unless you do, and the art won’t make itself. If you have a TV-- get rid of it. When you feel you are ready figure out whatever field it is you would like be involved in and approach them. They don’t know about you so you need to let them know who you are. If you are trying to get involved in the galleries pick up this book "Taking the Leap" it's an insider's guide to exhibiting and selling your art by Cay Lang. Don’t let criticism get you down. The art world can be really overwhelming at times. You definitely need to work really hard at it. If one place turns you down keep moving on to the next place and just keep on hitting it and don’t ever lose site on why you make art. Your art is who you are. The most important thing is to just believe in yourself.” -- David Stoupakis

“Work as much as you can. Elevate your craft as much as you can. Expand your visual vocabulary as much as possible. Don’t base your research solely on computer generated information. Active engagement with the real world is the best source for concepts and imagery. Having and being able to articulate a great idea, is the best way to get exposure. Competency in business, packing/freighting, computer software and writing wouldn’t hurt either!” Valerie Hird

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

The Ruins of the Future

Opening Thursday 23 October 6-9pm
Mie Olise Kjærgaard and Mary Mattingly
The Ruins of the Future
October 24 – November 22 2008

Standpoint is pleased to bring together two internationally acclaimed young artists who explore remote places and create semi-architectural inventions, reflecting on failed human histories and possible futures. Into the Pyramid 08 still from video- box in water by Mie Olise Kjaergaard

Mie Olise Kjærgaard creates what she calls 'porous constructions'. Like empty shells, her abandoned structures are left open for mutation, inhabitation, or penetration; be it transformative or entropic. They are reminiscent of cities or cargo ships, or constructions like watchtowers, houses and sheds.

In 2007 Kjærgaard travelled to the Russian abandoned city, The Pyramid, at the edge of the Arctic Circle, which was built as a communist utopia and abandoned in 1998. The architecture and remnants of mining construction in the ghost town form the basis for her ongoing project about the disintegration of utopian ideas - the spaces left by man to fall back into nature.

For Standpoint, Kjærgaard presents new work relating to a second research trip to the Pyramid City, this time accompanied by a professional film photographer, with funding from the Danish Art Council. Alongside the resulting film Kjærgaard will construct a site-specific intervention which re-interprets the gallery's functioning open elevator in reference to constructions from the North Pole Coal Mine Structures, which transported the newly dug coal towards shipment in series of buckets. Kjærgaard will also show new paintings of mutated abandoned structures.

Mie Olise Kjærgaard was born in Denmark, and lives and works in London and New York. Graduating M.A. Central St. Martins 2007, she was one of the 4 finalists in Saatchi / Channel 4's '4 New Sensations' in 2007, and one of 50 finalists in the www.myartspace.com New York, New York Competition 2007. She recently opened her first US solo show at Barbara Davis Gallery, Houston. Her installation 'The Noisy Shed' was included at the 10th Istanbul Biennale, with The Triangle Project. She is one of the selected artists for the John Moores Painting Prize 2009, Art Futures 08 and was nominated by Rebecca Wilson (Saatchi Gallery) for the Sovereign European Art Prize. Elysian Fields by Mary Mattingly

Mary Mattingly uses functional sculpture, photography and digital imaging techniques to create narrative scenes, which present the astonishing beauty of the wilderness against the need for human survival in a hostile climate. In 2001, Mattingly started building 'wearable homes', refining them through personal experience - living in them for weeks at a time in different deserts with little food or water. She added systems to them that purify water, provide a place to sleep, monitor the wearer's temperature and general health, and provide floatation and storage for belongings.

The homes are a response to Mattingly's personal experience of an urban nomadic lifestyle, coupled with the implications of climate change and increasing global pressures on future populations. 'I was able to experience hardships from lack of water and difficulties communities face from changing climates first hand, to study floodgates and rising tides, and at times I was able to help in relief efforts. With the inclusion of sculptures, the images that I make border between fiction and real.'

Mattingly is also working on a new series of photographs of failed utopian structures (some real, some invented and constructed) for Standpoint, which developed from an installed environment made at Braziers International Artists Workshop in 2007.

Mary Mattingly lives and works in New York City. Recent solo exhibitions include: Frontier, Galerie Adler, Germany 2007; Fore Cast, White Box, NY2006; Second Nature, Robert Mann Gallery, NY 2006. Her work has featured internationally in many acclaimed shows and biennials. Mattingly is working on a project for 2009 called the Waterpod, a floating sculptural habitable structure that will showcase new technologies for water desalinization and purification, clean energies, and sustainable, autonomous living. She is shortlisted for the Prix Pictet, exhibition Palais de Tokyo, Paris, France, October 2008, Dubai 2009.

Venue: Standpoint Gallery, 45 Coronet Street, London N1 6HD
Gallery Open: Wednesday – Saturday, 12-6pm
Tube: Old Street, Exit 2 (Northern Line – Bank Branch)
Buses: 55, 67, 149, 242, 243
Web: www.standpointlondon.co.uk

Links of Interest:

Mie Olise Kjærgaard interview with myartspace #1:

www.myartspace.com/blog/2007/09/art-space-talk-mie-olise-kjaergaard.html

Mie Olise Kjærgaard inteview with myartspace #2:

http://www.myartspace.com/blog/2008/09/art-space-talk-mie-olise-kjaergaard.html

myartspace profile for Mie Olise Kjærgaard

www.myartspace.com/olisen

Art Space Talk: Stephanie Diamond

I learned about Stephanie Diamond from reading an article on Paddy Johnson’s Art Fag City blog. Stephanie Diamond has exhibited her work nationally and internationally, and has had solo exhibitions at Incident Report (Hudson, New York) in 2008, Cuchifritos Gallery (New York) in 2005, Para-Site Gallery (Beacon, New York) also in 2005, and at Galeria Sin Titulo (San Juan, Puerto Rico) in 2004.

Stephanie Diamond's work has been included in group exhibitions at the Queens Museum of Art (Queens, New York), P.S. 1 Contemporary Art Center (Long Island City, New York), The Sculpture Center (Long Island City, New York), The Studio Museum in Harlem (New York), The New York Historical Society (New York), The Katonah Museum of Art (Katonah, New York), The Center for Curatorial Studies at Bard College, (Annandale-on-Hudson, New York), The Newark Arts Council (New Jersey), The Light Factory, (Charlotte, North Carolina), La Fabrica del Vapore/Open Space, (Milan, Italy), Contemporary Art Center (Vilnius, Lithuania), Andrew Kreps Gallery (New York), Ramis Barquet Gallery (New York), Art In General (New York), Artists Space (New York), Gallery 400 (Chicago), Kevin Bruk Gallery (Miami, Florida), Reg Vardy Gallery, (Sunderland, England) and Jan Mot Galerie, (Belgium).

Diamond was an artist in residence at LMCC Swing Space, Art Omi, Skowhegan School of Painting and Sculpture, P.S. 1 Contemporary Art Center, and M and M Projects in San Juan Puerto Rico. She is the recipient of a Puffin Foundation Grant (2002), Athena Foundation Grant (2003), and a nominee for The Louis Comfort Tiffany Foundation Award (2003). Her work is in the permanent collection of Bank of America, The Studio Museum in Harlem, and the Francis Greenberger Foundation. Her work has been published in the New York Times, Time Out New York, the New York Post, and MoMA Magazine. She received her B.F.A. from Rhode Island School of Design (1997) and her M.A. from New York University (2004).

Brian Sherwin: Stephanie, you studied at RISD, Skowhegan School of Painting and Sculpture, and at New York University. Can you briefly tell us about your academic years? Did you have any influential instructors? Do you have any advice for current students?

Stephanie Diamond: As a student, I learned how to critique very early on in my freshman year. I took a class at RISD during a semester called Wintersession; a time when we were encourage to not focus on our major. I cannot recall the name or kind of class I took; all I remember is not making any artwork. I only took part in critiques. I learned the art of critique so to say, and this led me to learn the art of idea making and object making.

Later in school I went to Mexico during a Wintersession, and this proved to be fruitful as well. Stepping out of what I know and what is “safe” never ceases to provide me with the best opportunities. Advice… learn where your ideas come from, learn how to give and take critique, learn how to write a resume and artist statement, and learn how to verbally articulate what it is you do visually.

BS: Tell us about your process as a photographer. In your opinion, what is the ‘perfect image’ as far as photography is concerned?

SD: As an obsessive image-maker. I began photographing as an artist at the age of 13, and since then, I have documented my -- and everyone who comes in contact with me -- life. I use a small and compact 35 mm film camera, and all of my photos are amassed in an archive of over 100,000 of my images (image above).

As far as the perfect image I do not suppose any photograph is a “bad” photograph, and I believe there is no such thing as “low” or “high” photography. I use photographs to help me articulate that the whole universe is connected. For me, photographs render what I see in the world into objects. This translation aids in my understanding that everything is energy, and capturing something or someone with a photo is making an object out of that energy.

It is my desire that the photo as an object holds this idea as well, and with this object we are capable to experience the subject matter in real time, in the now. It is my wish that through these visual representations one begins to realize and feel that there is really no separation between the subject in the photo, the object they are holding, and themselves. Photo for me, is proof that we are all connected as one.
BS: I understand that you were attracted to photography at a young age. Do you ever reflect on those early experiences within the context of the work you create today?

SD: I remember taking, and still have, my first photograph; it was taken in “It’s a Small World” at Disney Land (image above). I was 4 years old when I took it. The image is of a genie with her head resting on her hands. It is blurry, and was taken with an instamatic. I also have a photo timeline that is made up of my photos that mark important milestones for me. It consists of: 4 years old, my first photograph taken in “It’s a Small World” at Disney Land. 13 years old, the first photograph I printed. Also 13 years old, the first photograph where I realized that I was a photographer. Junior year in college, the first photograph where I visually articulated my reasons for creating, and a few images thereafter that do that same. The most resent image that was added to the timeline is of my niece and her two friends (image below). This image is part of my series on my family.

BS: What about other influences? Where do you draw inspiration? Any specific artists or events?

SD: One major influence is my dance practice. I dance the 5 Rhythms; which I have been taking classes three to four times a week for the past two years. The 5 Rhythms is a moving meditation practice founded by Gabrielle Roth in the 1960’s. It borrows from various forms of trance and ecstatic dance modalities, and is a modality within itself. The practice works with the idea that people flow in and out of waves throughout their life; the 5 Rhythms make up a wave. They are: flowing, staccato, chaos, lyrical, and stillness.

Each rhythm pertains to a different way in which we move, express, and understand ourselves. By dancing these rhythms we allow our bodies to be danced, step out of our heads/ego, and enter into a meditative state of being. The dance is a physical, emotional and spiritual curriculum that systematically leads us to retrieve the instinctive movements of body, heart and mind.

There are many artists and projects that have influenced me throughout the years as well. A few of them are:

Jacob Riis
Helen Levit’s color photographs
Fred Wilson’s, Mining the Museum
Daniel Martinez’s, Consequences of a Gesture, a parade that brought together Mexican American and African American
groups in Chicago who do not generally join forces.
Grant Kester's writing on dialogical based art practices

Miranda July and Harold Fletcher, Learning to love you more on-line project

Yeondoo Jung

Temporary Services

BS: Tell us more about the thoughts behind your work. Is there a specific message that you wish to convey from one series to the other?

SD: My passion to present and discuss photography across many vistas, as well as my critical insight, comes from my desire to connect communities and people. My process is not simply to take photographs but to use photography as a vehicle for understanding and knowing. It is my hope that my work changes the way in which people view photography, themselves, and the world.

Traditionally, the snapshot is a way to record fleeting moments and recall memories. The snapshot is also a symbol that can replace, store, release, ignite, erase, capture, prove, discover, and uncover memories. For years I have been reading my images in this way; with my camera I capture moments that are often overlooked or fleeting. My personal art training has taught me another way to give words to the long standing visual language of photography, and to transform it.

In terms of dance, like photographs, the body is also a place where these same actions take place. Through dance I have learned that experiencing my body in this capacity has effected my movement and my approach to image making and viewing. Through my dance training I have come to see that body memories can be unlocked and read just like my photos.

BS: Can you give our readers any insight into your future projects?

SD: My current work is created with an attempt to publicly bring dance and photo together. When I do this, I apply my experiences and interactions with other bodies that occur while dancing and sharing photographs. When this happens, I not only gain access to my own stored memories, but those of others as well. A piece that embodies this idea is the triptych "The Three Graces" (example below) on view at Ramis Barquet Gallery , November 13 - December 23.

BS: Which project have you enjoyed working on the most? Does one stick out, so to speak?

SD: I find that a community brings out my best self and as a result, my best work. When I am not working and living with community I am creating projects that evoke it. Projects of mine that “stick out” for me are:

Family Series . This series is the first time I focus on my photographic interaction with my birth community; as opposed to another.


Mi Memory es Su Memory .Visitors to the gallery created memories using my memories; they made personal photo album of photos, but could only use my photos to make them.

This Is What I Eat . “This Is What I Eat” is a single edition newspaper/cookbook created with residents living near and around Corona Plaza, Queens. Designed to look like a supermarket circular, the project was displayed and distributed for free in and around Corona Plaza and the Queens Museum.

These Are the Men Who Hit on Me on the Street . A series of over 300 photographs shot of the men who hit on me on the street. Through this project I achieve an equal exchange between myself, and the men who hit on me.
Community Search . A photo compilation of all the group photographs I have been part of.

BS: Stephanie, you have stated that you feel that photography is an art medium that non-artists are more apt to understand and relate to. Can you go into further detail about this opinion?

SD: Photography and photographs bridge gaps and provide access to places and people that would otherwise never converge or be seen. Almost anyone can own or use a camera, and the average person has widespread access to photography, whether it is simply walking outside on the street and looking at a billboard, or possessing a driver’s license. This is powerful to me.

BS: Can you give us some insight into your recent activity? Have you been involved with any recent exhibits or projects?

SD: I currently have work in, "Red Badge of Courage Revisited" as part of an exhibition sponsored by the Newark Arts Council , and last month I had a solo installation of my project "Framing the Family" (image above) at Incident Report in Hudson, NY.

In September I took part in the RISD Biannual at The Old American Can Factory in Brooklyn, NY where I showed a project I created with my archive and my mother's cookbook archive called "Passing the Baton" (image below). I also curated a photo essay called Do Attempt This art Home for the Art Fag City summer series IMG MGMT, and run an email project called the "Listings Project" where once a week I email a list with information about work and live spaces for rent, sublet, swap, and sale to 1,400 people.

BS: I find it interesting how intuition has woven itself so clearly into your artistic practice; this is apparent in all the work you do. Is there anything else you would like to say about your work or the goals that you have?

SD: I would like to thank you for this opportunity and for your interview. Articulating my work beyond the visual is a challenge that always provides me with inspiration, insight, and reflection. I hope your readers experience the same.

You can learn more about Stephanie Diamond by visiting her website-- www.stephaniediamond.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 "War & Empire" Video Documentary

The "War & Empire" Video Documentary
Now available for free on Google Video

Combining engaging visual imagery with commentary and interviews, this revealing 15 minute long video presents an overview of "War & Empire", the groundbreaking exhibition now running at San Francisco’s Meridian Gallery. Participating artist Mark Vallen guides the viewer through the powerful exhibit - where art and social reality converge.

Not Our Children, Not Their Children - Mark Vallen, 2003. Pencil on paper. 20" x 22". Exhibited at the Meridian Gallery

On view in the "War & Empire" video are artworks by Fernando Botero, Sandow Birk, Mark Vallen, Bella Feldman, Guy Colwell, Eric Drooker, William T. Wiley, Mary Hull Webster, Phyllis Plattner, and some 40 other artists. The video includes brief interviews with exhibit curators Anne Brodzky, DeWitt Cheng, and Art Hazelwood, as well as interviews with participating artists. Commentary on socially engaged art is provided by Jack Rasmussen - the Director and Curator of the American University Museum in Washington, D.C., and Peter Selz - Professor Emeritus of Art History at UC Berkeley and a former curator of New York’s Museum of Modern Art. View and download the "War and Empire" video at Google Video:

[ Screen shot from "War and Empire" on Google Video. This image is a detail from one of six large preparatory drawings exhibited at the "War and Empire" show by Los Angeles artist, Sandow Birk. The drawings were used in the production of Birk’s "Depravities of War" print series. Consisting of 15 large-scale woodcuts, the prints are based upon "The Miseries of War", a suite of etchings created by the 17th-century artist Jacques Callot in 1633. Birk is an L.A. based painter and printmaker whose sardonic images of war and violence are inspired reinterpretations of classical works.]

The "War & Empire" exhibit opened at San Francisco's Meridian Gallery on September 4, 2008, and runs until the evening of the U.S. Presidential election - November 4, 2008. For more information, visit the Meridian website.

Myartspace Interviews: Mark Jenkins, Anthony Lister, BASK

Interview with Mark Jenkins:

"There is opposition, and risk, but I think that just shows that street art is the sort of frontier where the leading edge really does have to chew through the ice. And it's good for people to remember public space is a battleground, with the government, advertisers and artists all mixing and mashing, and even now the strange cross-pollination taking place as street artists sometimes become brands, and brands camouflaging as street art creating complex hybrids or impersonators." -- Mark Jenkins
READ MORE

Interview with Anthony Lister:

"Rodin makes me cry, Picasso makes me smile, the Chapman brothers make me laugh out loud, Egon Schiele makes me shake my head with admiration, Bacon makes me jump and so on and so forth. But really- my most enlightened artistic experiences are with my children when I see their works on paper." -- Anthony Lister
READ MORE

Interview with BASK:

"I'm definitely an optimist. Actually a lot of my work pokes fun at the elements around us, good or bad. Unfortunately, most good art comes from struggle and a sense helplessness-- as if your only voice to be heard is through your art. The current state of affairs lends itself to the arts pretty well." -- BASK

READ MORE

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Frieze Endures Cash Freeze

Foot traffic to the Frieze Art Fair was low this year-- so was the cash flow. There is no doubt that recent economic woes played a part in the cold market at the fair. However, many had expected worse going into the fair. Frieze did show that there is still a financial pulse in the art market even though the fair lacked the same collector involvement and cash flow as last year. The flame of art world stability is still flickering.

It has been suggested that the recent art-boom might be over due to the results at Frieze. In my opinion, that does not mean that another boom is not in the making. This is how every market works-- you have ups and downs. Based on what I’ve read about this years Frieze Art Fair it seems that the chips fell somewhere in the middle. However, the results did prove that the stability of the art market rides on the success of the economy as whole. The results are a reminder that during times of economic struggle every business, including galleries, must be willing to adapt to the market.

Art collectors are being more selective than they have been in recent years. There were no frenzied sales or rush for reserves at Frieze this year. Instead collectors scouted for bargains. The reduction in activity is not necessarily a bad thing. Some dealers admitted that they enjoyed the slower pace of this years Frieze. One dealer mentioned that she loathes the stampede approach that has dominated at past fairs. Another suggested that the key to success is keeping prices reasonable during periods of recession. In other words, art dealers need to adapt to the market. When the reality of the global market hits at home one must be willing to be realistic with prices and expectations. The flame of the global art market is not out yet.

For those who don’t know, Frieze is considered one of the world’s three most important contemporary art fairs alongside Art Basel in Switzerland in June and Art Basel Miami Beach in December.

Link of Interest:
www.friezeartfair.com

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Blog Buzz: Recent buzz from the art side of the blogosphere

Buzz from the art side of the blogosphere:

Art Fag City
www.artfagcity.com
Paddy Johnson from the Art Fag City blog offers her thoughts on Jason Karolak’s exhibit titled Rivers of the Same Mountain at Massimo Audiello.



Jason Karolak, Untitled (P-0815), 2008, Oil on canvas, 85 x 76 inches

ART VENT
www.artvent.blogspot.com
Carol Diehl, a Contributing Editor for Art in America, offers some insight into art critic etiquette .

ARTLURKER
www.artlurker.com
The team at ARTLURKER takes a look at the Horst Wackerbarth exhibit titled The Red Couch at Wolfgang Roth & Partners Fine Art.

Mark Tambella, Maduros, 2008, oil on linen, 28" x 32", part of his exhibition at the John Davis Gallery in Hudson, New York, November 6-30.

ARTLOOK: A Look at Art & Design
www.artlook.typepad.com
Lisa Mikulski’s ARTLOOK blog has some info about the Day of the Dead Exhibition at The Institute for Community Research.

At the Myartspace Blog: Recent artist interviews include: Richard Mosse , John Westmark , and Saul Chernick . Recent topics include: Do Galleries Need eCommerce? , At Heart Copyright Law is an Issue of Respect , and Sarah Maple: Controversy or Misunderstanding?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Do Galleries Need eCommerce?

Do Galleries Need eCommerce?

I read an article recently that touched on the idea that the growth of the online art market has endangered the relationship between artists and traditional dealers. The article mentioned that the online relationships that artists can now maintain with potential collectors might harm the traditional brick & mortar structure of the art world. This is an issue that I’ve explored a few times on the Myartspace Blog. It is an issue that deserves to be explored or at least considered. The influence of the internet on the art world is obvious in that artists are utilizing the internet in order to build professional networks and to sell work online. The questions at hand:

1. Should brick & mortar galleries accept eCommerce as part of marketing efforts?

2. If a brick & mortar gallery fails to acknowledge the growth and importance of eCommerce today will that gallery be more apt to endure financial struggles in the future compared to other brick & mortar galleries that learn to accept eCommerce as a viable addition to the traditional art market?

Questions like this often face a very stubborn crowd. I realize that traditionalists of the art market will often firmly state that buying art online will never replace viewing and buying art in person. However, I think with some scenarios even the staunchest advocate against the art market ‘going online’ would agree that it can be profitable if managed correctly. For example, what if the online buyer is already aware of the artist he or she is considering an online purchase from? In that case eCommerce works without question.

Another example-- What if the online buyer is willing to use a secure form of online payment in order to purchase a work of art from an emerging artist? Again, that can work if done right. It works everyday for artists and buyers throughout the world. It can work for brick & mortar galleries as well. The internet is not going away-- eCommerce will continue to fuel the global market. How can anyone deny that? Should brick & mortar galleries take advantage of that? Should they offer eCommerce or utilize sites that offer eCommerce for that purpose? I think so.

My stance is that brick & mortar art dealers should consider having a stronger online presence in order to expand upon their market efficiently at little cost. This includes eCommerce options for selling art. I believe that most gallery owners would benefit from being involved-- or having staff involved-- with social networking sites and specific online art communities that offer eCommerce capabilities. I have five main reasons for having this opinion:

1st: Displaying art online with eCommerce capabilities will increase the chance of finding a potential buyer for stored artworks at the gallery. Galleries will often have some artworks in storage while other artworks are rotated for public viewing. Thus, by displaying all works-- or at least the stored works-- for sale online the gallery has the potential to unload a piece that would have otherwise remained in storage.

2nd: By utilizing social networking and eCommerce a gallery owner could ‘test the waters’ with a potential new artist to the gallery before investing time and money that could be spent on others who have already proven their marketability and track record. The gallery could technically represent dozens of newcomers online in order to gain feedback and eventually decide who to represent and who to drop. It would also be a good way to have an artist on hold if for some reason an artist represented by the gallery itself abruptly leaves.

3rd: By being involved with social networking sites a gallery owner will increase the flow of traffic to his or her gallery website. Higher online visibility can result in new buyers noticing the gallery. It also translates to more people observing the artists represented at the gallery-- which is never a bad thing.

4th: Utilizing these capabilities could help to strengthen the artist/dealer relationships at the gallery. My assumption is that an artist would feel more secure if his or her artwork had two distinct avenues of being sold at the gallery-- in person or online. If a gallery does not offer eCommerce chances are an artist will discover that option elsewhere independent from the gallery. Thus, I think a gallery owner would be better off exploring the possibility.

5th: The next generation of artists and art collectors will most likely expect a gallery to offer eCommerce and to have a visible online presence. Traditionalists of the art market are still very wary of the internet. However, opinions about how the internet can benefit the art world have changed drastically since the late 1990s. Today you can find online art communities featured at contemporary art fairs alongside traditional brick & mortar galleries. That alone should give you an idea of what is coming-- it is already here. The next generation of artists and art collectors will be born into that. To them the meshing of the internet with the art world will be the norm instead of being viewed as dangerous territory.

Do galleries need eCommerce? I think so. I think it will become a vital aspect of the art market of tomorrow. What say you?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

The Outsiders

Steve Lazarides presents The Outsiders

Gallerist Steve Lazarides, who began his career as a car salesman and factory worker in the UK, may very well be the New York art world's sensation of the moment due to his controversial exhibit titled The Outsiders. British artists who have utilized satire in order to explore American iconography dominate the exhibit. The exhibit includes works by Polly Morgan, Jonathan Yeo, and Antony Micallef. Lazarides runs two galleries in the UK and is the agent of Banksy. Rumor has it that Lazarides is seeking a permanent gallery space in New York.

Lazarides utilized a disused space in the Bowery in downtown Manhattan in order to open The Outsiders exhibit late in September. Since that time the show has had more foot traffic than the recent Gilbert & George retrospective at the Brooklyn Museum of Art. Over twenty thousand people have viewed the exhibit so far-- including Damien Hirst who purchased a portrait of Paris Hilton composed of pornographic images by Jonathan Yeo for $40,000. The Outsiders will come to a close on October 31st.

Links of Interest:

www.lazinc.com

www.antonymicallef.com

www.jonathanyeo.com

www.pollymorgan.co.uk

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Space Talk: Richard Mosse

Richard Mosse’s photographs and video work often reveal aspects of horror that focus on the fears of society-- the devastation of a plane crash or war torn streets. However, his work als0 notes the aesthetic value of these scenarios as objects. In a sense, his photographs display the reality of these disasters in a manner that one could describe as commerically voyeuristic. His photographs provide a safe zone for viewers to explore the chaos of these scenarios. Viewers often discover an odd sense of beauty in the images due to Mosse's skill as a photographer and selective process.

Richard Mosse has exhibited internationally. He has been involved with group exhibits at the Barbican Art Gallery, Art Chicago, and the Tate Modern. Mosse earned an MFA in Photography at the Yale School of Art. He also studied art at Goldsmiths.

Brian Sherwin: Richard, my understanding is that you originally studied literature and language in college. You then studied art at Goldsmiths and earned an MFA in Photography from Yale School of Art in 2008. Can you discuss your academic background and how it has influenced you as an artist? For example, did you have any influential instructors?

Richard Mosse: The BA in English provided an excellent grounding in literary criticism and turned me onto various strategies for reading the text. It also made me comfortable with the notion that every gesture is political, whether or not it is intended to be.

After the BA I studied an MRes (Master of Research) in Cultural Studies at the London Consortium. It was an excellent bridge to making art, and turned the literary tools from the BA into tools for reading the world. I turned in a dissertation on memory and photographic representation in the post-war Balkan nations, after a few months spent travelling and making work in that part of the world.

I suppose what was happening at this stage was that I was starting to challenge my own desire to be a photojournalist. I was looking at ways in which contemporary artists had succeeded in representing pain and suffering where photojournalism had failed.

BS: How is your youth reflected in the work you create today? My understanding is that you were born in Ireland in 1980. Did those years and the travels you have had since influence your art?

RM: My video work usually involves an exchange of some sort with people I can relate to, who are often around my age and interested in the same sorts of things that I am. Youth is less apparent in my still photography, but it’s very much there in the sense of someone whose reading of history (and here I mean current affairs in a state of being written and rewritten) seeks to violate previous narratives beyond the threshold of responsibility.


BS: What attracted you to photography as a means of expressing yourself as compared to other mediums? Can you give our readers some insight into your practice as a photographer?

RM: The camera often feels too comfortable in my hands – which is why I prefer the dark cloth and tripod of large format photography, forcing me to slow down, and hopefully the viewer too. However, many of the places where I photograph require a speedy capture and a sharp exit. For this reason, I try my hardest to let the subject speak for itself. The dumbness of the lens is something that I can’t get over, and is central in constructing images.

"I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed."-- from Goodbye to Berlin by Christopher Isherwood, 1939

I feel this dumbness is a fabulous tool for unpacking history, probably because it points to the visual amnesia of our times. A bit like we’ve stopped reading novels, we’ve stopped being able to see the still image. We see them but we immediately forget them. David Levi-Strauss wrote about this in an article published on the Open Democracy blog (‘Click here to disappear: thoughts on images and democracy’).

BS: Can you discuss some of your other influences? For example, have any specific artists influeced your work?

RM: Artists and writers who have left their trace include Walter Benjamin, Victor Burgin, Phil Collins, Willie Doherty, Johan Grimonprez, Ori Gersht, Werner Herzog, Marine Hugonnier, Alfredo Jaar, Emily Jacir, Walid Raad, WG Sebald, Robert Smithson, Jem Southam, Thomas Struth, Paul Virilio, Jeff Wall.

BS: Tell us more about your Airside series. My understanding is that the series focuses on understanding how air disasters shape our cultural imagination and how they can be related to the fear and myths of flight throughout history. Can you discuss this further?

RM: You can watch a very beautiful film on Youtube of a controlled air disaster performed by Nasa many years ago. They put different coloured powders in each part of the fuselage. At the point of impact, each section of the aircraft produces colourful plumes which are sustained for the few moments it takes for the large plane to be reduced to virtually nothing and captured from several angles on high-speed cine cameras. I want the viewer to understand, as I have, that the air disaster is a profoundly aesthetic object.

Writing about Gehry in 2001, Hal Foster observed that: "Thirty years ago Guy Debord defined spectacle as ‘capital accumulated to such a degree that it becomes an image’. With Gehry and other architects the reverse is now true as well: spectacle is an image accumulated to such a degree that it becomes capital."

In photographing these machines, I wished to elaborate the spectacle of terrorism, insisting on its existence as image (advertisement), an image built in relation to capital. To this end, many of the works from Airside are printed very large and the surface of the face of the photograph is mounted to shiny Plexiglass. I am fascinated by these provisional structures, and how they speak unselfconsciously about our ambivalence to terror, their phallic form baldly revealing our unconscious desire for disaster.


BS: Can you tell us about your video work? Such as ‘Fraternity’ and ‘Jew on a Ball’ and the social implications of those projects?

RM: I had been living in America several months, and was struck over and again at how loud Americans can be. For example, on the train from New York to New Haven, where I lived to attend the Yale MFA, there is a conductor on each carriage. The conductors communicate with each other as well as the driver over the public address system. It strikes me as extraordinary that the passengers can put up with this banal running commentary on the journey, sometimes peppered with small talk and bad jokes. Although I love the quaintness of this form of travel, it rather drove me mad. And so I made Fraternity. For the Open Studios, I played Fraternity on the street outside Yale School of Art, and turned the sound up far too loud. A well dressed man and his good looking family came up and told me this was noise pollution.

Jew On A Ball, was made in Lebanon and London during the Israel-Lebanon War of summer 2006. Naked Jewish boys trying to stay on top of a rubber ball – this was intended as a a metaphor for the Jewish homeland: something which the Jew tries but continually fails to stay on top of, and in failing hurts himself, sometimes very badly. And of course, the image of a naked Jew echoes Holocaust imagery, the victim Jew, vulnerable and objectified.

I found the violence of the footage made by the boys disturbing. Although Arabic terms of endearment are less objectified than their Western equivalents, I found certain terms quite dark. For example, it is common to say to your lover, ‘Bury me alive.’ Presenting physical and metaphysical violence alongside each other, I wished to reduce an entrenched and tragic political situation down to the level of a harmful personal relationship, to the point where love and hate are virtually the same thing. As Bono sang, ‘I can’t live / With or without you.’


BS: You have been involved with a number of group shows, including group shows at the Tate Modern, Barbican Art Gallery, and New Insight at Art Chicago. What do you take from group exhibits-- as in the interaction you have with the other artists. Do those experiences inspire you, so to speak? Perhaps you can discuss one of those shows and how the experience made an impact on you?

RM: Bloomberg New Contemporaries, which happens each year in the UK, is a touring group show of between 20-30 selected art school graduates. It’s chosen by a panel of well-known artists which changes each year. The show tours three different cities in the UK, and for each there is a big opening and all the artists, as well as the panel, are flown in for a night of arty parties. It was brilliant, and I am still good friends with some of the other partcipants in that show. More than ‘Goldsmiths class of 2005’, I was more comfortable with ‘New Contemporaries class of 2005’.

There was another superb group show, Belfast’s Ormeau Baths Gallery Perspective Award. It was a group show of about 20 young artists. They brought in Terry Atkinson and Ariella Azoulay to select the award winner, and I was very lucky to win it. However, Ormeau Baths Gallery was forced to shut down only a few months later, and I still feel somehow responsible. However, I think that has more to do with an Irish fondness for intrigue and backroom politicking.

BS: Speaking of exhibits, will you be involved in any upcoming exhibits? Also, where can our readers view your work in person?

RM: Selected works from Airside will be shown from Nov 13 to Dec 20 at Jack Shainman Gallery in New York’s Chelsea district. Shainman has many more works than the few that will be on display, and would be happy to arrange a viewing upon request.


BS: Finally, is there anything else you would like to say about your art or the message you strive to convey to viewers?

RM: I had some work scheduled for exhibition in The Aesthetics of Terror, a group show at the Chelsea Art Museum which was cancelled at the last minute. The museum’s curator, Manon Slome, resigned and issued a statement saying that ‘the president of the museum concluded that the show glorified terrorism’ and the show was met by ‘increasing hostility’ from the museum, which ‘evolved into tactics of blocking, demands for change, for the elimination of some work.’ This relationship escalated to the point where the show, if it went ahead, would be highly compromised. Manon and co-curator Joshua Simon decided, with great courage, to pull the show and quit.

I sent an email to my network forwarding the catalogue of the show that never happened, as well as the curators’ statement, along with a message saying that I was absolutely amazed that this kind of thing could happen in New York City.

"The current amazement that the things we are experiencing are ‘still’ possible in the twentieth century is not philosophical. This amazement is not the beginning of knowledge – unless it is the knowledge that the view of history which gives rise to it is untenable." –from ‘Theses on the Philosophy of History’ by Walter Benjamin, translated by Harry Zohn, 1940

You can learn more about Richard Mosse by visiting his website-- www.richardmosse.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

Myartspace Art Scholarships

www.myartspace.com

Myartspace, the social networking site for visual artists, has launched a free to enter student art scholarship competition for undergraduate and graduate art students. The competition is free to enter and is open to art students (seeking a BA, BS, BFA, MFA or other high degree in art) throughout the world.

The scholarship program is intended for art students who exhibit exceptional artistic excellence in their chosen medium. All mediums are accepted. Including photography and video. Both contemporary and traditional art will be considered. Myartspace is providing 3 scholarship prizes for undergraduate students and separately 3 scholarship prizes for graduate students.

In order to enter and submit a portfolio/gallery students must be a member of the myartspace community. Membership is free. The deadline for submission is November 21, 2008. Scholarship winners will be announced on December 19th, 2008. Creating a portfolio and gallery is quick and easy using the Gallery Wizard on the site. Students interested in signing up for the myartspace art scholarship competition can find out more details by visiting-- www.myartspace.com/scholarships

Damien Hirst Lives Big

Damien Hirst: Show me the money!

While the validity of Damien Hirst’s art can be debated his fortune can’t be denied. The controversial British artist creates art that fetches big money in galleries, at auction, online or anywhere else he decides to sell it. Some critics have went as far as to say that he is a thorn in the side of the traditional brick & mortar art world. Hirst has a brick & mortar space of his own. As with his fortune-- think big.

The controversial British artist purchased a 300 room mansion in Gloucestershire a few years ago with his wife Maia Norman and has been repairing the rundown structure ever since. The structure, known as Toddington Manor, was built in 1820 and had been vacant for over 20 years at the time the couple purchased it. Hirst has stated that the manor will eventually house a collection of his own works that will be open to the public. However, he has went on to say that the project may not be complete by the end of his lifetime.

Regardless of what you think of Hirst one must admit that it is a major accomplishment for an artist to achieve the financial success he has had. After all, at one time he was just another hopeful artist walking the streets of London. Ok, ok... Charles Saatchi played a major role.

Charles Saatchi: Indeed.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Auction House Phillips de Pury bought by Mercury Group

Simon de Pury, Chairman and Co-Founder of Phillips de Pury

Phillips de Pury, an auction house known for having a strong focus in the sale of contemporary art and photography, has been bought by Mercury Group. Mercury Group is a Russian luxury retail group that owns top shelf department stores selling Prada, Ferrari, Gucci, Rolex, Maserati, and other high end brand names. Simon de Pury will remain at the helm of the company as Chairman. The Chairman has stated that the “strategic partnership” with Mercury will allow the auction house “ to provide a unique platform to new and fast growing markets.”

Links of Interest:
Phillips auction house is sold [Wall Street Journal]

Russian Group Buys Auction House [NYTimes]

Russian Luxury Retailer Acquires Phillips [ArtInfo]

Art Critic Benjamin Genocchio Makes Poor Choices About Controversial Photographer

Untitled #8 by Bill Henson

I have to disagree with the art critic Benjamin Genocchio concerning the Bill Henson controversy in Australia. In my opinion, Genocchio made some poor choices in his recent article about the steps that the photographer has taken in order to avoid a similar controversy at the Robert Miller Gallery in New York. The exhibit is Henson’s first exhibit since his troubles in Sydney. Apparently the artist has decided against showing some of his more graphic nude images of young teens. Instead, the Bill Henson exhibit at Robert Miller Gallery is set up more like a mini-retrospective displaying examples of his work from the last decade.

Benjamin Genocchio is apparently disappointed by Henson’s decision to censor himself. In the article he stated that Henson’s work exploring early teenage sexuality is not “all that controversial”. The art critic went on to say that teenage sexuality, “exists, get over it, let’s move on”. Apparently Mr. Genocchio is not aware that part of the Bill Henson controversy in Australia is connected to the fact that the photographer had toured, some have described it as “prowled”, a school in order to find potential models for his future work. The news of Henson’s visit to the school-- which was supervised by the former principal of the school-- outraged some parents and alarmed the Australian academic community. Not mentioning that aspect of the controversy was the first poor choice that Genocchio made in reporting about Henson.

In his article Genocchio mentioned a recent exhibit of Andres Serrano’s work at the gallery involving feces . I can only assume that the art critic mentioned Serrano’s work in order to defend the validity of Bill Henson’s practice and to project the idea that people should have been more outraged at the Serrano exhibit than Henson‘s current exhibit at the gallery. There is a difference that the art critic is missing that is at the root of this controversy. To put it bluntly, Serrano used his own feces-- he did not visit a school in order to observe fecal matter in student restrooms.

Genocchio then compared the recent Bill Henson controversy to the controversy that involved the late Robert Mapplethorpe’s photographs of graphic homosexual sex that had been exhibited at the Cincinnati Contemporary Arts Center in 1990, which resulted in an obscenity trial. Again, there is a difference that the art critic is missing. Mapplethorpe’s photographs did not involve touring schools without the knowledge of parents in order to discover potential models amongst children.

Henson has stated that if he observes a child of interest he will contact the parents of the child in order to ask permission to photograph the child nude. The artist has went on to say that some parents refuse while others are thrilled to see their children involved with his work. Perhaps Bill Henson should allow parents to contact him instead of visiting schools in search of potential models? Perhaps Bill Henson should reveal documentation that proves that he has had parental permission for every young nude model that he has photographed due to the information that has been exposed in Australia? Is it wrong for parents to allow their children to be photographed in the nude? Maybe. I’m sure these questions will continue to be debated as they should be.

I suppose the choice of being photographed by Henson is up to the children and their parents to decide. That is the key issue over this controversy-- choice. The parents who have children at that school should have been aware of Henson’s visit. They should have been allowed to make a choice about the issue. Bill Henson is a world renowned photographer, but that does not mean his practice is above concern nor does it mean that his practice is above the choice of parents in issues involving their children. Especially when one considers the times in which we live. In my opinion, Benjamin Genocchio made some bad choices in his article by not mentioning these issues.

For those who don’t know, Benjamin Genocchio is a former chief art critic for The Australian and is currently an art critic for the New York Times.

Benjamin Genocchio's article about Bill Henson:
Artist tries to avoid Big Apple controversy
[The Australian]

Links of Interest:
Henson publisher linked to school [The Australian]

Inquiry launched into Bill Henson school shock [Adelaide Now]

Ministers slam Henson [The Age]

Henson 'scouted school for child models' [The West Australian]

Anger at Henson's school patrols [The Australian]

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Barbican Art Gallery: This Is War! Robert Capa at Work

D-Day landings, 1944-- Robert Capa

An exhibit of Robert Capa’s photographs, titled This is War! Robert Capa at Work, opened last night at the Barbican Art Gallery in London. The gallery has stated that the exhibit serves to explore the photographers work as well as foster discussion about the “the West’s ‘War on Terror’”. In a sense, the Barbican Art Gallery is stressing that war never changes and that destruction is always the end result. The exhibition includes over 150 images and will be open until January 25th 2009.

Robert Capa (1913-1954) is considered to be one of the leading photographers of the twentieth century. Capa defined how modern warfare was photographed. As a combat photographer he documented the Spanish Civil War, the Second Sino-Japanese War, various locations and battles during World War II, the 1948 Arab-Israeli War, and the First Indochina War.

Link of Interest:
www.barbican.org.uk/artgallery

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Is it Art? Student creates art with feline corpse

Is it Art? Student creates art with feline corpse

Apparently there has been some controversy at Alfred University over an art student who displayed a dead cat as art. The art student had placed the altered corpse on display in an exhibit space located within the university student-operated Moka Joka coffee shop. So far the identity of the art student has yet to be made public. However, according to a Morning Times reporter the school has acknowledged that the student had posed the decayed corpse of the cat in a manner that made it appear as if it was in the process of being electrocuted by electrical wires that had been forced into its decaying flesh.

According to the article the student had discussed the controversial piece during an art class shortly before placing it on display. The piece, which was not preserved, was removed by campus officials due to concern over student safety and health within a location where food is served. However, some individuals are defending the controversial piece as being no different than the preserved animal corpses that British artist Damien Hirst has utilized within the context of his work. Maybe art critic Robert Hughes was correct when he suggested that Damien Hirst is responsible for the decline in contemporary art? What say you?

If an animal corpse in a Hirst piece can be considered art does that mean an animal corpse that has been utilized by an art student within his or her work should be considered acceptable as well? Or is it an issue of ‘good art, bad art’? Where should the line of ethics be drawn?

Link of Interest:
www.morning-times.com

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Amir Normandi: Controversy or Misunderstanding?

True You by Amir Normandi

Chicago-- Amir Normandi's photographs have been thrown into yet another exhibit controversy. During a current exhibit residents were offended when his photograph, titled True You, was placed in the window of the Pilsen Together Chamber of Commerce at Ashland Avenue and 18th Street. The photo, which depicts a nude woman holding a mirror and paint roller in front of her veiled face, was covered by chamber officials after receiving complaints and threats of violence.

The crowd of protestors were calmed after the organization covered the photograph. The 60 year old artist objected to the decision and removed his work from the gallery. However, he has since agreed to return his work which will be displayed in a less visible area. Normandi, a devout Muslim, feels that the protestors focused more on the nudity involved with the photograph instead of the meaning behind the piece. The artist views the incident as a misunderstanding concerning the meaning of his work, stating: "The interpretation is that the nude female is imprisoning the person who is covered up or the other way around,".

Sherry Rontos, the chamber's president, stated that the organization will hold a news conference in order to explain that they had to remove the photo due to violent threats from protestors. Rontos hopes to draw attention to the censorship they were forced to endure due to the reaction of the protestors while pointing out other social issues that are explored in the exhibit.

This is not the first time that Amir Normandi has sparked anger from viewers. In 2005 Muslim student groups were outraged over Normandi’s exhibit at Harper College. However, Normandi has stated that his work serves as a protest against the forced veiling of Muslim women. During that time Normandi stated, “there is no justification for the oppression of human beings by other human beings, let alone under the name of god. Human wisdom and passion has excelled to a level to create laws in protection of our environment and its inhabitants. It is unconscionable to accept the extreme gender inequality, which in many areas reaches the extent of gender apartheid, to be tolerated as traditional norms of life.”
You by Sarah Maple

Amir Normandi’s story reminds me of a similar situation facing the young British artist Sarah Maple at this time. I have interviewed Sarah Maple twice . Amir Normandi and Sarah Maple are from two very different generations, but they both offer social commentary that explores their faith and other issues within the context of contemporary society. It is unfortunate that they have endured such controversy due to misunderstanding and direct censorship.

Links of Interest:

www.sarahmaple.com

www.myartspace.com/sarahmaple

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Compete to show at Bridge Art Fair during Art Basel Miami

Compete to show at Bridge Art Fair during Art Basel Miami!
www.myartspace.com/miamibasel

Jury Info for this www.myartspace.com art competition:

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.

Blog Press:

ARTLURKER:
www.artlurker.com/2008/10/myartspacecom-joins-bridge-art-fair/#respond

ARTLOOK: A Look at Art & Design:
www.artlook.typepad.com/a_look_at_art_design/2008/10/raising-the-bar.html

ArtReview Power 100 List: Thomas Kinkade?

ArtReview magazine has published the 2008 Power 100 list

The ArtReview Power 100 list for 2008 had many of the usual faces. Damien Hirst, Jay Jopling, Jeff Koons… and so on. However, the 100th position is an oddity to say the least-- even as far as humor is concerned. Some readers may recall that in 2006 ArtReview placed Google in the 100th slot. That choice was kind of amusing, but at least Google has played a role in the art world. Apparently ArtReview felt that Thomas Kinkade, Mr. Painter of Light, deserved some sunshine of a different nature this year. I realize that ArtReview has some fun with their annual Power 100 list, but the choice of Thomas Kinkade? Thomas Kinkade! To think that all this time I thought Kinkade's reach was limited to the home shopping crowd and crowded yard sales. Wow.

It burns! It burns us!

Links of Interest:

www.artreview.com
www.thomaskinkade.com

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Fight Night: Basquiat's The Boxer at Christie's

Basquiat, his painting that is, will be facing a different market than his work did in the 1980s

I remember learning from my brother in the 1990s that Lars Ulrich, the drummer for Metallica, is a collector of art. Thus, it came as no surprise to see him mentioned in the news concerning a piece from his collection. Ulrich plans to place an untitled Basquiat for sale in New York through Christie’s. The untitled paintings, unofficially known as ‘The Boxer’, depicts an African American boxer at the moment of victory. Symbols of death haunt the boxers success-- just as struggles and addictions haunted the relatively short life of Basquiat.

Untitled, (known unofficially as The Boxer) by Basquiat

The piece may very well represent the brutality of the ‘sweet science’ while offering social commentary about race relations at the same time. The painting will likely bring more financial success to Ulrich regardless of the meaning behind the painting. It is estimated that the painting may fetch as much as $16 million at auction. If that happens the sale will break the previous record-- $14 million-- for a Basquiat painting at auction. In the end the late Basquiat's work will land a knockout punch over the market. Place your bets.

Links of Interest:
Metallica Drummer to Sell Basquiat ‘Boxer’ [New York Times]

Metallica Drummer Puts $12 Million `Boxer’ Basquiat Up for Sale [Bloomberg]

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Space Talk: Hollis Cooper

Born in 1976 in Jackson, Mississippi, Hollis Cooper grew up in New Orleans and Houston before moving to New Jersey, New York, Massachusetts, and finally California. She received her undergraduate degree with high honors from Princeton University, a Post-Baccalaureate certificate from the School of the Museum of Fine Arts in Boston, and an M.F.A. from Claremont Graduate University.

She received a Joan Mitchell Foundation MFA Grant Award nomination from the CGU Art Department in 2006, and in 2007 was selected for the Drawing Center's Viewing Program in NYC. Her work has been featured/reviewed in publications such as New American Paintings, Art Papers, Alarm Magazine, and Art World Digest, and has recently been included in shows at Salon Oblique in Marina del Ray, dba256 in Pomona, and White Flag Projects in St. Louis. When she is not in the studio, Hollis teaches in the Art Department at California State University, San Bernardino.

Paidea 1, Mixed media on panel, 30" x 60", 2008

Brian Sherwin: Hollis, I first learned of your work during the announcement of the results of the myartspace New York, New York Competition 2007. You were one of the 50 finalists of that juried competition. The jury panel included James Rondeau, Frances and Thomas Dittmer Curator of Contemporary Art, The Art Institute of Chicago, Jessica Morgan, Curator, Contemporary Art, The Tate Modern, London, and Steven Zevitas, Publisher and Editor of New American Paintings. What have you achieved since that time? Can you discuss some of your recent accomplishments or exhibits?

Hollis Cooper: Right around the same time as the competition, my work was accepted into the Drawing Center's Viewing Program. I have also been in a few shows here in the Los Angeles area, showing both installation and paintings. Mostly, though, I have been in the studio working, and my work has been evolving at a good rate.

Paidea 2, Mixed media on panel, 30" x 60", 2008

BS: You received your undergraduate degree with high honors from Princeton University, a Post-Baccalaureate certificate from the School of the Museum of Fine Arts in Boston, and an M.F.A. from Claremont Graduate University. Can you briefly discuss your academic years and some of the influential instructors you had?

HC: I feel fortunate that I was able to have a broad liberal arts background. At Princeton, I was an Art History/Studio Art combination major, and minored in Latin/Classics. I also took classes in Architecture, Philosophy, Near Eastern Studies, and History, among other things. I had access to a great number of professors who were leaders in their fields, and it was truly an amazing experience. The fine art program at Princeton is relatively small, but it's well-funded, and gives students access to NYC artists and critics that would otherwise be out of reach. I worked with John Obuck, Lisa Yuskavage, Jim Seawright, Nancy Princenthal, and Charles Hinman as instructors, as well as had studio visits with artists like Frank Stella. The visiting artist lecture series was pretty spectacular, too. The department gave me a studio my sophomore year, even though I wouldn't officially declare a major until the next year - so I really credit them with being as supportive.

The Museum School was a totally different experience, since the school is so much more intentionally unstructured in its approach. This lack of structure allowed me to branch out into other fine art disciplines, such as sculpture and glass, without being bound by a certain medium-specific course of study. I would say this experience was a major contributor to my cross-disciplinary approach to creating work. The school was a much more self-driven program - while you were enrolled in classes, your grades did not come from attending/turning in assignments for those classes. Instead, your entire semester of credit hinged on a review with two faculty and two students, who would critique all the work you had produced, both in and out of class, over the semester. While being perhaps untraditional, it was really a sink-or-swim method, and forced you to establish good working/studio habits.

Claremont Graduate University was a good place to enter the Los Angeles art scene - I think going to graduate school in the location where you want to stay and work makes a big difference. At Claremont, I worked primarily with John Millei, Rachel Lachowicz, David Amico, and David Pagel. I think one of the most influential aspects of the program was simply building relationships with other artists - creating a group of peers that would last outside of school.

Red Shift, Acrylic on panel, 64" x 48", 2007

BS: Hollis, you were born in 1976 in Jackson, Mississippi. Since that time you have lived in New Orleans, Houston, New Jersey, New York, Massachusetts, and California. Have your travels influenced the direction of your art?

HC: I think moving so many times has given me an appreciation for the different types of work being made in different areas of the country. Houston has a huge number of artists, galleries, and museums, and a lot of support for the arts, and I had a lot of exposure to that growing up. I steadily took classes at the Glassell School of Art (which is affiliated with the Museum of Fine Arts) from when I was four years old all the way to when I left for college at seventeen. I ended up returning as a teaching assistant for a couple of summers after that. Many of the artists I met in those years are still active in the art scene, and I am still in touch with some of them. Houston really has great energy when it comes to making art - I always felt that pretty much any type of project was possible there. If I ever had to leave Los Angeles, Houston would be my first choice for re-location.

In college, I spent a good amount of time in New York, and, for a summer, I worked at the Guggenheim. I could definitely feel the weight of Modernism and Abstract Expressionism in New York - as a painter, especially, I always was very aware of working within that historical tradition. In terms of getting a good contemporary art (self-)education, you can't do better than New York (at least in America) - it's still the art capital of the U.S., even with its "old-guard" feel.
Boston definitely has its own scene as well, although it's not as well-known or as large as other art cities. The huge number of academic institutions present, though, means there are more resources than you would expect. The Museum School and Mass Art (Massachusetts College of Art and Design) also churn out many younger artists as well.

Los Angeles has really turned out to be the best of all worlds - it's energetic, more open to younger artists, and still has weight as a reputable art city. I like that the art scene is youthful - I think you can't expect anything else from an area with so many MFA programs.

Ultimately, I think there are elements of all of my travels that show up in my art in one form or another - whether in formal or conceptual. When I look back at all the work that I have made, I can tell where I was living at the time that I made each piece. Ironically, though, the main conceptual thrust of my work has to do with virtual space ... so deliberately not tied to any one physical geographical location.

Tethys, Mixed media on panel, 36" x 48", 2007-- Private collection, Venice, CA

BS: I understand that you are an instructor as well. You have taught in the Art Department at California State University in San Bernardino. What has teaching taught you, so to speak? For example, do you learn from your experience as an instructor and take that knowledge into your personal work? How do you find balance between teaching and your personal art?

HC: I am fortunate to teach at a school with a strong art department. Creating/revising my lectures helps keep me up to date with what's going on in contemporary art in disciplines other than painting, and in other locations than the United States. I really enjoy talking to my students about what they are interested in and what they are working on, and, in doing that, I learn as well. Because I teach an Art & Technology class, I definitely run across ideas either in class or preparing for class that end up influencing my work.

I think it's easy to get caught up in the studio and tune out everything else, and working on a class prevents that from happening. My teaching schedule is also conducive to getting work made in the studio - my time is organized in such a way that I have more usable free time than if I worked a 9-5 job, and the structure makes me more focused when I am able to be in the studio.

BS: Tell us about your art. Perhaps you can tell us about the process of creating your paintings and installations? The methods you utilize and so on?

HC: My work is actually a hybrid process of computer generated images and traditional painting. All my source material is architecturally-based, and comes off the internet. It then is distorted, processed, and reprocessed by me, resulting in a collaborative outcome. With digitally-based work, I think there's a little bit of fear about the absence of the "original mark," but my images are reworked by myself so many times (within a single piece) that they lose that initial sterility.

I begin with tracings of online depictions of 3-D space, and then use Adobe Illustrator to twist and distort the forms until they take on the appearance of a new type of space. Illustrator makes it very easy to start a design small-scale and then bring it up to almost any resolution. For my installation work, this is very handy, as I can work with a drawing that's less than a foot across, and then once I'm done, scale it up until it is 22 feet long, without losing any detail or quality.

Then, ironically enough, to transfer the print-out to PVC or panel, or whatever surface the drawing is going on, I use carbon-paper. Hand-tracing the drawings, though, lets me make editing decisions, and rework the lines so they have a little more of an organic feel. The drawings are then re-traced in marker, and then they're cut out (if done on PVC) and painted.

Because this process really works better large-scale than small, I also have been doing collage-based painting, where I will print out the drawing directly onto watercolor paper that's coated for inkjet printing. Then I cut out the drawings and collage them directly onto the painting that I am working on. In both cases, though, the imagery is assembled modularly, so I am making creative decisions all the way until the end.

Eurythmy, Gouache on archival digital print, 11" x 8.5", 2007-- Donated to Out Auction 2007

BS: What themes do you explore with your work? Can you tell us more about the thoughts behind your art in general? For example, is there a specific message or idea that you strive to convey within the context of your art?

HC: I am predominantly interested in ideas about space, and how we define and relate to that concept. My work bridges multiple definitions of space – from conceptual ideas of space, such as color-space or space of imagination, to representative/perceptual space (using conceptual space to represent some notion of physical space), to actual three-dimensional physical space.
Because of this, my work tends toward the architectural, since it is an easy reference point for most viewers to grasp.

I use architectural diagrams as a main element in my work because we are so culturally attuned to them as indicators of "space" that they do not require a lot of additional explanation - even when the type of space they actually represent (abstract, perceptual) is different from the one they purport to represent (concrete, three-dimensional). I intend for my work to be a flow from this more abstract space (perceptual and psychological space, space of color) to the physical: in the installation work, this occurs by breaking the traditional painterly frame and making the architecture of the room not as something that is (or should be) invisible, but an equal element in the work's construction. I achieve an erasing of figure/ground within the work by activating the entire architectural space around it.

The ideas behind the installation pieces put the "traditional" paintings in a more problematic place, but my attitude towards them is that they are the inverse of the installations - they frame a view into space, as opposed to bringing that space outward towards the viewer. Also, our cultural familiarity with the idea of the painterly window - or the more recent idea of the screen and user interface - makes these confining borders relatively invisible, so the paintings are able to take advantage of both framed and unframed attributes, allowing for tighter control over design, but also giving a freedom and flexibility of psychological movement through abstract space - of color, perception, idea - as the elements are delineated from the physical environment in which they exist. I realize that ultimately there are still constraints, but they keep each piece as something digestible and discrete.

In both the paintings and installations, I work within a multi-dimensional approach, making the work harder to see as a view into or out of a single type of space, but instead different spaces that are folded and spliced into one another. In the end, though, the strong formal considerations in each piece make it so that whatever form it takes, the viewer is always still aware that they are looking at a painting.

Paidea 9, Mixed media on panel, 15" x 24", 2008

BS: Tell us more about your influences? For example, are you influenced by any specific artist or art movements?

HC: I have a lot of influences - 17th century Italian Baroque art, in particular - I spend a lot of time looking at Baroque ceilings. I also have a background in interactive design, so I have been influenced by the concept of the digital user interface and ideas of usability. I am also interested in contemporary immersive art spaces - like those of Charlotte Davies.

In terms of other contemporary artists, I look towards those who are working with similar ideas either of space or hybrid practices: Kevin Appel, Frank Stella, Fabian Marcaccio, Jennifer Steinkamp, Eberhard Havekost, Benjamin Edwards, Katharina Grosse, and Sarah Morris. I am also interested in contemporary German artists who are dealing with spatial breakdown – such as Frank Nitsche, Christian Hellmich, Corinne Wasmuht, and David Schnell. In addition, I've been influenced by the works of International Style architects like Mies van der Rohe and Walter Gropius, as well as contemporary architects/firms such as Zahad Hadid, Asymptote, and Diller, Scofidio + Renfro.

BS: What are you working on at this time? Can you give our readers some insight into your current work?

HC: I am currently finishing an installation for an upcoming show. The installation work is becoming more broken-down, more (re-)processed, and the forms that I have used for my visual language are distorting and changing as well. The installations only get made, though, when there is a space to show them in, since they are site-specific, so I am also concurrently working on a new body of collage paintings.

BS: Can you give us more information about any exhibits or upcoming exhibits that you will be involved with?

HC: I will be in a group show called "Infrastructure" at the Wignall Museum at Chaffey College in a couple weeks.

Parallax, Acrylic on PVC, dimensions variable, 2007-- Installation view at White Flag Projects

BS: Speaking art and exhibiting... do you have any concerns about the art world at this time?

HC: In terms of the art world in general, there are always trends of what's "in" or popular at the moment, etc, and while I do pay attention to what's going on, I try to take everything with a grain of salt and not get too caught up in it. In general, I just try and make work, and show it to as many people as possible. So far, my work seems to resonate pretty well with people, and I have had a good amount of support from gallerists, curators, other artists, and the public. I can't really ask for much more than that.

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

HC: No - thank you for your interest in my work!

You can learn more about Hollis Cooper by visiting her website-- www.holliscooper.com. Hollis Cooper is a member of the www.myartspace.com community-- www.myartspace.com/holliscooper. You can read more of my interviews at www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Space Talk: John Westmark

John Westmark’s art explores the meshing between man and machine. In a sense, his images serve as both a warning and celebration of this connection. One could say that they reflect the hopes and concerns that surround us within the context of contemporary culture. John has been featured in New American Paintings and Studio Visit magazine. Westmark has been involved with several solo and group exhibits. Including, exhibits at Chelsea Gallery, Gallery Bienvenu, Andrea Schwartz Gallery and Dobbs Gallery. He holds a BFA from Kansas City Art Institute and an MFA from the University of Florida.

Brian Sherwin: John, I first learned of your work during the announcement of the results of the myartspace New York, New York Competition 2007. You were one of the 50 finalist of that juried competition. The jury panel included James Rondeau, Frances and Thomas Dittmer Curator of Contemporary Art, The Art Institute of Chicago, Jessica Morgan, Curator, Contemporary Art, The Tate Modern, London, and Steven Zevitas, Publisher and Editor of New American Paintings. What have you achieved since that time? Can you discuss some of your recent accomplishments?

John Westmark: Yes, since the myartspace competition, I've been featured in New American Paintings and Studio Visit. I've also mounted three solo shows and participated in several group shows. All of these things are great exposure and valuable experience, but I think the biggest accomplishment is to be in the position to spend the necessary time in the studio to make work.


BS: John, you studied at the Kansas City Art Institute and the University of Florida. Can you discuss your academic years and how they helped you grow as an artist. For example, did you have any influential instructors during that time?

JW: Looking back, my experience at KCAI was invaluable. The culture there was one of total immersion into practice of artmaking, both critical thinking and formal development. As an sheltered and immature arttist/student it was like having a bucket of ice water thrown in your face. There were numerous influential instructors at KCAI, but Stephen Sidelinger was one who scared the living sh*t out of me. He challenged everything you did, and it took me years to finally realize that he asked you to dig inside yourself for something real and honest to put back out into the world.

My graduate experience at the University of Florida was prompted by the need to engage in a process of exploration and conceptual direction for my work. UF does a good job of promoting conceptual investigation


BS: John, you have mentioned that you were first introduced to art as a child while doodling during long Southern Baptist sermons. With the art you create today in mind… is there a religious or spiritual aspect to your work?

JW: Very much so. When I was a child, my mother would bring a pencil and paper to church and draw things during the sermon to keep me form jumping around. And she draws really well, so it always captivated me.

Needless to say, growing up attending a small Southern Baptist Church has deeply influenced my work. This is something you can't just toss away, it leaves a permanent mark on you. The sense of struggle, moral struggle, and the notion of faith are huge threads in my work. The question of faith has expanded with technological advancement. Coping is no longer a question of spiritual faith, but also faith in the device or machine.


BS: Speaking of your current work… can you discuss your painting and collage process? Perhaps you can give our readers some insight into the materials and methods that you utilize and why?

JW: The work begins with collecting store bought paper sewing patterns, you know, the kind you find in the craft store, back in the fabric section. They are these great little envelop/pouch type things with the paper patterns and instructions. And really, they are schematics with a unique set of construction markings and text. The paper is extremely thin and delicate, which is an interesting dichotomy, this fragile tissue is the overlay for the material that becomes our outer skin. When I look at the paper patterns, I see the pieces of aircraft, orwellian machines... even figures.

In terms of process, I apply the patterns directly to the canvas with a PVA size. The patterns fuse to the canvas and paint. I do not employ a random approach to collage, rather each piece is developed via sketches/drawing. Once I'm comfortable with the direction, I will begin a painting. There is a constant back and forth between collage application and painting

BS: What about the message of your work? Is there any specific message that you strive to convey? Any themes that you tend to explore?

JW: The overriding message or theme in my work is the question of whether what you're looking at is a warning or a celebration? Something rising or descending? Is it a machine or a figure? I think these questions resonate to our current culture.

BS: Can you discuss other influences? For example, are you influenced by any specific artist?

JW: In the past, I have struggled with being too influenced by artists, to the point that my work suffered from being derivative. As I've matured as an artist, my voice is much stronger and original, so now it's really a question of who's work do I enjoy and admire. Right now it's Ben Nicholson.


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

JW: I'm really excited about the development of the "pattern pieces". I'm researching Greek mythology and how the idea of myth and symbolic narrative relates to the current human condition. In some sense, the entire idea of history is a form of mythology.

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

JW: My goal is to continue to develop my long term career and to make work until I'm physically unable to. As trite as it sounds, it's not an option, it's a necessity.

You can learn more about John Westmark by visiting his website-- www.johnwestmark.com. John Westmark is a member of the www.myartspace.com community, www.myartspace.com/johnwestmark. 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 Blog Buzz: Recent buzz from the art side of the blogosphere

Buzz from the art side of the blogosphere:

Edward Winkleman Blog
www.edwardwinkleman.blogspot.com
Edward Winkleman offers a second post about the elusive street artist known as Poster Boy . Ed said, “Poster Boy is still working through a series of ideas, but doing so quickly, on his feet, and with a grand sense of humor. Humor, again, I believe, will be the key to the transitional artwork that leads us out of the current malaise. Humor and, perhaps, anger, but definitely humor.” Poster Boy contacted Winkleman after discovering his first topic about the young artist.

Art Fag City
www.artfagcity.com
Paddy Johnson gives some details about ArtReview’s Seventh Power 100 Edition . Just so you know, Damien Hirst took the top spot. Concerning the list Paddy said, “In case anyone had any question about the authority of this list, let’s be clear: this is no Fortune 500. This isn’t meant to indite the magazine, but rather point out the difficulty of putting together a power list for the art world that is based on more than stock performance. There are simply too many mysterious variables. How does artreview quantifiably determine who takes 70th and 71st place particularly when comparing the achievements of two entirely different professions? What is the nomination process? Which editors are doing the judging? These are questions readers would probably benefit from knowing.”

Art News Blog
www.artnewsblog.com
Dion from Art News Blog investigates a new form of artist scam . For those interest, Dion has kept a list of artist scammers on his blog. Do check it out! There is also some more info about the Banksy pet store .

Art Blog in our Scope:

Roberta Fallon and Libby Rosof's ArtBlog
www.fallonandrosof.blogspot.com
ArtBlog has art reviews, deep thoughts and gossip from Philadelphia and beyond. It was named one of the top art blogs by Art in America . Roberta and Libby also have a series videos. View all the episodes of their wildly popular video series, Look! It's Libby and Roberta. Enjoy.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Andy Warhol: Other Voices, Other Rooms at Hayward Gallery

Self-Portrait via The Hayward Gallery, London

The Hayward Gallery in London is now presenting Andy Warhol: Other Voices, Other Rooms. The exhibit is a retrospective of Warhol’s work. Fans of Warhol may recall that the Hayward Gallery held an exhibit titled Andy Warhol: A Retrospective in 1989. This Andy Warhol Retrospective will most likely surpass the impact that the previous retrospective at the gallery had nearly twenty years ago.

Other Voices, Other Rooms has been on tour since last October at the Stedelijk Museum in Amsterdam followed by Moderna Museet in Stockholm. The exhibit explores Warhol’s film and video work as a starting point for understanding the artist’s core subjects involving high and low culture. The retrospective at Hayward Gallery comes to a close on January 18th.

Links of Interest:
The Hayward Gallery, London
Highlights from Andy Warhol: Other Voices, Other Rooms [Art Daily]

Andy Warhol at The Hayward Gallery [TimesUK]

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

First Deadline for Myartspace / Bridge Competition is Fast Approaching!

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 during 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. The entry fee is currently $25 for up to 20 images (meaning you can submit 20 images to the jury if you want for just $25) until October 15th. After the 15th the entry fee will be $50. For more information visit-- www.myartspace.com/miamibasel/

Art Space Talk: Bruce Noel Mortenson

Bruce Noel Mortenson firmly believes that art should be exhilarating. He is known for utilizing a playful mixture of biomorphic abstraction and images which are densely packed in surreal compositions. By exploring aspects of his own imagination he strives to make connections with others by creating a window into his imagination-- a place where his visual statement reflects organized chaos. Bruce holds a BA in Studio Arts from the University of Illinois, an MFA in Studio Painting from the School of the Art Institute of Chicago (SAIC), and a Professional Art Education Certificate Degree from SAIC.

Venus of Opulent Tension, 60"x72", Acrylic on Canvas, 2006

Brian Sherwin: Bruce, I first learned of your work during the announcement of the results of the myartspace New York, New York Competition 2007. You were one of the 50 finalist of that juried competition. The jury panel included James Rondeau, Frances and Thomas Dittmer Curator of Contemporary Art, The Art Institute of Chicago, Jessica Morgan, Curator, Contemporary Art, The Tate Modern, London, and Steven Zevitas, Publisher and Editor of New American Paintings. What have you achieved since that time? Can you discuss some of your recent accomplishments or exhibits?

Bruce Noel Mortenson: Thank you so much for this opportunity to talk about my work. As a serious artist, you often work hard without expecting recognition. This past year has been full of surprises in terms of awards. I am very grateful to have been chosen as one of fifty finalists from the myartspace New York, New York Competition. Some of my recent accomplishments include: a Fellowship Grant from The Illinois Arts Council and a Community Arts Assistance Grant from The Chicago Department of Cultural Affairs. I appreciate the opportunity to have received a solo exhibition at The Chicago Cultural Center, to have pieces displayed at The Miami Basel Art Fair and to have works published in New American Paintings.

BS: Bruce, you studied art at the University of Illinois and The School of the Art Institute of Chicago. Can you briefly discuss your academic years and how they influenced you? Did you have an influential instructors? Also, do you have any advice for students who are considering those programs?

BNM: Attending art school-not to mention completing a degree-is becoming an expensive venture these days. In my experience, getting this type of degree might not help you land a job. I would advise young artists to take a closer look at what they want to achieve with their art education. It is also important to focus on the strongest attribute in the work itself. Once you understand the identity of your work, you begin to see the vastness within.

It seems that the resolution of one’s own art form is the most pervading issue for graduate art students. It can be frustrating to juggle a multitude of classes while trying to focus on the nature and direction of your work. For me, there is no doubt that I received an immeasurable foundation of art concepts and history from The School of The Art Institute of Chicago. But there were times when it felt like I was performing some kind of tedious surgery. I was searching for the strongest vein in my work and trying to find a deeper sense of truth and authenticity. It was Barbara Rossi at the Art Institute who helped me tremendously with some practical methods of simple artistic decision-making.

Another artist and instructor from SAIC who stood out from other instructors was Frank Piatek. He is a very thought provoking man who planted a seed in my head about quantum physics and Kabbalah. It was years later when I realized the relevance of these philosophies as it relates to my work.
Walking Through Euphoria, 72"x96"W, Acrylic on Canvas, 2007

BS: Within the context of your art you explore biomorphic and emblematic elements. Can you discuss this interest? Also, tell about the themes you explore with your art…

BNM: Biomorphism is a term that refers to the use of organic, amebic-like shapes in art. I am fascinated with these kinds of forms because they are whimsical and symbolize the miraculous force within life itself. I have such passion for developing varieties of shapes and observing how they interact with each other on a visual plane. For me it’s like setting up characters on a stage. In formal terms, I also refer to my work as being emblematic.

My shapes, for the most part, are frontally placed in a non-overlapping manner. I do not overlap my abstract shapes as seen in Elizabeth Murray’s work. To me, visual elements lose their sense of power when they are overlapped. This is similarly true when viewing actors on a stage. With this technique, each and every character or shape is treated with respect. There is a sense of symbolism and purpose that grows from this way of composing. It is through this process that I feel genuinely connected to a source of energy. My goal is for people to have a similar experience when viewing my art.

BS: What are the social implications of your work? Are you exploring any aspects of society or culture? If so, can you go into further detail about that?

BNM: Social service through volunteering and teaching is tremendously important in my life. It is through showing kindness and responsibility to each other that we all become better human beings. I worked several years as a schoolteacher on the West Side of Chicago, which was a very humbling experience. Working with homeless children who live in dire situations really puts your own life into perspective.

My recent community project is with the Around the Coyote organization and high school students at Noble Street Charter High School. We are creating murals for a public park in Chicago. I am enjoying every minute of it.

Phantasmic Conceptions (Panel 3), 72”x96”, Acrylic on Canvas, 2007

BS: So in your opinion, what is the importance of developing imagination? In your opinion why is it that it is more important than ever for people to expand their mental horizons today, so to speak?

BNM: I am very philosophical when it comes to social issues and I do want to come back to our conversation about art. The whole theme of imagination seems to resonate in both my art and my life.

It’s not a matter of developing it. Every person possesses a wealth of imagination but we choose not to trust it. With the overwhelming escalation of problems in our world today, this is time for the human psyche to expand its’ mental horizons. Realizing there is more to situations than we perceive on the surface, we have to understand that this it is just half the battle. We need to instill in our children more inventive approaches to problem solving in schools. It was my unfortunate experience as a schoolteacher to witness the non-stop repetition of teaching facts and “teaching to the test”.

Einstein’s famous iconic quote, “Imagination is more important than knowledge”, encapsulates the foundation on which we have built all of humanity. Every single invention, whether scientific theory, scientific principle, philosophy, architecture, work of art or piece of music comes from the thoughts of single individuals who became inspired by their imagination.

Grey Rapture, 30"x40", Acrylic on Canvas, 2006

BS: Tell us about your current work. Can you give our readers some insight into the pieces you have been working on recently?

BNM: I think it is important to be flexible and open to growth while still maintaining your original integrity and vision. My paintings for the last few years have grown tremendously in scale, as large as twenty-four feet in length. This gets a little challenging when operating in a small studio. Recently I have shifted to creating smaller works on wood that range between ten and forty inches. There is a jewel-like quality that comes across in these smaller pieces.

BS: Tell us more about your influences? Have you been inspired by any specific person or event?

BNM: I love the work of Beatriz Milhazez. I can relate to her use of graphic shapes and the undulating energy in the work. Historically I have always had an affinity for the work of Wassily Kandinsky’s for his metaphor of music and spirituality. I like the jagged urban chaos in the work of Stuart Davis and Joan Miro for his sense of play and imagination.

BS: You have exhibited dozens of times since 1994. What do you enjoy about exhibiting and the reactions people have upon viewing your work?

BNM: I enjoy the satisfaction of working up to goals. It is surprising and funny to watch people’s reaction to my work. In larger shows I have heard adults act like children, showing their enjoyment in “oohs and aahs.” They begin to open up to the ambiguities in my work and become connected to their own sense of play and imagination. This is when I know my work is successful. But then there are others who have a difficult time with accepting art that is not fully representational. My work is not about making sense of the real world. If I had to create art based solely on the real world, I would not be an artist.

Abundant Notations, 30"x40", Acrylic on Canvas, 2006

BS: Are you involved with any current or upcoming exhibits?

BNM: I am currently exploring several other exhibition possibilities.

BS: Finally, when everything is said and done... what is the visual legacy that you hope to leave behind?

BNM: I hope that imagination will be part of my legacy. I would like my work to open the eyes and imaginations of people so they can become aware of things they’ve never seen before.

You can learn more about Bruce Noel Mortenson by visiting his website-- http://web.mac.com/brucemortenson/iweb/brucenoel/home.html. Bruce Noel Mortenson is a member of the www.myartspace.com community-- www.myartspace.com/brucenoelmortenson. You can read more of my interviews at-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

At Heart Copyright Law is an Issue of Respect

The examination of laws can be very complicated. Thus, the laws surrounding art can be just as difficult to understand since there are different ways to interpret them. This is where loopholes come into play. However, as far as art and copyright is concerned the laws are fairly straightforward-- though in court how those laws are interpreted can be at the mercy of the judge or jury. The problem is that many people are confused about the rights that artists have. Another problem is the fact that some individuals, including artists, simply don’t care about those rights until their infringement is exposed. In that case copyright is an issue of respect. Needless to say, I believe there needs to be a clear understanding of how works are protected. In my opinion, the rights of artists should be upheld and artists should do everything they can to respect the rights of their peers.

There are three main concepts to understand according to previous discussions I’ve had with attorneys about art law. First, there is a need to understand what copyright infringement is. Second, there is a need to understand what a derivative work is by law. Third, there is a need to understand what appropriate art is within the context of law. All three of these concepts deserve to be explored further so that artists will be aware of their rights. Artists should not violate the rights of other artists-- at heart it is an issue of respecting the creative community. I’m not a lawyer, but I will try to discuss each concept briefly.

Copyright infringement can be a huge problem for artists and it can be trough to prove that your work has been infringed if you do not keep good documentation of your art. Under current law the work of an artist is copyrighted from the moment the process is started. For example, the work is protected by copyright law the moment he or she makes a mark upon the canvas. However, that does not mean that an infringer will not try to question the creation of the work in order to claim that the ownership of the original work can be debated. Thus, it is important to photograph your art, publish your art, and to keep online and offline journals about your art so that you have something to use in your defense if ever someone infringes upon your art.

There are misconceptions about copyright infringement. For example, many people believe that a new original work is created if a certain percentage of an original work is changed, altered, or manipulated. This is simply not the case. The work is technically “new”, but that does not mean that it is an original work by law if it can be proven that the work exploited the copyright of the work it was possible based off of. In other words, there is no set percentage of change, alteration, or manipulation to go by-- infringement is infringement. The infringement does not have to be word-for-word copying in order to be considered unjust.

In court the judge and jury will examine if the infringing artist had access to the original work-- was it widely published or published online, if he or she copied from it-- does the look or feel of the work share similarities, and determine if the copying was substantial. It can be hard to define what ‘substantial’ is in this scenario. Thus, it is up to the judge and jury to determine what is substantial and if infringement occurred. Again, this is why it important to keep documentation of your art practice.

When considering this the jury would most likely examine the work of both artists in order to make a determination. They would observe the art in order to make a decision on if they are substantially similar. Remember that ‘substantial’ can mean few or many similarities in this scenario. Again, this often leaves artists at the mercy of the jury so it important to document your work so that if you are placed in a situation like this you will be prepared and have proof of the origins of your work. If a fellow artist fails to respect your rights you must respect yourself enough to be prepared.

Derivative works are another beast with myths that need to be tamed. A simple description of a derivative work is a work of art that is derived from another. So, for example, a film is derived from a novel. This is a term that is thrown around often on online art forums in order to defend obvious theft. Again, there are many misconceptions about what a derivative work is based on law. What people need to remember is that the copyright owner, the person who painted the image, drew the image, or sculpted the piece, has the exclusive right to prepare derivative works and to authorize other to do so.

For example, a series of paintings by a painter are technically derivative works based on the first painting of his or her series. Each painting is protected by copyright. Thus, the artist is protected by law so that others can’t make derivative works based off the series of paintings unless he or she authorizes the person to do so. In other words, if you own the copyright of a painting you have the right to prevent others from creating works that are derived from that painting without your consent. Thus, if someone uses your painting or an image of your painting in order to create a similar painting or other work of art-- or merchandise for that matter-- derived from your protected work the person would be considered a copyright infringer and you would be able to take legal action. This is assuming you still own the copyright for the painting.

If you no longer own the copyright of an image you are at the mercy of anyone who desires to create derivative works based off of it. In other words, if an artist creates a derivative work based off of an image that you have sold the rights to you would not be able to take legal action against the artist for his or her derivate work based off of your image. For example, there is nothing you can legally do if another artist creates a derivative work based off of an image that you have sold to a corporation which they in turn used within the context of an ad. In that scenario you no longer own the copyright-- the corporation does. However, in that scenario the corporation could take action against the infringer if desired. Keep in mind that very few corporations will bother going to court over issues like that because the infringer would most likely use ‘parody’ or ‘social commentary’ as a defense.

Appropriation art is the next beast on my chopping block. Again, there are many misconceptions about what is legal and illegal considering the appropriation of images. When an artist appropriates an image he or she is claiming that image for his or her own so that it can be used within the context of a work of art. In most cases appropriation-- such as using sections of movie posters, corporate ads, newspaper articles, or other forms of media and found objects-- is within the scope of law as a form of ’parody’ or ’social commentary’ since the images involved can be considered iconic. As mentioned earlier, very few corporations will bother pursuing a case over the issue due to that reason. However, problems occur when an artist appropriates images from the artwork of other artists in order to utilize them as his or her own work.

An individual artist is more apt to utilize legal rights based on copyright ownership when he or she discovers that someone has appropriated his or her protected work. In that case the appropriation would be considered copyright infringement and the artist who appropriated the image would be considered a copyright infringer. Thus, people need to remember that while it is acceptable to appropriate images in some scenarios it is NOT acceptable to appropriate an image if the rights to the image are legally owned by another artist. In other words, it might be acceptable to appropriate a Marlboro ad, but it is not acceptable to appropriate an image by an artist from Cuba assuming that it is legal to do so.

In closing, all artists who are currently living-- under current international copyright laws-- have exclusive rights to their work and how it can be used by others as long as they have retained ownership of said works. Currently all art is protected for several decades after an artist has died. An artist from a country that acknowledges international copyright laws must adhere to those laws within the context of his or her practice-- it is law. In other words, it is up to every artist to make sure that the rights of all artists are upheld. It is very important to have knowledge about our rights-- especially with the Orphan Works bill and other bills lurking in the background that have the potential of changing current copyright law if passed. Art law can be complicated. However, when it comes down to the line it is really an issue of respecting others in the creative community.

An example of copyright infringement and disrespect:

Untitled, Silk-screen poster, Rene Mederos, Cuba, 1972. This untitled piece by Rene Mederos depicts the revolutionaries Che Guevara and Camilo Cienfuegos. The artist had owned the copyright to the piece which was passed down to his estate at the time of his death in 1996.

Screenshot taken from the "Bombing Science" website on 7/18/2007. An image by Shepard Fairey titled 'Cuban Rider' was being sold as a T-shirt. Author Lincoln Cushing recognized the image from his book Revolución: Cuban Poster Art, as well as David Kunzle’s book, Che Guevara: Icon, Myth and Message. Cushing informed the family of Rene Mederos and discovered that the estate had not given Shepard Fairey permission to use the image or print the graphic.

Shepard Fairey acknowledged the copyright infringement involved with the 'Cuban Rider' shirt and had it pulled from the clothing line. The Mederos estate was compensated for an unknown amount-- though some sources claim the family was only paid $1,000. Up until that point Shepard Fairey had not mentioned the Mederos piece he had “referenced”-- he had claimed it as his own.

Shepard Fairey opened up about the Rene Mederos controversy during a 2008 interview with Mother Jones. He said, “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." Again, acknowledging copyright law is an issue of respect-- respect for yourself and respect for the creative community as a whole.

Link of Interest:

Obey Plagiarist Shepard Fairey: A critique by artist Mark Vallen
www.art-for-a-change.com/Obey/index.htm

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Will Natascha Stellmach smoke a joint containing Kurt Cobain's ashes?

When I first read about Natascha Stellmach’s exhibit at Wagner and Partner I thought it was another art related internet hoax. There has been some media confusion about the details of her controversial exhibit. Stellmach claims that she acquired the ashes of Nirvana frontman Kurt Cobain and that she has used the remains as part of an installation, titled Set Me Free, that explores suicide and the power of desecration. The artist has stated that she plans to smoke a joint containing traces of Cobain’s cremated remains at a private location with a small group of people.

Earlier this year it was reported that Cobain's ashes had been stolen from the Los Angeles home of his widow. Cobain’s widow, Courtney Love, now insists that the ashes were never stolen in the first place. Love has openly denied reports about Natascha Stellmach’s claim of having acquired the ashes of her late husband. Stellmach has not given reporters clear answers when questioned about the authenticity of the ashes and how she obtained them. She has stated that how she obtained the ashes is “confidential and kind of magic” and that she is “setting him(Kurt Cobain) free."
Natascha Stellmach has stated that the “smoking of the joint” will be a “burning away ritual” and that her goal is to symbolically "release Cobain from the media circus and into the ether.". It seems to me that the exact opposite is happening. I would go as far as to say that Stellmach is throwing Cobain-- regardless if the ashes are authentic or not-- back into the media spotlight. In that sense the artist has contradicted the intention of her work. Critics of the artist have stated that Stellmach is using Cobain’s name and the ‘story’ about the ashes in order to attract coverage for herself. What say you?

Is this story up in smoke? Or should we pass it around?

Link of Interest:

www.galerie-wagner-partner.com

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

The "bejewelled trinkets" of Damien Hirst

Damien Hirst is getting some royal treatment. However, it is not in the way that he would like. Sir Peter Maxwell Davies, the Queen’s composer, has attacked the “dumbing down” and commercialization of the arts due to the success of Damien Hirst. Sir Peter lashed out at bankers, educationalists, politicians and religion as the fuel for the “dumbing down” problem. During a speech he used Damien Hirst’s record breaking auction at Sotheby’s as an example.

In a speech to the conference of the British Academy of Composers and Songwriters, Sir Peter said: “We can all learn from a recent auction of art as an instantly recognisable iconic commodity, where it has become part of the entertainment industry, crossed with investment banking. The artist had the wit to sell a golden calf and other bejewelled trinkets, but all creative artists, in whatever branch of the arts they work, must ponder the implications of so much money scrambling after manufactured artefacts without content – with just a brand tag supposed to guarantee market value.”

Sir Peter went on to say: “It reminds me of the Liberace museum in Las Vegas, where the great man’s tatty stage costumes are exhibited, each with a fabulous price tag, and we are supposed to be uplifted. There are, of course, interesting visual artists out there, but this auction pantomime reflects the reductio ad absurdum of an art world where the principles of the market reign supreme.”

Sir Peter Maxwell Davies is not the first to complain about the “dumbing down” of the arts in the UK. Charles Thomson and the Stuckists have been speaking out against the “dumbing down” of art in the UK for nearly a decade. UK art critic David Lee has warned about it as well. What say you?

More on Hirst from the Myartspace Blog:

'Bling' Skull goes for Big Bucks
www.myartspace.com/blog/2007/09/art-space-news-bling-skull-goes-for-big.html

Damien Hirst and his Diamond Skull

www.myartspace.com/blog/2007/06/art-space-news-damien-hirst-and-his.html

Is Hirst A Copycat?
www.myartspace.com/blog/2006/11/art-in-news-is-hirst-copycat.html

Damien Hirst takes a shark-sized bite out of traditional galleries by taking a different marketing path
www.myartspace.com/blog/2008/09/damien-hirst-takes-shark-sized-bite-out.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Is contemporary Middle Eastern art the next big thing?

Henna-mania: Lalla Essaydi's Converging Territories #24

Is contemporary Middle Eastern art the next big thing? Individuals who took part in a conference organized by ArtTactic yesterday think so. The signs are already here-- Arab and Iranian art at auction has increased from £1million in 2006 to £17million so far in 2008. It is expected that those figures could more than double by the end of the year. Average prices have increased by 260% over that span of time period.

Christie's spearheaded this growth with their first auction in Dubai in March 2006, followed by Bonhams' inaugural Dubai sale earlier this year. Sotheby's has long held specialized sales in London, but has just established an office in Qatar, and will be touring highlights from its Oct 23 sale in Dubai, Abu Dhabi and Doha. Phillips de Pury & Co recently appointed a director for its new office in Dubai. This all adds up to significant investment in the market for contemporary Middle Eastern art.

On as a side note, both Christie's and Phillips will be including Middle Eastern artists in their international contemporary art sales which will take place during the Frieze Art Fair.

Link of Interest:

Art sales: Art blossoms in the desert
(www.telegraph.co.uk)

Yuliya Lanina: This is not a fairy tale- Group Show

Mishka Film Still-- Yuliya Lanina


I am pleased to find out that Yuliya Lanina will be part of the 'This is not a Fairy Tale' group exhibit at Patrick Heide Contemporary Art. I interviewed Yuliya Lanina in 2007. She is also a member of the www.myartspace.com community-- www.myartspace.com/yuliyalanina

This is not a fairy tale- Group Show
15.10.2008 - 15.11.2008
11 Church St, London, NW8 8EE
Kate MccGwire
Dale Berning
Andy Harper
Yuliya Lanina
Franziska von Stenglin

Press Release-- Patrick Heide Contemporary Art is pleased to present “This is not a fairy tale”, an exhibition that brings together the works of 5 prolific artists.“This is not a fairy tale” investigates our romanticised and somewhat belittled image of fairy tales, and places it in a rather ambivalent light. The playful, dreamlike and infantile façade of most art works all hide an ambiguous soul and reveal darker undercurrents that might even clash with a not so fairy-taley reality.“This is not a fairy tale” can also be seen as a reinterpretation of Sigmund Freud’s concept of the Uncanny. Deriving its terror not from something external, alien or unknown, the Uncanny rather relates to something strangely familiar inside ourselves which defeats our efforts to separate us from it.

RCA graduate Kate MccGwire turns unusual everyday objects into evocative and beautiful art works, which nevertheless retain a discomforting undertone. Pigeon feathers and wishbones, some collected over years, human hair and baby sleepers undergo a metamorphosis that challenges our preconceptions. By re-framing those materials Kate MccGwire questions and expands our concept of beauty to the extent that a repelling object can be transformed into a pleasing visual experience and vice versa.

South African artist Dale Berning’s beautifully flowing ink drawings of romanticised landscapes are closest to what could be called a fairy-land: peacocks, deer and other fantastic creatures roam through a magic forest. However, her drawings are often supplemented by sound-scapes displaying an amalgam of everyday noises inspired by the drawing that push the sweetness of her compositions to a biting edge.

RCA graduate Andy Harper’s paintings broadly reference a botanical world that spins out of control: a jungle of herbaceous plants and malignant flora, where weirdly shaped blossoms loom somewhat menacing in the brush. Executed with controlled and confident brushstrokes Harper pushes his compositions to the very edge and leaves an imprint on our subconscious rather than on our vision.

New York based Russian artist Yuliya Lanina. explores childhood traumas, cultural identity and sexuality through the imagery of manipulated and tormented dolls that stage as characters in her films and stage boxes. Lanina dissembles cute and cuddly toys or puppets and converts them into fetish objects that are at first glance often pure and innocent but perverse and violated at closer examination.

Recent LCC graduate Franziska von Stenglin will be showing parts of her series “Uncle Bobbel, Aunt Muck & the Wood Goose”. She traces her aristocratic heritage by contrasting vintage family pictures with current photographs of the very same privileged circles. Stenglin’s quest for identity, while pairing up past and present, results in a haunting and unsettling image of a lost part of society.

Kate MccGwire will create a striking sculpture in the upstairs gallery with pigeon feathers pouring in waves from the fireplace onto the wooden floorboards. Andy Harper and Dale Berning both created paintings and drawings specifically with a gloomy fairy tale setting in mind. Lanina’s most recent stage box and her spooky film “Mishka” will be both on display alongside a selection of her earlier films.

Links of Interest:

www.patrickheide.com
www.yuliyalanina.com
www.myartspace.com/blog/2007/12/art-space-news-yuliya-lanina-at-scope.html

Myartspace Interview with Yuliya Lanina:

www.myartspace.com/blog/2007/03/art-space-talk-yuliya-lanina.html

Tracey Snelling: Woman on The Run

more photos on www.traceysnelling.com

Tracey Snelling's Woman on the Run VIP Private View and Artist Talk During Frieze Week, Tuesday October 14 6-8pm

Wedel Fine Art is pleased to present Tracey Snelling’s latest work Woman on The Run at Selfridges. Woman on The Run is an installation that intricately mixes architecture, scale modeling, video, photography and 3-D story telling with a heady dose of Hollywood glamour and Hitchcock-like built-in suspense.

Woman on The Run is a multimedia project exploring a fragmented narrative about a fated woman. The main character, a combination of heroines and femme fatales from 1950’s and 1960’s film noir is trying to escape her fate. A crime has taken place, and she is wanted for questioning. Throughout the installation, different clues are given about what might have happened and who the woman is. Is she the victim, or the perpetrator? A study in feminism or an example of outdated ideas?

An alternate world of shrunken buildings, neon signs, and a life size motel offer a selection of clues that conspire to initially draw the viewer to the action and then help them thread together the disconnected story that just happened. The viewer quickly becomes a witness and to some extent an actor within the story, often assuming the role of a detective. Video plays in windows and conversations can be overheard. Reality becomes based more in perception than in absolutes. The blacks and whites of life shift to grey, and the truth becomes shrouded in mystery.



Tracey Snelling has been interested in the idea of reality being something that continually changes, due to perception and according to an individual’s ideals and own subjectivity. Tracey explores this viewpoint through shifting scale and presenting a particular subject in a myriad of ways. A large building can inspire a small sculpture of that building, which in turns becomes a photograph and eventually gets incorporated into another piece of art. Tracey uses much video in the sculptures – usually of people, sometimes doing mundane activities, repeated continually. Other times the characters might remain the same but the actions that are repeated change slightly and contradict each other. Influences in Tracey’s work are heavily anchored in Americana and fed by post-war US popular culture from literature to cinema, while her work consistently and simultaneously celebrates, demystify and re-interpret those cultural clichés with the view to making them both timeless and fresh.

Woman on the Run is presented in the Ultralounge from 9 October while another piece by Tracey Snelling extends the narrative and the impact of the installation into Selfridges’ largest window (at the corner of Oxford Street and Orchard Street) can be viewed from 5 September. Tracey Snelling was born in Oakland, California in 1970. She read Physical Science before focusing on the study of Art and particularly photography. She has had several solo exhibitions, especially in the USA and has contributed works to many installations around Europe and notably at Art Basel.

Myartspace Interview with Tracey Snelling:

www.myartspace.com/blog/2008/09/art-space-talk-tracey-snelling.html

Links of Interest:

www.traceysnelling.com
www.wedelfineart.com

Richard Serra at Gagosian Gallery London

Artist Richard Serra poses for photographers during the unveiling of his new exhibition at the Gagosian Gallery in London October 3, 2008 via Reuters

Richard Serra is exhibiting in London for the first time since Weight and Measure at Tate Gallery in 1992. The two concurrent exhibitions at the Gagosian Galleries on Davies Street and Britannia Street in London. The Davies Street gallery houses new works by Serra on paper. The Britannia Street exhibit, titled ‘Sculpture’, involves three new large-scale steel installations and four smaller wall hanging pieces. The Serra sculptures at the current Gagosian exhibit weigh over 300 tons and can be viewed at the gallery until December 20, 2008. Born in 1939, Richard Serra is considered to be one of the most significant artists of his generation.

Link of Interest:

Richard Serra: Sculpture [Gagosian Gallery]

Will Kazimir Malevich painting earn $60 million at Sotheby's auction?

Suprematist Composition (1916) by Kazimir Malevich, via Art Daily

Sotheby’s is confident that it will break the $20.9 million record set for the sale of Russian art at auction by Kandinsky set in 1990. Leading the charge is Suprematist Composition, composed by Kazimir Malevich in 1916. Suprematist Composition is widely considered a masterpiece of early 20th century avant garde art. In fact, Sotheby’s has stated that the painting is “one of the greatest modern paintings ever offered for sale.”

The Malevich painting is expected to earn $60 million dollars at auction when it goes on sale at the Impressionist and Modern Art auction on November 3rd. The painting hit the market after Malevich’s heirs recouped it from the Stedelijk Museum in Amsterdam. Critics have mentioned that Sotheby's is taking a blod risk considering the deterioration of global stock markets. For example, the Russian Stock Market has been hit hard with a 61% decline since May.

Links of Interest:

Malevich Painting May Fetch More Than $60 Million [Bloomberg]
Heirs to Auction Russian Painter’s Work [New York Times]
Sotheby’s: Suprematist Composition (1916), Lot #6, Impressionist and Modern Art Fall Sale [Sotheby's]
Sotheby’s expect Malevich to smash Russian record [Reuters]

Sarah Maple: Controversy or Misunderstanding?

Sarah Maple

Sarah Maple has been called many things due to her art-- some people have lashed out at her with vulgar anonymous messages, others have praised her for her bravery and humor, some have called her the heir to Tracey Emin's throne. As I’ve said before, I’m pleased to call her 'friend'. Thus, I was a bit concerned after being informed of the following article by Tim Walker for www.telegraph.co.uk . See below,

“Sarah Maple's exhibition poses questions that anger Muslims:

She’s been described as the new Tracey Emin, but even that femme terrible would probably fear to tread the territory that Sarah Maple is currently negotiating. The artist, who has shown at Ronnie Wood’s Scream gallery, has a new exhibition with a headline picture showing a Muslim woman cradling a pig.

Already, Mokhtar Badri, the vice-president of the Muslim Association of Britain, tells Mandrake that his organisation plans to visit the SaLon Gallery, in Notting Hill, west London, to demand that it remove Maple’s painting when it exhibits it next week.

“Although we condemn violence, Muslims have a right to express their disgust at this work,” he tells me. “An artist has the right to free speech and to express him or herself, but people also have the right to protest. She clearly wants to provoke a strong reaction from Muslims and that is what she will get.”

Maple, 23, who was brought up as a Muslim, has already evoked Islamic wrath. Her exhibition at Rolling Stone Wood’s gallery earlier this year depicted Muslim women in provocative poses, including one suggestively sucking on a banana.

Badri explained the upset that would be caused over the image. “Muslims believe that all of God’s creatures should be treated with respect, but we are taught to keep our distance from pigs because they are unclean,” he said. “That is why this picture is so offensive to us.”

A spokesman for the gallery explained: “She doesn’t intend to offend anyone but simply wants to pose questions about Muslim culture and identity.””

A few sites have already picked up on this story in a negative manner. For example, www.stoptheaclu.com had the following to say about Sarah Maple due to Walker's article: "But the typical Muslim way of protesting has a way of turning ugly, and the words of Badri do not inspire confidence that any protests will be peaceful. Sarah should keep in mind what happened to Theo Van Gogh, and all the threats and action against the Dutch cartoonists." The StoptheACLU article is titled Muslim Anger: I Hope Sarah Maple Gets Some Bodyguards, Plus Other Stuff. It is sad that StoptheACLU is using this story for their agenda while offering very little information about Sarah's art. In that sense, they are part of the problem.

As I have said before, people often think that Sarah Maple is trying to be offensive with her Islamic based art. This is a huge misconception as she is Muslim herself and would not want to offend her own faith. With her work she reveals the confusion that many young Muslims face within the context of contemporary western society. This study offers the viewer 'food for thought' and is influenced by the quest to discover and question 'Identity'. The majority of her paintings are self portraits.

In her work she questions if it is possible to be a 'good' Muslim in the West; especially if you are mixed race and from two contrasting cultural backgrounds like she is. Islam is indeed a way of life. But what do modern British Muslims do surrounded by both influences? Which lifestyle do they choose? Or can the two be fused?

Please read the two interviews I’ve had with Sarah Maple in order to learn more about her art and goals:

My first interview with Sarah Maple:

www.myartspace.com/blog/2007/08/art-space-talk-sarah-maple.html

My second interview with Sarah Maple:

www.myartspace.com/blog/2007/11/art-space-talk-sarah-maple.html

Take care, Stay true,

Brian Sherwin
Senior Editor www.myartspace.com

Art Scholarship Reminder

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

ARTLURKER

ARTLURKER
www.artlurker.com

ARTLURKER is Thomas Hollingworth. Graduating with a BFA from London's Guildhall University in 2003 he has since worked internationally as a freelance writer for artists and dealers of note, and in Miami for institutions such as The Margulies Collection at the Warehouse and Galerie Emmanuel Perrotin. A regular contributor to Whitehot Magazine, MAP magazine, Wynwood magazine, and independent websites too numerous to mention, Thomas now lives and works in Miami, FL.

ARTLURKER is positioned to expand upon contemporary art events with original and discerning text. Splitting the difference between local, national and international content we aim to provide timely previews, comprehensive reviews, interviews, and news on a reliable site from which readers can navigate to other similar and trusted pages.

Art Space Talk: Saul Chernick

I learned about Saul Chernick while reading Paddy Johnson’s Art Fag City blog. In many ways Saul Chernick flirts with the basics of why the practice of creating visual art came into being. He explores a unique purposes of art in that artists have long given physical presence-- as in drawings or paintings-- to the thought of metaphysical entities. Chernick is interested in the visual interpretations of such things because they uncover the beliefs and mindset of those who devised them.

The artist has stated that many of his ideas originate from depictions of miraculous events and figures-- as they appear in Judeo/Christian mythology-- and that he utilizes drawing to revisit, reinterpret, and reconfigure them. The end result is a body of work that meshes old with new in that contemporary issues and secular viewpoints come together with the convictions of past fears and desires that have remained with us in since the Renaissance.

A Perilous Way, 2007, Ink on Paper, 15" x 18.5"

Brian Sherwin: Saul, you studied at the Rhode Island School of Design, the Skowhegan School of Painting and Sculpture, and the Mason Gross School of the Arts at Rutgers University. Can you discuss your academic background? For example, did you have any influential instructors? Also, do you have any advice for students interested in those programs?

Saul Chernick: I’ve been fortunate to work with a lot of great people over the years. Thomas Mills, Andrew Raftery, Carrie Mae Weems, Ardel Lister and Tom Nozkowski.

In many ways what I learned at RISD has made the deepest impression, perhaps it’s because it’s where I started so I was more of a blank slate. Thomas Mills in particular helped me get a lot of critical distance. He gave me the tools to measure my own artistic progress, which is like getting a compass after wandering around a forest for days on end.

A Vampyrous Youth, 2006 - 2008, Ink on Paper, 21" x 14.5"

BS: From what I’ve observed you work primarily with ink on paper. What attracts you to ink as your dominant medium?

SC: I’m very interested in the language of marks, how they behave, and how they can assume such varied personalities. Marks never simply depict things rather they describe them. It’s these descriptive properties that convey conjure associations and generate meaning. Take a drawing of a dog for example, getting something down on paper that we can recognize as canine is easy, showing the character of this dog in particular—its nature, its physicality, it’s state of mind, that’s where things get interesting. Representations are an illusion but marks reveal the truth.

BS: Saul, you are interested in the metaphysical, correct? Can you discuss this interest and how it is reflected not only in your art, but in how you define art as a whole?

SC: I’m interested in how the metaphysical, miraculous, and otherwise supernatural is represented through art. On the face of it, representing the world as it otherwise might have been is a total rejection of worldly limitations, which is at the very heart of the creative ethos. Additionally, how one constructs that which can only be seen through the imagination reveals as much about the maker’s values, and world-view as it does the subject.

BS: So is there a spiritual side to your art as well?

SC: I suppose each viewer can judge that for them selves.
An Autumn Ride, 2008, Ink on Paper, 20" x 32"

BS: Tell us more about the thoughts behind your art...

SC: One of the things I’m interested in how the past connects with the present. I think of many of my drawings as period pieces in a way. In film, the production crew may take great pains to simulate the past as accurately as possible but the lens through which we see it is inextricably tethered to moment of its creation. A film about the Renaissance from the 70’s inevitably looks like a 70’s version of the Renaissance. A present day film on that same period might appear more authentic but as it recedes into the past it will begin looking increasingly of its particular moment. In this way my drawings never attempt to slavishly imitate the past, nor are they nostalgic, in fact they are just as much about the present as they are about the past. It will take the distance of time passing to truly see what this means.

An Autumn Ride detail

In some respects I’m trying to see what happens when an older model of drawing is infused with contemporary ideas. In An Autumn Ride, the proportions of the paper are the same as a flat screen TV. This creates a visual tension because the artists who developed and practiced the graphic style I use would never have composed images to work with these dimensions. I had to use many of the conventions of cinematography to make it work. The tree bisecting the horse is influenced in equal measures by photography and Modern painting like Barnett Newman’s zips. The narrative is similarly altered—it doesn’t quite hit the same notes a typical demon slaying might.

An Autumn Ride detail

With Man of Sorrows, I was thinking in part about anime. I love how anime made cute cool. Usually to be cool, in a cutting edge sense of the term, things need to be a little badass or transgressive in some way but anime introduced adorability into the equation. Anime has made cuteness more relevant than ever. And then there are those anime eyes, there’s something about the way they’re constructed that really captures this transcendent spiritual quality. It made me wonder what would happen if these ideas were mashed up with traditional Christian iconography…turning adoration into adorable could it work?

Man of Sorrows, 2008, Ink on Paper, 11.5" x 9.5"

BS: Tell us more about your process. For example, do you keep a journal of sketches… do you do preliminary drawings? Or do you work intuitively, so to speak?

SC: I make a lot of fast sketches in marker on office paper to generate ideas. At this early stage anything goes, sometimes the imagery is intuitive other times I come to it with the intent to work out a particular idea. In most cases, finished drawings are developed from the studies I find most compelling.

A lot can change between sketch and final draft, all kinds of additions, subtractions, adjustments and rearrangements. The editing is guided by the content of the piece; I try to eliminate anything arbitrary. By that I mean anything that isn’t supporting my intentions with the work, however, I don’t necessarily mean things I don’t understand. Sometimes the things I find most mysterious or confounding are actually the most powerful. It’s the stuff that forces you to break your own rules that keeps things interesting.

BS: What can you tell us about other influences? For example, are you influenced by any specific artists or art movement?

SC: I look at a lot of old master prints and drawings. I really admire the works of Durer and Breugel. I also really enjoy scientific illustration, medical, botanical, and zoological stuff like Albinus and Haeckel (or rather their assistants, the folks who toiled in obscurity to give birth to the images their known for). I see a thread of commonality that ties classical Renaissance drawing to contemporary comics and I tend to be sweet on most things that share that particular strand of DNA.

On the Edge of the Woods, 2008, Ink on Paper, 20" x16"

BS: What are you working on at this time? Can you give our readers some insight into your current work?

SC: Drawing is still at the heart of my practice but I’ve been branching out a bit lately. I’m in the process of working on a sculpture which I hope to edition and I also started making some animated GIFs.

The materiality of sculpture has allowed me to explore some of my usual themes but from a different angle. In this case they are less narrative and more about the ideas associated with certain aesthetic movements.

As for the animations, I’m not sure I have a good grasp on it yet but in this early stage I’m thinking about how the moving image has come to dominate the still one in our contemporary culture. The animated GIFs seem to inhabit an in-between space, they possess movement like a film but the action repeats itself with such frequency that a viewer spends about as much time with them as they would a painting or drawing. Also, the narrative is restricted to what could be conveyed by a still image. One can just as easily regard them as if they were a painting or drawing as they could a film or video. There’s deliberate mark making like we find in drawing but there’s also movement.
Totentanz 2.0 (After Heinrich Knoblochtzer), Animated GIF, 2008

BS: Finally, you have exhibited at several galleries, including exhibits at Max Protetch Gallery and Rush Arts Gallery in New York. Where can our readers see your work in person at this time?

SC: Protetch always has work on hand in the gallery for those in NYC. I also have a couple of pieces in a group show called Tabula Rasa at the Parkland College Art Gallery in Champaign IL, on view until October 25th. Folks can also check my website periodically for new work and exhibition updates.

You can learn more about Saul Chernick by visiting his website-- www.saulchernick.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: Nikki Willson

Nikki Willson is trained as a sculptor, but has recently started to work as a painter. With her painting she continues to explore issues of figuration, gesture, and identity. Nikki has exhibited in a range of local and interstate public art events and group shows. Her work has been acquired by private collectors. Nikki recently won the second round of Saatchi's SHOWDOWN competition. Her artwork will compete with other SHOWDOWN finalists to find an overall winner after the 12 rounds of SHOWDOWN have been completed.

Brian Sherwin: Nikki, you studied sculpture at the Australian National Institute of the Arts and the Victorian College of the Arts. Can you briefly discuss your academic years and some of the influential instructors you had?

Nikki Willson: I spent the first two years of my Bachelor of Visual Arts at the Victorian College of the Arts (VCA). I then did another 2 years and then my honours year at the Australian National Institute of the Arts (NITA). It was very interesting and I think a very valuable thing to do, to switch colleges, even though I did it because I was moving interstate. Art schools tend to be very dominated by the personalities of the lecturers there. Each school had very different personalities amongst the staff which had a huge impact upon the way I worked and the way my work was seen.

VCA was much more process oriented the making came first and the idea developed through the process of making. After the first year there you were also pretty much left up to your own devices, which was quite daunting but also liberating. At NITA, the idea came before the making, chronologically not in importance. Work proposals and artist statements were written before the work was made which I found quite constraining. It encouraged good intellectual rigor though and discouraged self indulgence. The lecturers were much more hands on until your final year and there were full workshop crits on a regular basis which could be quite bracing but also encouraged self analysis and rigour in your making.

As far as influential lecturers, David Jensz was the most supportive. He was able to see your idea and facilitate it, rather than direct it, which is rare. Art school was fairly traumatic for me. I found the scrutiny paralyzed me and created enormous self doubt. However it did teach me not to be lazy with my work on an intellectual, technical and aesthetic level.

BS: I understand that you currently reside in London. What can you tell us about the London art scene compared to the art scene you were involved with in Australia?

NW: I have never been much of an art scene person. I would much rather be in my studio making work, than out there doing all that is expected of you ie going to openings, networking, pushing my art. I find it excruciating. However, from my personal experience, I have so far found London to be very supportive of emerging artists with a strong scaffolding developed from the funding sector and the commercial sector.

In Australia, artist run spaces are usually the starting point for any emerging artist, whereas here commercial galleries seem more willing to take risks on new talent and artist run spaces are more scarce. Space for hire seems to fill that void but doesn’t provide any thematic or curatorial consistency.

BS: Concerning your art… I understand that though you are trained as a sculptor you have recently been exploring painting. Are you exploring the same themes as you have done with your sculpting?

NW: Yes I am, though it didn’t start that way. I started off just painting portraits as I was learning about the formal qualities of paint and the challenges of 2D work. However as I became more competent and less focused on the technical side, I began to loosen up in my mark making and in the subject matter I chose. The hands body of work is where I felt a real breakthrough. By focusing on a part of the body and removing the context I could work in a way which explored figuration but also could start looking at the work in an abstract sense as well. When I stood back and looked at this work, the surprise was that it was very much like my last body of sculptural work even though it came from very different starting points. Basically they were all organic forms with a sense of figuration exploring the experience of lived in corporeality.

BS: Tell us more about your sculpting and painting practice-- the themes you explore and the thoughts behind your art in general...

NW: My work explores the tensions and ambiguities inherent within the lived experience. Our bodies mediate our interaction between our internal experience (what we think and feel) and our external experience (that which we encounter within the world). I like to explore the traces of those encounters in the body. I focus in on parts of the body, whether they be hands or heads or whatever, to heighten the ambiguity of the image. I remove the context to remove the narrative from the work and to allow the viewer to bring their own experience and narrative to their experience of the work.

BS: So what are the social implications of your art? For example, is there a specific message you strive to convey to viewers?

NW: My work is very personal. It is concerned with the experience of being human. If there is any message there it is more an attempt to find an emotional resonance though these physical traces which is not illustrative. To allow the viewer to feel those resonances in a space without discourse.

BS: What about other influences? For example, are you influenced by any specific artist or art movement?

NW: I am influenced by many artists, some consciously, many unconsciously. As I studied sculpture not painting, my knowledge of technique, composition and working a canvas all comes either from my own experience or is taught to me by my study of other artists. Marlene Dumas, Jenny Saville, Francis Bacon, Velazqez and Goya are all frequent reference points. For my sculpture, Ernesto Neto, Louise Bourgeois and Annette Messager were all vitally important.

BS: What are you working on at this time? Can you give our readers some insight into your current work?

NW: I am finishing one body of work which involves painting this one man over and over with minimal changes in his posture but trying to capture the transformations within him as he observes changes in the information he is receiving. I am also starting a new body of work which is quite transitional and I am working quite differently with the source material (found photos) and the paint so I will be interested to see how that develops. Transitional work is always quietly terrifying!

BS: Are you involved with any current or upcoming exhibits? Where can our readers view your work in person?

NW: Degree Art has an online gallery which will have my work for sale on it in about 3 weeks approximately. I have just won round 2 of Showdown on the Saatchi Online Gallery. I also am participating in an upcoming group show at the Brick Lane Gallery, London called ‘Art in Mind’ from 21 January to 2 February 2009.

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

NW: If I can keep making art, pushing my own boundaries and getting my work out into the world I will be happy. If it affects people or they find some emotional resonance with it then I will be ecstatic.

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

Gilbert & George Retrospective at the Brooklyn Museum

Life by Gilbert and George, part of Death Hope Life Fear series, via the Brooklyn Museum

The Brooklyn Museum is the final stop in the global tour of the Gilbert & George retrospective, offering a comprehensive overview of the art the British duo has been making since 1970. Gilbert & George’s body of work encompasses performance art and charcoal sketches as well as digital picture installations. The duo has long addressed issues of sexuality, politics, race, faith, and identity in provocative ways. Their partnership started in 1967 at Central St. Martin’s College. The retrospective involves 90 pieces of their work. The exhibit is open now and will close on January 11th 2009.

Gilbert & George I known for pushing boundaries and experimenting with their art. For example, in May of 2007 they were the subject of a BBC ‘Imagine' documentary. At the end of the program a work entitled 'Planed' was made available as a free file download from the BBC and Guardian websites for 48 hours. People who downloaded the files could then print off and assemble the piece, and own an original Gilbert and George work for free. Some consider the duo a pioneer force in digital art.

For those who don’t know, Gilbert & George won the Turner Prize in 1986 and represented the UK at the 2005 Venice Biennale. Oddly enough, the two have revolted against art’s elitism throughout their career. They have went as far as to name their house“Art for All” and have also declared that they are “living sculptures.”

For more info: Brooklyn Museum Exhibits: Gilbert & George

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Banksy hits New York and Opens Pet Store

Gothamist broke a story yesterday about Banksy’s new billboards in New York. Apparently one is located at the corner of Houston and Macdougal, and another on Canal and West Broadway. Banksy had the following to say to Gothamist about his billboards, “I wanted to play the corporations at their own game, at the same scale and in the same locations. The advantage of billboard companies is that they’ll let you write anything for money, even if what you write is questioning the ethics of letting someone write anything because they have money.”

Is Banksy building up excitement for a major New York exhibit? Maybe. Rumors are bouncing around. As it stands he has already established a public exhibit in the form of a pet store. However, the only aspect of street art involved with the space is that it can be observed from the street. At 89 7th Avenue between West 4th and Bleeker Street in the West Village of New York City one can find Banksy's Village Pet Store and Charcoal Grill. Banksy's work in the space involves hot dogs, chicken nuggets, and other foods representing animals as if they were pets. Banksy utilized animatronics so that the 'pets' move around. Apparently this is the first time that Banksy has used animatronics.

Video by Marc Schil

Of the work Banksy has stated, “New Yorkers don’t care about art, they care about pets. So I’m exhibiting them instead. I wanted to make art that questioned our relationship with animals and the ethics and sustainability of factory farming, but it ended up as chicken nuggets singing. I took all the money I made exploiting an animal in my last show and used it to fund a new show about the exploitation of animals. If its art and you can see it from the street, I guess it could still be considered street art."

McDonald's Chicken McNuggets sip barbecue sauce.

Links of Interest:
www.banksy.co.uk
www.woostercollective.com
www.gothamist.com

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Blog Buzz

A look into recent entries in the art blogosphere...

Art News Blog
www.artnewsblog.com
Dion discusses the joy and pain of being an art blogger. Art News Blog also provides more information about the Bill Henson school controversy and gives us an image of Sarah Palin that is a bit over the top .

Edward Winkleman Blog
www.edwardwinkleman.blogspot.com
Winkleman searches for true selflessness in art making by exploring the motives of the street artist known as Poster Boy while hinting at the possibility that Shepard Fairey has sold out to the ruling class’s way of thinking-- meaning that his work is something less than revolutionary now that he is under Obama‘s thumb. The Myartspace Blog has explored this possibility as well.

Art Fag City
www.artfagcity.com
Paddy from Art Fag City has been interviewed by Art 21 . AFC also examines the Golden Age of the Met .

Blog of Note:

ARTLURKER

www.artlurker.com

ARTLURKER is Thomas Hollingworth. Graduating with a BFA from London's Guildhall University in 2003 he has since worked internationally as a freelance writer for artists and dealers of note, and in Miami for institutions such as The Margulies Collection at the Warehouse and Galerie Emmanuel Perrotin. A regular contributor to Whitehot Magazine, MAP magazine, Wynwood magazine, and independent websites too numerous to mention, Thomas now lives and works in Miami, FL.

ARTLURKER is positioned to expand upon contemporary art events with original and discerning text. Splitting the difference between local, national and international content we aim to provide timely previews, comprehensive reviews, interviews, and news on a reliable site from which readers can navigate to other similar and trusted pages.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

UK’s National Portrait Gallery wants Marc Quinn’s Blood…

Self (1991) by Marc Quinn, via Culture Loves Us

I learned from ArtObserved that the National Portrait Gallery desires Marc Quinn‘s blood-- or should I say ‘Self‘. White Cube Gallery has offered the most recent version of Self to the National Portrait Gallery for £350,000 even though the open market value for the piece is quoted at £1.5 million. The National Portrait Gallery has been able to secure £150,000 in order to acquire the ‘blood head’. Thus, the National Portrait Gallery will need to come up with £200,000 in order to have Marc Quinn’s blood where they want it. Time is short-- they only have until December 31st to finalize the deal.

Self (1991) is considered to be Quinn’s signature piece. One could say that it launched his rise into the upper levels of the art world. For those who don’t know, Self is a frozen sculpture of the artist's head made from 9.5-- though some sources state 10-- pints of his own blood. Quinn secured the raw material-- in this case his own blood-- from his body over a period of 5 months. The original Self was bought by Charles Saatchi in 1991 for a reputed £13,000.

I realize that I’ve been rather harsh to Marc Quinn lately-- ok, maybe really harsh , but his Self is a piece that I actually admire. In my opinion, Self has a universal appeal that a golden statue of a fading cover girl will never have.

Links of Interest:

National Portrait Gallery criticised over purchase of Marc Quinn’s Blood Head [TimesUK]

National Portrait Gallery Raises Money for Self-Portrait Made From Frozen Blood [ArtInfo]

Museum needs £200,000 for Marc Quinn’s blood portrait [The Art Newspaper]

Take Care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Warhol's Skulls Series will Spearhead Sotheby's October Contemporary Art Sale

Andy Warhol, (1928-1987), Skulls. 5,000,000—7,000,000 GBP. Photo: Sotheby's.

Sotheby's will follow its record-breaking series of Contemporary Art sales in recent years with its October Contemporary Art sale. The event is scheduled to coincide with the Frieze Art Fair. The sale opens on the 20th of October and will include a selection of Andy Warhol’s iconic Skulls series (est. £5,000,000-£7,000,000). The Skulls series is known for its striking commentary on death and mortality. Sotheby’s senior international specialist Oliver Barker said, “The optimism and vitality of the colours only serve to underline the transience of life pitted against the omnipotence of death. Warhol’s point – ever concise and brilliantly pithy – is that even death, the nemesis of humankind, becomes mere lurid mundanity when perceived through repetition and familiarity.”

Avoid Pipe Dreams: Visual Artists need to take Advantage of Reality

Avoid Pipe Dreams: Visual Artists need to take Advantage of Reality

I recently read an article about the struggles that artists tend to have due to their choice of being steadfast in their artistic practice. The article strengthened the stereotype of the ‘starving artist’ image by blaming everything from a lack of parental support to specific politicians for the downfall that so many artists have experienced when it comes to failing to exhibit or to obtain grants. While it is easy to blame social, economic, and political conditions for the struggle that artists may endure I think it should be pointed out that people who do not explore their creativity endure some of the same social, economic, and political strife. Many of us are in the same boat regardless if we paint, sculpt, and so on. Those outside factors do contribute to the problem, but they are not the only reason for the problem. In fact, some of the hardships artists face happen because of their lack of action and their failure to take advantage of opportunities that are within reach.

The article suggested that every artist should be funded by the government in order to work fulltime on art due to the lack of available opportunities. While that is a wonderful fantasy it simply is not realistic nor should it be considered the only solution. That fantasy will never happen and if it did it would be twisted to the point that it would hurt the creative community as a whole. For example, if the government were to support every visual artist they would no doubt have to implement policies that would decide who is an artist and who is not. In that scenario they would probably regulate museum and gallery exhibits as well-- meaning they would have to dictate what is art and what is not. Thus, a plan like that would never be efficient and it would do more harm than good to the creative community. To put it bluntly, be careful what you wish for!

While I would like to see the government do more for visual artists in general I will not allow myself to fall for the fantasy mentioned above. I accept the fact that I will never be able to paint fulltime on the governments (tax payers) dime year after year. I think it is time for more artists to face this reality and to accept it rather than live in a world of pipe dreams and noble fantasies. While my words may seem harsh I can promise you that they are backed by the experience of what I‘ve observed from peers. For example, I know that many artists do not take advantage of what is already offered by the government and art organizations that support artists. In a sense, they avoid-- or fail to act on-- available opportunities. Thus, in many cases artists are ‘starving’ due to their own lack of ambition and failure to take initiative as well as responsibility for their art and practice.

I have heard countless stories of hardships from peers. While I do have empathy for their struggles I can’t help but place those struggles under a scope. Further investigation often reveals that a mirror lifted to their face provides the best answer as to why they have experienced failure. Upon listening to their hardships I often ask them if they have pursued grants or local exhibit opportunities-- the answer is always “no” or “I did not think about that“. Thus, I think that is the main problem with this situation. Artists need to take advantage of reality. They need to take advantage of opportunities that are within reach rather than being encumbered by the fantasy of total support. This involves making time to step outside of the studio in order to network and to discover opportunities. Fortunately, many art opportunities can be discovered online which makes the task more convenient.

If you are reading this there is no excuse for not being able to find art opportunities in your area. Do some research online and you will no doubt find regional exhibit and grant opportunities as well as national exhibit and grant opportunities. Take advantage of what you find. Look into it! Avoid pipe dreams and reach for what you can realistically grasp.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art Space Talk: Ron Amstutz

Ron Amstutz earned an MFA from the University of California in 1997. He has been involved with exhibits at Wallspace and White Columns in New York. His recent solo at Wallspace was titled Right Roads and Wrong Ways. Right Roads and Wrong Ways is a video and photographic installation that represents the culmination of Amstutz's nearly decade-long project of constructing and painting life-size sets that exist as stages for his idiosyncratic performances.

Ron Amstutz, Installation view, Right Roads and Wrong Ways Image via: Wallspace

Brian Sherwin: Ron, my understanding is that you earned an MFA from the University of California in 1997. Can you reflect on your years as a student? What impact has your educational background had on your growth as an artist? Also, did you have any influential instructors that inspired you?

Ron Amstutz: I loved being a student. What artist doesn't want virtually unlimited time to research, talk about and make art? I think that I make my work for the people I went to school with. The arguments and ideas are ones that they would understand that I am interested in and see it in the work. I am trying to articulate it to them in order to articulate it to others. The dialog isn't constant between us, but it is constant in my mind.

My most influential instructor was unquestionably Paul McCarthy. I don't really think he sees a hierarchy in terms of ideas. He inspired me by being so open to every idea, and every person's ideas. I think it reflects in his practice. The pieces are visceral, but extremely smart and varied. He is able to see so many sides of a discussion that he can flip an idea around and convince you of its opposite. It is a really great place to try and make work from, openness. I don't know if I will ever get to that place, but I have seen it in him.
Installation view, Ron Amstutz, “Right Roads and Wrong Ways,” DVD with sound, 29:47, 2008

BS: Ron, tell our readers about your performances and the photograph and video involved. Your performances are often very physical in nature. Can you discuss the implications of your display of endurance? What is the message you strive to convey to viewers?

RA: I think I make obstacles. Obstacles for myself and the viewer. I stage each performance for multiple camera angles and do the performance multiple times. Once set, the cameras don't move. I think that the slippage of what happens in the performance by doing it multiple times is interesting. I like the idea that it changes over time, with each subsequent performance. When I put it together there are changes in intensity and movements that I think bring up questions that are interesting. Over the arc of the piece there are so many performances that it begins to fold on itself. I think the viewer recognizes the weight of all the performances, at least that is my hope. In terms of the durational aspect of the performance, it was meant to be real, and often it was difficult. It was supposed to translate to the viewer watching it in the sense that they might feel uncomfortable or see the viewing of the piece as an obstacle.

The photographs are meant to be performative acts in themselves. In the first color of each set I would make a number of photographs to start the process. They are the "documents" for the performances in the video. I then edited down the pictures to the ones I liked the best and seemed the most interesting. The selected pictures were then re staged in each of the following colors of the set. I wanted the act of making the picture to be like the video; to constantly try and get back to a place that had originally been spontaneous. Often my re stagings were failures and I would have to try to get back to the position again and again. Those moments or actions constitute what the performance was, and seem like a more accurate "document" of what happened. All that remains are the ones which nearly match their predecessor, but I think it implies more. I have always seen the documents of old performances as being so ideal. I just love the mystery of what happened and the possibility of what was lost, or not recorded.

I was interested in photojournalism before art, and I saw the documents as being something all together different. I think it was the snapshot quality of the photographic gestures combined with the charged gestures in them that threw me. I wanted to be inside those pictures. I guess that is where this idea of documentation started.

BS: At what point did you become interested in creating spaces as you have done? Can you recall the thoughts that spurred you to move in this direction with your work?

RA: The spaces are meant to refer to the stage in a theatrical setting; the place for a performance. The camera is a theatrical sight line. Since the actions are not live, but viewed on a screen or ideally the wall, that apparatus (the video projector) had to be taken into account. I made the spaces appear flat to refer to the camera and the wall.

BS: Concerning your performances. Are your movements scripted or do you follow your intuition? What importance-- scripted or intuitive-- does that choice have in your work?

RA: The actions are both. I think that the props help to script the action, but it is left open and spontaneous. Things happen that can't be repeated, but I do try in later performances to get back to the same emotional space to try and recreate the first performances. They are often about discovery initially and repetition later. I think that the structure of the piece in terms of the costume and the changes of the background are so specific and complete that I let a more human or intuitive aspect drive the actions. It goes without saying that that intuition would have to be repeated in some form.
Installation view, Ron Amstutz, “Right Roads and Wrong Ways,” DVD with sound, 29:47, 2008

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

RA: Performance in the 60s and 70s is pretty clear. I think that I am definitely influenced by feminist performance, artist like Barbara Smith and Carolee Schneemann. The work has so much to say and does it in such an immediate way. I could only hope that my work would convey the sense of urgency and importance that much of that work does. I think that the staging has something to do with still photography as well. I love Thomas Demand's work, John Divola. I was turned on to Guy de Cointet when I was at school and I think he was a huge influence, particularly in the structure and the handling of props, the game-like aspect. I love structuralist film, all sorts of things.

BS: What are you working on at this time as far as future performances are concerned? Can you give our readers some insight into your future plans?

RA: I am just beginning to do research for my next piece. I plan to make another video, and have been working on ideas, but nothing specific is in the works.

BS: Can you discuss some of the reactions you have had from viewers observing your performances? What role do onlookers play when viewing your performances in person or on video? Do you observe them as a part of the work, so to speak?

RA: I haven't ever done a live performance, and I don't have specific plans for one as yet. I hope to make the viewer part of the work. The piece was designed to be a sort of game between the viewer and the artist. I think that the visual aspect of the sets and the repetition are clues to that. I hope that at least the viewer would recognize the push/pull with the artist.
Installation view, "Right Roads and Wrong Ways"

BS: You have had solo exhibits with Wallspace and White Columns in New York. You have also been involved with group exhibitions at the Thomas Erban Gallery and White Columns in New York. Are you involved with any exhibits at this time?

RA: The Wallspace exhibition is open until the 11th of October and I am in a group exhibition which I don't have the specifics of yet that will be at the end of the year in New York.

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

RA: I don't know exactly, but I appreciate your interest and thank you for the opportunity to talk about it.

You can learn more about Ron Amstutz by visiting his website-- www.ronamstutz.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 Donates Sketches to Charitable Cause

Damien Hirst has donated three sketches to the Buy Art Fair in order to raise money for charity. Proceeds will go to the Five Stars Scanner Appeal in order to help raise £1m for an MRI scanner for the new Manchester Children’s Hospital. The three sketches-- a butterfly, shark, and skull, are worth an estimated £2,000 each. The MRI scanner will help doctors to diagnose cancer in young patients.

First Deadline for Myartspace/Bridge Competition is Approaching!

www.myartspace.com/miamibasel/

Contemporary art fairs have quickly established a foundation within the art world. These fairs have changed the financial landscape of art commerce and will continue to do so. Entry into notable fairs can be very competitive and more often than not only galleries are considered instead of individual artists. A booth at a notable art fair can cost thousands of dollars. The staff at myartspace has considered the need for our membership to have opportunities involving notable contemporary art fairs. Thus, myartspace is pleased to offer another resume building competition involving one of the hottest art fairs in existence today-- Bridge Art Fair.

Bridge Art Fair currently presents a combined total of nearly 300 galleries and over 2,000 artists at four expositions throughout the year. Since the premier of Bridge Miami Beach in 2006, total sales of nearly $30 million and more than 100,000 visitors have confirmed Bridge as a leading voice in a newly globalized art marketplace. Myartspace and Bridge Art Fair have teamed up in order to establish a competition that will send three finalists to the Bridge Art Fair this December during Art Basel Miami . 50 finalists will be represented in a catalog at the Myartspace booth with three top winners exhibiting at Bridge. This includes a preview and press preview that involves influential art collectors and members of the press.

A few of the galleries that have exhibited at the Bridge Art Fair:

Capla Kesting Fine Art, Brooklyn, NY, USA-- www.caplakesting.com
Billy Shire Fine Arts, Culver City, CA, USA-- www.billyshirefinearts.com
Strychnin Gallery, Berlin, London, NY-- www.strychnin.com
Chi Contemporary Fine Arts, Brooklyn, NY, USA-- www.chicontemporaryfineart.com
Wade Fine Arts, Tokyo, Japan-- www.wadafinearts.com
Mumford Fine Art, London, UK-- www.mumfordfineart.net
Walsh Gallery, Chicago, IL, USA-- www.walshgallery.com

The jury panel for the competition includes:

Elisabeth Sussman, Senior Curator, The Whitney Museum of American Art

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

JoAnne Northrup, Senior Curator, San Jose Museum of Art

Michael Workman, Founder, Bridge Art Fair

If you enter the competition before October 15th the entry fee is cut in half. So that is $25 for your gallery of 20 images which will be reviewed by our prestigious jury panel. After October 15th the entry fee will be $50... which is still very affordable considering a juried competition of this nature. Act now and save.

For more information about the Bridge Art Fair visit, www.bridgeartfair.com

REMINDER:

The Myartspace Art Scholarship competition is still open as well. The art scholarship competition is free to enter and is open to undergraduate or graduate art students. In order to enter the art scholarship competition students must create a free account on myartspace. See, www.myartspace.com/scholarships

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com/interviews

The Bill Henson Controversy: Art or Child Porn?

Untitled #8 by Bill Henson

Photographer Bill Henson has been criticized for his practice as of late. In May of this year his exhibition at the Roslyn Oxley9 Gallery in Sydney was closed after several individuals filed complaints with law enforcement due to the questionable nature of Henson's photographs depicting naked children. The complaints were filed due to an email the gallery had sent concerning an invite to a private viewing of Bill Henson's photographs at the gallery. The email contained a photographic image of a nude 12 year old girl which sparked the controversy. The gallery, with Henson’s approval, decided to cancel the opening of the exhibit due to being the focus of negative media attention and law enforcement involvement. During the process of the investigation a number of images from the exhibit were seized by police as potential examples of child pornography. The police also forced the gallery to remove specific graphic images of Henson’s work from their website.

Local authorities and child protection advocates had strived to charge the Roslyn Oxley9 Gallery and Bill Henson with ‘publishing an indecent article’ under the New South Wales Crimes Act and child protection legislation. However, in June of 2008 New South Wales and the Department of Public Prosecutions declined to file charges against the gallery or the artist. In fact, it was declared that the photographs of naked teenagers were “mild and justified” and were given a PG rating. It seemed the controversy was settled-- until now.

After months of shying away from publicity Bill Henson has decided to be vocal in defending his work and to speak out against accusations that his photographs are nothing more than child pornography since his work involves photographing naked children. Henson claims that the girl depicted in the Roslyn Oxley9 email invite supports the image along with her family. The mother of the 12-year-old girl at the center of the controversy has stated that the photographs had captured a "beautiful" moment. Henson went on to say that people can discover that he is a legitimate photographer by doing a Google search of his name and that he only regrets the public controversy that the image has caused. In a statement to Fairfax he stated that he has been doing similar work for over 30 years and made it clear that he was often in a position of asking parents whether they would allow their children to be photographed nude or not.

It has been suggested that Henson’s vocal defense of his work was spurred by recent information involving the investigation of his practice. Late last month it was revealed that Henson had visited a primary school in order to scout for models in 2007. Apparently the principle of the school had escorted Henson around the playground of the Melbourne school so that Henson could observe potential models in order to photograph them naked with parent consent. It has been suggested that it would be wise for Henson to allow parents to contact him directly about photographing their children nude instead of 'prowling' for talent at primary school playgrounds. Needless to say, this new information has angered parents who have since demanded action from their government.

The outraged parents have stated that Henson’s visit to the school was a betrayal of trust. The fury of anger has provoked a response from authorities against Henson and the principal. The principal of the school in question has since been reprimanded by officials for allowing Henson into the school and is now working at another location. Education Minister Julia Gillard stated that nobody should be allowed into schools without a legitimate purpose upon learning of Henson’s visit. Victorian Premier John Brumby announced an investigation into the fresh controversy and told Melbourne reporters that an individual walking through the school grounds in order to view children as potential nude models is “inappropriate”. Needless to say, the situation does not look good for Bill Henson and the validity of his work.

In recent years the charges against world renowned photographers who photograph nude children has reached a boiling point. In the eyes of child advocates the fact that an artist has exhibited in prestigious galleries and museums does not make photographs involving nude children anymore legitimate than child pornography. You may recall that in 2007 an exhibit of Nan Goldin’s photographs were seized from the collection of Sir Elton John due to similar charges that Bill Henson is now facing. Do these works walk a fine line between artistic freedom and exploitation?

What are your thoughts concerning photographs of nude children for the purpose of art? Are these works legitimate or should artists like Bill Henson be charged with crimes? Do parents, by giving consent for these images, violate the rights of their own children? Should the ability for parents to give consent in this manner be terminated? Should laws and penalties be in place in order to halt works of this nature from being exhibited in galleries and museums? Should museums lose government funding for supporting artists like Bill Henson? Should Henson have to provide information that proves parental consent for all of his known works involving nude children? Or is this controversy nothing more than censorship? What say you?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

eCommerce Can Work For Artists

eCommerce Can Work For Artists

Electronic commerce, also known as e-commerce or eCommerce today, has had many developments in the last 30 years. During that span of time the meaning of electronic commerce has changed and its reach has grown. What started as Electronic Data Interchange (EDI), Electronic Funds Transfer (EFT), and automated teller machines (ATM) has expanded to meet the needs of an internet driven culture. Today, electronic commerce involving the World Wide Web is a relatively new manner of buying and selling products and services if you think about it. Since 2000 the development of eCommerce as a viable marketing tool has taken off. I feel that artists, specifically self-representing artists, can benefit from this growth. Some already have.

Don’t let the new kid on the market block fool you-- eCommerce is here to stay and the sooner business-minded artists embrace it the sooner they can make a profit that they otherwise would not have made. By selling art online an artist can reach millions of potential buyers with just a click of his or her mouse. In fact, some artists have been able to earn a living selling their art online while avoiding brick & mortar gallery representation all together. As I have mentioned before, savvy artists would be wise to combine efforts by embracing both conventional and unconventional paths. In other words, the potential for success online and offline is only limited by your ambition.

Ambition… the drive to succeed can make or break a marketing plan. With each passing day it is easy to observe the fact that ambitious companies and individuals are thriving due to eCommerce. This is why it is vital for artists to think of themselves as web entrepreneurs in that the validity of eCommerce as a profitable form of exchange must be considered for ongoing success within the art market of tomorrow. Artists must embrace this aspect of the market and grow with it. eCommerce can work for artists as long as artists work to understand and utilize eCommerce. In other words, leave your doubts at the door so that you can embrace the direction that the market is going.

Doubts can hold an artist back in the studio as well as in marketing. That said, the problem facing eCommerce as a valuable tool for selling art online is the fact that it had problems early on. There is no question that the art sites of the mid to late 1990s and into the early 2000s failed to some degree as far as selling art online is concerned. That early failure caused many art professionals to scoff at the idea of selling art online. The wounds are still present today in the words of some of those professionals who have failed to grasp how much eCommerce has changed since those early years. The market has changed and eCommerce has developed far beyond its early roots. While it is true that many galleries are missing out on the potential of eCommerce it is also true that millions of artists have had success selling art online. The eCommerce of today can work for artists as well as galleries as long as they set the fears of the past aside long enough to benefit from it.

One should also remember the fact that eCommerce in the 1990s and in the early 2000s was no where near as profitable as it is today. For example, it has been suggested that the combined profit from eCommerce in the United States will reach $204 billion by the end of 2008. That is an increase of 17% from 2007. Those profit numbers were considered pipe dreams during the early years of eCommerce. In other words, if every professional avoided eCommerce those numbers would have never been reached. Those savvy enough to explore the potential of eCommerce have become wealthy in the process. In the end I think the same will be said for artists and galleries who-- with an entrepreneurial spirit-- explore the potential of eCommerce within their marketing plan. Again, eCommerce can work for artists!

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Marc Quinn's Golden Fetish

Photo: © Getty Images

Marc Quinn’s golden sculpture of Kate Moss has finally been made public at the British Museum as part of its Statuefilia exhibition. As expected, Quinn’s statue of Moss is in a similar pose as his bronze sculpture of the British model titled Sphinx. Apparently the golden version of Kate Moss was to be titled Siren, but has been renamed Aphrodite. According to the museum the piece is the largest gold sculpture to be made since the days of ancient Egypt. Quinn created the sculpture with over two millions dollars worth of gold. It has been suggested that the piece will earn six times that once sold.

As I’ve mentioned before… I’m not exactly impressed with art that meshes with celebrity. Marc Quinn and Daniel Edwards take top prize for that as far as I’m concerned. Will Damien Hirst be able to top Quinn's golden Moss? Perhaps Andres Serrano will sculpt Kate Moss or another celebrity in his own little way? That might actually be interesting.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Art Space Talk: Casey Lynch

The art of Casey Lynch is an investigation of different levels of reality, the practices and phenomena that accompany them, and their disparate philosophies, technologies, remedies and lexicons; it is a meditation on teleological systems, epistemology, and existentialism . Through new media, sculpture, installation, drawing and text, Lynch strives to forge new connections between ideas usually seen as incongruent as a way to elucidate the similarities between all things and describe the reality of what it means to be human.

Casey Lynch was one of 50 finalist in the Myartspace New York, New York Competition in 2007. The three-person jury consisted of Jessica Morgan, curator of contemporary art at the Tate Modern, James Rondeau, curator of contemporary art at the Art Institute of Chicago and Steven Zevitas, Publisher and Editor of New American Paintings.

My Art / Your Brain #1, laser print on paper, the viewer’s mind, 8.5”x8.5”x8.5”-- dimensions variable

Brian Sherwin: Casey, you studied sculpture at the Atlanta College of art… earning a BFA in 2006. Can you discuss your years at the school? Did you have any influential instructors? I understand that you plan to continue your studies at the Rhode Island School of Design, is that correct?

Casey Lynch: ACA was a great school for me. I came in relatively naïve as to what it meant to be an artist in the contemporary world, and learned a lot there. All of the teachers there where great, but three really helped shape the artist that I am today: Diana McClintock, Roel Daves and David Isenhour. These three people helped me focus in on what was important to me and my practice, pushing me to make more mature work and be conscious of my decision making process. Sadly, I was part of the last graduating class of ACA, as is has now been annexed as part of Savannah College of Art and Design.

I am currently in the MFA program at RISD, and will graduate in May of 2009. This has been a phenomenal experience for me as well, introducing me to a myriad of opportunities and people, while building the strength of my portfolio, physically and conceptually.

BS: Casey, you also studied psychology… earning a BS in Psychology from Columbus State University. Can you discuss the influence that the study of psychology has had on your art? Do you adhere to any specific theories concerning the human condition?

CL: Perception, both physical and metaphysical, is a major theme in my work. My studies in psychology have impacted my work by shaping my beliefs about how perception functions and how it informs the human condition, especially with respect to drive for knowledge, truth and perfection. I also experienced a level of disillusionment, losing much of my positivist fervor during that time, realizing that irrationality had a hold on the human condition, and that "facts" and "statistics" are shaped by human will. With regard to my art, I find that I like to hold on to the idea that reality is a result of perception.
My Art / Your Brain #1, laser print on paper-- detail

BS: Tell us more about your art. My understanding is that your work is an investigation of different levels of reality . Can you go into further detail about the thoughts behind your art? What specific themes do you explore?

CL: Each piece is generally the result of my internal dialog about an epistemology I come across and find interest in, whether it be the "truths" of Mathematics, Science, Religion, etc. I examine a belief structure and think about its implications in the context of other systems with which I am familiar, or currently thinking about, trying to mix systems to create models or metaphors that explain some new idea by combining or resolving the ideas I am researching. I am most interested in Physics, especially the unknown or philosophical areas that are being pursued, like black holes and string theory. I like to try to assimilate those theories with ideas presented in more mysticism realms - Christianity, Hinduism, Buddhism, and New Age. The Hegelian Dialect could begin to describe my thought process, but I often use unrelated ideas, as opposed to polemics, as a starting point for the synthesis I pursue.
Thought Pattern, distressed oak flooring, 96” x 96”, 2008 (studio shot)

BS: You have stated that your approach to creating art is serious and light hearted at the same time. You have gone on to say that it is critical but not cynical. Can you discuss your approach to artistic creation further? For example, do you adhere to certain philosophy as far as creating your work is concerned?

CL: I find the subjects that I investigate to be of a high level of importance, but I always keep in mind that more immediate and important items would be put on the docket if I were another person, and therefore do not take myself too seriously. I am critical because I like to pick apart the details and try to find the grand scheme of an idea set, but whether I agree with it or not, I am respectful of every system because I don't find cynicism to be a positively fruitful exercise.

BS: What about other influences? For example, are you influenced or inspired by any specific artist or period of art history?

CL: With their recent shows in NYC and Boston, Olafur Eliasson and Anish Kapoor have been in the forefront of my mind lately. I am also influenced by people like John Cage, Robert Irwin and Sol LeWitt, from the old school and Ricci Albenda and Spencer Finch in the new school. I think a lot about minimalism, and what the effect of boiling down concepts to such reductive states is, and what is lost or gained from that manner of abstraction.
Tunnel (Rabbit’s Worm Hole), ink on paper, 54” x 54”, 2008

BS: Perhaps you can tell our readers about a few examples of your work, Tunnel (Rabbit's Worm Hole) and Thought Pattern for example? What are the thoughts behind these specific works?

CL: Tunnel is from a series of drawings that are the result of tracing the pixel-grid projected from a digital projector; specifically, Tunnel delineates the concentric squares that can be made from such a grid. The drawing perpetuates the tension between order and chaos, with evidence of the clarity of the origin (a metaphor for the Platonic ideal) and a sloppiness in the attempt to capture or translate it.

Thought Pattern fits less conceptually with my other work in that it is more of a self portrait. Drawing from Bruce Nauman's Pacing in the Studio, it is an exaggeration of what a floor would look like if one were to spend endless time in indeterminate thought.

Tunnel (Rabbit’s Worm Hole), ink on paper-- detail

BS: You also create sound pieces, correct? My understanding is that your sound work is a fusion of electronic and experimental. Do you ever combine your sound work with your visual work?

CL: Yes, I love sound art and many styles of music. I often find myself trying to emulate the masters of drum-and-bass as well as glitch. I do not combined sound into much of my visual art, though I toy with the idea often. I find it extremely difficult to successfully marry the two, maybe because much of my work is minimal, and I try to keep things focused, clean and simple. I am currently working on a video that will act as the score for a composition structuring ambient noise - although the video with not have sound, similar to Cage's 4'33", it will call the viewer to notice the sound of his or her surroundings.
Fabric of the Cosmos, ink on paper, 54” x 54”, 2008

BS: What are you working on at this time? Can your give our readers some insight into your current work?

CL: I am working on a piece that is tentatively entitled Meditation on Nothing (500GB). Using a digital camcorder, I am taping myself practicing Zen Meditation (for 30 minutes per session.) I then transfer the digital video to an external hard drive. The drive is 500 gigabytes, and the piece will be over when it is full. I am about a quarter of the way done, hopefully finishing in in March or April.

I am also beginning a series of more traditional pieces (sculpture and installation) that will deal with light, space, and geometry to draw analogies to my conceptual interest.

BS: Casey, you were one of 50 finalist in the Myartspace New York, New York Competition in 2007. Have you been involved with any recent competitions or exhibits? Perhaps you will be involved with an upcoming exhibit? Where can our readers see your work in person at this time?

CL: I was just a part of The Wassaic Project, put on by the New York artist team Bowie + Eve, just outside of the city. It was a two day festival with bands and artists sharing the bill. In November, I will be in a show called From Big Box to White Box at the Chace Center Gallery in Providence, curated by Kelly Goff. Here, all of the work will use materials gathered from "big box" stores or refer to them in some manner.

Fabric of the Cosmos, ink on paper-- detail

BS: What are your thoughts about artists and the internet? In your opinion, how can an artist utilize the net in order to gain exposure and advance his or her career? How will the internet shape the art world that we have come to know?

CL: I think that if an emerging artists wants any kind of success today, it is imperative to have a web presence. Other than my own website and blog, I use networking sites to keep in touch with colleagues, and sites such as yours to get my images and name out there. I have no way of knowing exactly how the internet will change art, but with the daily emergence of new online galleries and the ability to buy and sell online, there will continue to be a shake-up, I think especially with digital and 2-D work.

In order to keep revenue up, I think galleries are going to start picking up a lot more artists, but having them for on-line galleries only; the cream will still take the physical gallery space - hopefully this will allow for even greater experimentation in the gallery, and a support net for artist who produce less marketable or commodifiable works.

You can learn more about Casey Lynch by visiting his website-- www.caseylynchart.com. Casey Lynch is also a member of the www.myartspace.com community-- www.myartspace.com/caseylynch. You can read more of my interviews at-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Why Art Sites Work

Why Art Sites Work

There has been debate involving the issue of networking online concerning visual artists for several years now. Some have suggested that online networking is not important for visual artists as far as exposure and success is concerned. Some feel that it is an unnecessary use of time that could be better spent in the studio or in searching for exhibit opportunities on foot. Others suggest, myself included, that online social networking and the exposure gained from it is a worthy pursuit for business-minded artists and that artists can actually save their valuable time if they do it right. Individuals in this camp, myself included, feel that creating and maintaining social networks online is a necessary effort for all artists-- specifically emerging artists-- to commit themselves to if they are seeking exhibit opportunities or opportunities to sell their work.

Why is social networking online necessary for artists? Because in today’s world it is necessary for any professional. I suppose the necessity depends on the artist though. For example, an artist who does not seek exhibition or selling opportunities may not need to focus on social networking in that respect. On that same note, an artist who has been in the rat race for decades may have enough of a following and support that he or she does not need to worry about online efforts aside from maintaining an online presence. However, emerging artists who desire to exhibit and sell need to think of themselves as business entrepreneurs because in many ways that is just what we are. Thus, social networking online is key as it is with any other marketing strategy.

True, social networking online is not the only key toward success, but it beats footing your way in order to obtain information and connections-- gas is not getting any cheaper. In fact, I think artists should view social networking online as a set of keys because there is a world of doors that can be opened with it. The ability to learn about valuable opportunities from your networks online is worth the effort. The potential of meeting a collector or curator online is worth the effort. Keeping in contact easily with fellow artists in order to help each other out is worth the effort. To put it bluntly, social networking online for artists is-- you guessed it-- worth the effort.

The effort you put into social networking online does not have to be taxing on your physical and mental reserves nor does it have to conflict with your daily life. You will be surprised in what you can accomplish just by spending a few minutes online each day in order to promote yourself on art sites that have social networking capabilities. If that effort is meshed with other social networks, such as Facebook or Myspace, you can technically reach thousands of people each day with just a few clicks of the mouse. It is far cheaper than sending out hundreds of business cards that will most likely end up gathering dust in a drawer or simply tossed aside. It is also far cheaper than paying at the pump or handing over money to a taxi in order to hit streets. The simple fact is that social networking online is an economically sound choice for an artist who wants to stay connected to the art world and opportunities while using his or her time wisely. Less time on the streets means more time in the studio, correct?

One reason that some circles of the art world look down upon art sites with social networking capabilities is the fact that the image of artist registries from the late 1990s and early 2000s are still stuck in their head. If you dig deep enough online you may discover the fractured remains of those ancient-- as far as the internet is concerned-- websites. I’ve found a few doing searches about art. I often do not remember their names, but I do remember their fees-- some charged as much as $50 per month for inclusion while others charged a few hundred dollars per year with no other benefits than being able to have a few images posted in their registry. Some of them were free and riddled with ads, but all of them were pretty much a one stop venture without any sense of community. None of those sites, at least that I’m aware of, function today as they did at that time. Sadly, the ill will brought on by those early art sites continue to sway opinions about art sites today as a whole in some circles. Thus, some art professionals tend to miss out on the positive changes that have occurred online over the years.

The simple fact is that many people who experienced those early online art registries first hand ended up closing their mind to any thought of art sites working for artists. Thus, current art sites with thriving communities and curator / collector involvement are unfortunately thrown on top of that old stack of bones due to opinions spurred by the first online art boom-- which did fail. People need to think about why art sites work today instead of holding on to the memory of sites that failed or exploited artists in the past. After all, many of those early art registries and sites did exploit artists in that most did not allow artists to upload images for free and most did involve a fee that was considered high even for back then. The art sites that thrive today are not a fluke. Some of them report sells involving millions of dollars per year-- a few have even been discussed in major papers, such as the New York Times. Again, that is not a fluke.

Today there are several art sites that allow artists to upload images for free. Some do set limits, but others, like www.myartspace.com, allow users with free accounts to upload as many images as they want for free. These art sites should not be considered just ‘a registry for images’ because most, including myartspace, offer their users the ability to communicate openly as well. For example, on myartspace members of the community can invite other members to their network, can leave comments for other members or send other members messages-- including alerts on the site and by email to their myartspace network when new galleries are uploaded. The network invite you receive could be from a curator, collector, or fellow artist. That is the excitement of social networking online. That is the basics of the importance that social networking online has played-- and will continue to play-- in the success of emerging artists today. The importance of art sites within the context of the art world will not go away anytime soon. Those savvy enough to pick up on the positive changes that have happened will be far better off in the future than those who have avoided it due to concerns of the past.

Why will art sites not go away anytime soon as far as the art world is concerned? Because a few art sites are already embedded within the mainstream art world. A select few-- including myartspace-- are involved, will be involved, or have been involved with major art fairs. Off the top of my head I can think of several art fairs that have featured art sites in one way or the other-- Scope, Pulse, Frieze and the Bridge Art Fair. Correct me if I’m wrong, but last I checked the brick & mortar galleries rush for acceptance from these same venues as well. Thus, at least in the eyes of some art fair founders, one could suggest that certain art sites are just as valid for displaying art as a traditional brick & mortar gallery. Yes, there are differences… but it does show how the internet is changing the way we should think about the art world as a whole. If some of the top business minds and collectors in the art world can find value in specific art sites perhaps the rest of us should at least consider that value, correct?

The influence of the internet and how art sites can work for artists can be discovered in physical art publications as well. Years ago some art publications stated that the sell of art online was doomed and that the internet would never be a viable way to support artists. Those publications wrote the internet-- as a vehicle for art commerce-- off as mere pipe dreams. Today much has changed in that many artists are able to earn a living, or at least extra income, from selling art online by utilizing eCommerce. Art publications have finally picked up on this and are starting to feature artist social networking capabilities on their websites while praising the influence the internet has had on the art world in print. Again, if those professionals can observe the value of social networking and selling art online perhaps those who still have doubts should at least consider the possibility.

As Brian Skiba, the Chief Technology Officer and Chief Financial Officer of myartspace, has pointed out-- there are a variety of reasons why sites focusing on the art world are built, survive, prosper, and work. Regarding what I’ve been saying, Mr. Skiba’s opinions-- in my opinion-- reveal that the flukes of the past must be forgotten unless we wish to be blind concerning the art sites that shine in the here and now. Observe the following text concerning these issues in the words of Mr. Skiba and his opinion of why art sites work for artists today and will continue to work for artists in the future:

First, a site like www.myartspace.com provides software functionality that is free and generally is more easy to use in what is known as a SaaS (Software As A Service) model. So artists can manage a contact list, blast out marketing messages, create price lists and catalogs in PDF form, build presentations that integrate music, video, audio narration and images. The level of expertise required to do most of these things by themselves with the basic flash/html/Adobe tools is expensive and complex. So simplicity and ease of access is a primary driver to a website like myartspace.

Second, communities like myartspace, by their nature, attract more traffic than do individual websites. Involvement on an art site will normally bring an artist more traffic than his or her personal website would by itself. There’s a reason why galleries are concentrated in cities. They draw art appreciators into the area of critical mass. The same is true for online sites. Most online sites are being hit tens of thousands of times a day, and this is far more challenging for an individual site, such as a personal site maintained by an individual artist, to do.

Third, the way search engines operate, the more cross-links that point to your individual websites that exist, the higher your site gets ranked in the search engines. So if your presence on a community site includes a link back to your personal site, the SEO (Search Engine Optimization) is improved.

Fourth, communities are able to offer benefits that individuals would have difficulty achieving without scale. For instance, if you enter the myartspace competition to have your work shown at the Bridge Art Fair Miami , it will be reviewed by curators from the Whitney Museum, the San Francisco Museum of Contemporary Art, The San Jose Museum of Contemporary Art and the Bridge Art Fair.

In the past myartspace has brought in jurors from the Tate Modern, Sotheby’s, the National Portrait Gallery (London), the Rhode Island School of Design, the Art Institute of Chicago, and more. While it would be nice to believe that most artists had access to such curators for review the simple truth is that they don‘t. Thus, as a community member on myartspace they have the opportunity to gain that access if they choose.

Thousands of art appreciators come on myartspace every week. With over 400 interviews with contemporary artists known and unknown (the likes of James Rosenquist or Michael Craig-Martin), people are attracted to unique perspectives and proprietary content that is made available.

Fifth, artists do appreciate peer review, and participate in commentary, critique and dialog with other community members on art sites. This ranges from opinions on newly submitted work to opinions on art trends, politics and the price of oil.

Sixth, over time, many of the sites like myartspace begin launching eCommerce capabilities so artists can set up shop, sell original and on-demand printed work, and begin monetizing their experience online. Once again, a free, and easy to use platform is a lower hurdle for many artists when they are looking at representing themselves and dealing with the myriad of IT issues associated with a web site.

There are at least another dozen or two reasons why artists join these community-oriented art sites. The challenge to the overall perspective is the “registry” concept. A site like myartspace is not just a site for including your art in an online registry. Registry accounts for about 1/1000th the benefit of the community membership.

In closing, the art sites of yesterday may have not worked for artists. In fact, many of them were very self-serving in that they demanded high fees for questionable benefits. Some boldy exploited artists. However, today there are art sites that do work for artists and that will continue to expand into the future. True, it is not rational to focus your time on every art site you discover. Just as there are top brick & mortar galleries there are also art sites that are more professionally legitimate than others. In that sense, traffic is not always the marker of a professionally sound art site. That said, don’t allow hundreds of bad apples to spoil your basket.

Art sites do work! The art fairs have noticed. The art publications have noticed. Business professionals have noticed. Investors have noticed. Collectors have noticed. Millions of artists have noticed. Don’t you think it is time to take notice? Don’t you think it is time to acknowledge the fact that social networking and eCommerce involving the selling of art is one direction that the art world and art market is going? It is inevitable. Art sites work.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com