Spring Exhibition at NYAXE Gallery in Palo Alto, CA

Catherine McCormack-Skiba, the founder of www.myartspace.com, speaks with a NYAXE Gallery visitor.

The opening of the Spring Exhibition at NYAXE Gallery was held on May 21st. The exhibit featured works by myartspace.com members Jane Fulton Alt, Leah Tomaino, and Miles Holbert-- the finalists of the most recent NYAXE Gallery representation competition on www.myartspace.com. Seventeen artists from the myartspace.com community were represented digitally at the gallery space.

The exhibit opened at 6pm and came to a close at 10pm. A steady flow of gallery visitors were present-- over 100 people were counted during the early hours of the opening. The technology, powerful works of contemporary art, and music set the pace of the environment as cocktails were served. The event was yet another successful example of the meshing between the physical and online art world.

NYAXE Gallery visitors view a work of art by Leah Tomaino

NYAXE Gallery in Palo Alto, CA officially opened on February 26th, 2009. The exhibit on May 21st marks the second exhibit featuring www.myartspace.com members. The represented artists are chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation. For more information visit, www.myartspace.com/nyaxegallery.

The digitally represented artists for the May 21st NYAXE Gallery exhibit:

Lisa Mistiuk, Edie Nadelhaft, Martin H.M Schreiber, Hans Meertens, Carla Falb, Jovan Villalba, Reka Nyari, Syed Zaman, Viviane Vives, Bill Bosler, Pau Guerrero-Prado, Bob Martin, Jagna Wesolowska, Jason Wolfe, Lucille Dweck, Thomas C Chung, Peter Tankey

NYAXE Gallery in Palo Alto, CA positions myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

myartspace.com is the leading online social network for the contemporary art world. Dubbed "the biggest network you never heard of" by The Next Web and as one of the top six social art sites according to Mashable, the site continues to experience dramatic reception by the art community. myartspace was the first site to offer compelling, integrated presentation technology -- the ability to blend images of art, music, video and audio narration all online. The company also distinguishes itself by being a free and open community in that all members can upload an unlimited number of images, videos and music.

The competition is free for Premium myartspace.com members to enter. You can learn more about Premium membership on myartspace.com by visiting the following page, www.myartspace.com/premium. You can learn more about the current represented artists by visiting, www.myartspace.com/nyaxegallery/winners

Link of Interest:

NYAXE Gallery Representation Winners. May 21, 2009 Exhibit

www.myartspace.com/blog/2009/05/nyaxe-gallery-representation-winners.html

Claes Oldenburg at the Whitney Museum of American Art

Ice Bag - Scale C (1971) by Claes Oldenburg via NY Times

The Whitney Museum of American Art in New York is currently featuring a Claes Oldenburg retrospective The exhibition explores Oldenburg’s early career as well as his longtime collaboration with wife Coosie van Bruggen. The retrospective details nearly five decades of Oldenburg’s work.

The sculptor is best known for his public art installations. His work tends to feature very large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects. The exhibit comes to a close on September 6th, 2009. For more information visit, www.oldenburgvanbruggen.com or www.whitney.org

Art Space Talk: Resa Blatman (Part 1)

Through her art Resa Blatman attempts to show nature at odds with itself by playing with the contradictions of emptiness versus fullness, lush versus barren, and rapture versus displeasure. In her paintings, the berries, linear loops, and tiny dots represent an abundance of embryos, eggs, and seeds. Heaps are an important element: these berries, loops, tiny dots, and sometimes creatures accumulate in piles and mounds and represent the bounty of femininity and ripeness.

Beauty and the Beasties by Resa Blatman

Brian Sherwin: Resa, what can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

Resa Blatman: I have a lot of art school experience under my belt. After high school, I went to the Ringling School of Art and Design in Sarasota, Florida, where I majored in “fine arts.” That meant I had a well-rounded art education doing everything from etching to stone sculpture. After Ringling, I moved to New York for a couple of years, where I had several jobs and painted during my free time. Then I left for Florence, Italy, where I studied at the Studio Art Centers International (SACI) for one year and lived in Florence for another two years, with a side excursion to London for seven months.

At SACI I spent my time painting, primarily portraits. I had a memorable learning experience, particularly with portrait painter and teacher Manfredi, who taught me to see a person’s character and exaggerate it in order to make the portrait look like the model. The director of SACI, Jules Maidoff, was instrumental in helping me move paint around
more freely and with more confidence.

After my year at SACI, I worked for a mask-maker named Agostino Dessi, who owns a little mask shop called “Alice” in the center of Florence. This job let me stay in Italy for two more years. Agostino taught me the craft of mask-making, and skills related to selling artwork, which were very useful to me later on.

I then moved back to the United States and settled in Boston, where I’ve been ever since. My art education might have ended there, but after a few years of making and selling masks, paper jewelry, and portraits, making a very meager living, I decided to go back to school for a BFA in graphic design. I enrolled at the Massachusetts College of Art and Design, and with my previous credits, I was able to get through the design program in two years and receive my degree. During this time and the following years to come, I had essentially given up on painting.

My work got stuck and stodgy -- I couldn’t think of what to paint next and it seemed that my desire to paint had come to an end -- it was no longer a productive or fulfilling relationship. Studying graphic design was a welcome change for me, and on reflection, I believe it was one of the best career choices I’ve ever made. It taught me new skills (especially computer skills) and gave me confidence to start my own business. I made a good living while still doing work that was creative and enjoyable.

My small design business flourished and won awards, and I had many steady clients. But after 9/11 the economy was in trouble -- the work dried up and I sat around wondering what to do next. I had been teaching graphic design part-time at MassArt since 1997 and really enjoyed it, so I thought I’d go back to school for my MFA (but this time I’d get the degree in painting), so that I could teach full-time and revive my old love for painting. But, because I hadn’t been painting for nearly 10 years, my portfolio was weak and I was rejected from the few local grad schools that I applied to (my husband was working full-time, which meant we couldn’t move and I had to apply to schools in, or near to, Boston).

Then I learned about the one-year post-baccalaureate program at Brandeis University, which I was accepted to, and my relationship to painting renewed itself. I learned so much, mostly from my peers, and also from the terrific visiting artist and instructor from New York, Charles Spurrier, who opened my mind and eyes to contemporary, conceptual art. My previous art education had rarely examined the contemporary art world; instead it highlighted Michelangelo to Picasso with the impressionists sprinkled in between.

The following year I applied to the same local grad programs as I had previously, was accepted by three of them, and chose Boston University. My experience there was mixed; being the oldest student made me stand out, but not always in the way I intended. Nevertheless, I worked diligently in the mostly studio-based program, which was one of the toughest educational experiences of my life. Despite the difficult crits and the personal and artistic challenges, I’m extremely grateful for my graduate school experience -- my work continually evolved and my painting skills and conceptual abilities
improved enormously.

I was in a class with highly talented peers and the painter and instructor John Walker, and they taught me more about painting than I could ever have imagined. By the time I was near the end of the grad program I realized that I no longer wanted to teach full-time; rather, I wanted to paint full-time again. I decided then that I would supplement my painting career with graphic design, allowing me to pursue both fields and take advantage of my design skills to enhance my paintings. I graduated from BU in 2006.

Coitus by Resa Blatman

BS: Tell us more about yourself. At what point did you gain an interest in creating visual art in the first place?

RB: This may sound a bit clichéd, but when I was a small child the grownups around me would ask, “What do you want to be when you grown up?” And I would consistently say “I want to be a artist.” Eventually, I learned to say it correctly but my desire never changed. No matter what other things I tried, or waters I tested, I always knew I would be an artist.

Aphrodite's Garden by Resa Blatman

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

RB: As you might imagine with so many different art school experiences, and a lot of years in between, my work was initially quite different from the way it is now. That said, I notice some things in my current work that harken back to my childhood drawings and paintings, and the tight painting I did in my 20s. While we can’t help but be influenced
by our peers and historical and contemporary artists, and the time in which we live, I believe some things about us never change. Our work and our lives move in circles that we continually begin and end. The ideas I have, and use now, in my work are often ideas that I thought about years ago -- these ideas never really leave, but crop up here and there when they become useful to me.

My current work is about fertility, abundance, sensuality, and an over-the-top beauty. The paintings combine decorative patterns with flora and fauna. The cut-edge surfaces are an extension of the painting itself, allowing the work to feel as if it is growing out of control.

To read Part 2 of my interview with Resa Blatman click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

The Spiritual Side of Art

Art has the power to move people-- if art did not there would, in most cases, be no reason to create art in the first place. The visual dialogue that is art is one of the purest forms of communication in my opinion. There are hundreds if not thousands of examples of art that is capable of touching the soul of viewers. For example, viewers have been known to weep while standing before a painting by Mark Rothko-- while others have cried openly before Picasso’s Guernica. Why? Because these works touched them on an inner level.

True, these works can move someone on an emotional level. However, I would say that emotion and the spiritual often mesh. I’m not necessarily talking about the religious aspects of spirituality as much as the fact that many people will describe how a specific image can ‘touch’ them on the inside-- a connection that is often beyond words and expression. These connections are made everyday in art galleries and art museums worldwide.

In many of these examples the viewer has prior knowledge of what the image represents or about the life of the artist-- they may have read about the specific artwork in a book before having ever viewed it in person. In other words, people know that Rothko had a difficult life and that Guernica captures the horror and pain of war. However, even without that knowledge the use of color, figures, and symbolism can have universal implications I would think. You could say that we are born to understand visual images to some degree.

Thus, without knowing one can experience a message-- one that touches the core of how he or she defines himself or herself-- that is just as powerful as the message experienced by an art historian who knows the who, what, and when. To me, that is the power of art-- and the basis of why we feel connected to specific images. In a sense, we can understand an image without fully understanding. Such is life. True?

Consider this an open topic concerning the spiritual aspects of art. Has a specific work of art touched your soul? Can you recall a specific work of art that helped your through a difficult time or defined a time of joy for you? I know that some people suggest that there is no longer room for the spiritual in the art of today-- do you agree? Or would you say that the spiritual aspects of art surround us just as they did in other periods of time? In your opinion, why does visual art have this power-- why do viewers establish these personal connections?

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Carla Falb (Part 3)

Roller Coaster Series: Nitro by Carla Falb

This is Part 3 of my interview with Carla Falb. To read Part 2 click, HERE

Brian Sherwin: Carla, what are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the Internet?

Carla Falb: When I began making art, in order to gain exposure, we had to take slides, which meant: hanging a black backdrop on the wall, lighting the work so there would be no glare, bracketing the shots, finding a studio that would process slide film, then selecting the best slides to have duplicates made. After making the slides we would need to label them – either with fine tipped Sharpies or clear address labels cut to size, and then finally mail our information out to galleries and competitions. So much has changed in so little time!

Now with digital photography and the opportunity to post our work on sites like My Art Space – the world has opened up for artists. People from all over the world have the opportunity to view our work! Through My Art Space, we can connect with other artists that have similar interests. I also know that I don’t feel nearly so isolated with my art making as when I wasn’t connected to the World Wide Web. I have a sense that people are interested in my work and want to see more.

BS: Will you be involved with any upcoming exhibits?

CF: As a matter of fact, I happy to say that I was just selected as one of twenty artists that will be exhibiting their work in the Spring Exhibition at the NYAXE Gallery in Palo Alto, California. Selected drawings and paintings from my Roller Coaster Series will be displayed digitally.

Roller Coaster Series: Viper Triptych by Carla Falb

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

CF: When I decided that I wanted to use roller coaster structures in my artwork, it occurred to me that I could just use images that I would be able to find online and in published books. However, even if I combined and transformed the images to make them my own, to get around the copyright laws, it simply felt unethical and phony – like trying to pass off someone else’s experiences as my own.

In addition, I decided that perhaps most importantly, I wanted viewers to have a visceral reaction when looking at my work – to actually feel as if they are on an endless ride. I realized that if I wanted to create this experience for my viewers, I would have to go to amusement parks, wait in line, ride the coasters, sit in the front car, and take my own photos – an industrialized/pop version of J. M. W. Turner’s habit of riding out storms at sea.

On the other hand, what about work that is about the mass media and our popular culture? Can you imagine if Andy Warhol hadn’t deliberately used copyrighted photos? His famous image of Marilyn Monroe was originally a publicity shot by Gene Korman for the film Niagara, made in 1953. Did Shepard Fairey do anything that different from Warhol when he used an Associated Press photo as a basis for his recent “Hope” portrait of President Obama? The following link is to a Washington Times article explaining the suits and counter-suits between Fairey and the Associated Press:

www.washingtontimes.com/news/2009/mar/12/iconic-obama-hope-portrait-hung-up-in-court/

When considering the question of copyright infringement, it’s also essential to look at the work of contemporary representational painter, Damian Loeb, who uses movie stills as source material. At the beginning of his career he was involved in several lawsuits because of his use of copyrighted images. Currently he is considered one of the preeminent Post-Modern representational painters and is represented by the prestigious Acquavella Gallery in New York.

There is an excellent article on Loeb’s website by Charles Giuliano that mentions the suits and describes Loeb’s commitment to film as a resource for his paintings:

www.damianloeb.com/history/bfa101408.html

On the Acquavella website Loeb explains his choice of using images from films: www.acquavellagalleries.com/artists/damian-loeb/

Do I have a stance on these copyright issues? I imagine the simple answer is that it depends on the artists’ intent. I agree with Shepard Fairey when he explains that artists’ use photos of public figures for “reference as a part of social commentary should not be stifled.” When copying serves a higher purpose, it seems ethical, and in some cases, essential to the meaning of an artists’ work.

Roller Coaster Series: Medusa by Carla Falb

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

CF: Actually, the economy has always been an issue for me. Rather than placing my career as a painter first, I’ve been teaching in public schools for twenty-two years to earn a steady income and that job has always come first as far as prioritizing my time. As a consequence, most of my artwork has been accomplished over the summer. On a positive note, my work with students gives me so much fulfillment and joy; it has played a huge role defining my identity and giving my life purpose.

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

CF: Look for some new work this fall on My Art Space and on my website: www.carlafalb.com. I plan on having a productive summer!

This concludes my interview with Carla Falb. To return to Part 1 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Carla Falb (Part 2)

Roller Coaster Series: Statosphere by Carla Falb

This is Part 2 of my interview with Carla Falb. To read Part 1 click, HERE

Brian Sherwin: Carla, what about other influences? For example, are you influenced by any specific artists?

Carla Falb: The idea of combining roller coaster tracks from various viewpoints in a single composition is derived from Cubism. In Gertrude Stein’s words, I am attempting to create a world where there “There is no there, there.” This notion can also be likened to Einstein’s imagining that he could travel on a beam of light where space contracts, time dilates, and now enlarges to encompass the past and the present.

The Futurists were also interested in creating this experience of simultaneity in their work while using imagery that glorified technological advancements, speed, youth, and violence. My subject matter certainly seems to fits the Futurists’ iconography, and simulates the experience of traveling the length of the roller coaster in a single instant. However, being a Post-Modernist, I use the imagery of the rides with a sense of irony and wonder of the need to experience extreme thrills and fear as a recreation in our twenty-first century pop culture.

In graduate school, during the summer of 2001 when I was just beginning my series, I saw two exhibits that would profoundly influence my work: Wayne Theibaud’s retrospective at the Whitney, and architect Frank Gehry’s models and sketches at the Guggenheim. Prior to viewing these exhibits, I always considered constructed/man-made forms and natural forms to be diametrically opposed.

When I saw Gehry’s spiraling wave/shell-like buildings and Theibaud’s plummeting waterfall San Francisco streets, I realized that natural and constructed forms could be melded. My roller coaster tracks could become strands of DNA, circulatory systems, explorations of time and space, wormholes, and universes. In addition, partly because of Theibaud’s influence, I enjoy employing roller coaster imagery in my work so that it can be appreciated on a variety of levels: by the general public, young and old, as well as the art world.

BS: So what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

CF: In Meyer Schapiro’s essay, “On Perfection, Coherence, and Unity of Form and Content,” the concept of unity in a work of art is likened to the “mystic’s experience of the oneness of the world or with God.” What does this have to do with roller coasters? Certainly on a formal level, I focus on uniting my compositions through use of color and repetition of forms. But the question remains, how can spiritual awe and the thrill of amusement rides be compared when they are on entirely different planes of existence? Perhaps like the process of art making itself, each is associated with a need to transcend the mundane experience of everyday reality.

A critic once described my roller coaster drawings as twenty-first century versions of M. C. Escher’s work. After hearing this, I did some research on Escher and found that his complex black and white prints are influenced by an unlikely combination of Mathematics, Cubism, Futurism, Surrealism, and Eastern philosophy. According to Leonard Shlain in Art and Physics, Escher’s depictions of Mobius strips in several of his works vividly illustrate the Chinese concept of Tao. On the site, www.thetao.info, Robert Friedler states that “common dictionary translations of Tao include: road, path, way, means, doctrine.

In the Tao Tee Ching, it is generally used to indicate the unseen, underlying law of the universe from which all other principles and phenomena proceed.” Roller coaster tracks can be viewed as pathways and equated to a complex Mobius strip, since at the end of the ride, the cars arrive back where they began. This cyclical law of the universe, where opposing forces are unified, is the philosophical core of my work.

Roller Coaster Series: New York, New York by Carla Falb

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

CF: I recently received a Dodge Foundation Visual Artist/ Educator Fellowship and will use part of the funds to travel to Los Angeles this summer to photograph roller coasters and various amusements at Tomorrowland in Disneyland, Knotts Berry Farm, and the Santa Monica Pier. When thinking about the next progression in my Roller Coaster Series, I considered that even though I have always lived on the East Coast, the imagery in my Roller Coaster Series has more of a West Coast/ pop culture vibe. So I decided that LA would be an ideal location to gather new source material for paintings.

I’m looking forward to being taken by surprise by the unexpected amusements or images I will encounter, not just the rides I’ve viewed online. I’m also interested in photographing the parks at night. This is something I have never tried before, and I think I might like the disorienting effects of the colorful lights and the blurred motion.



To read Part 3 of my interview with Carla Falb click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Carla Falb (Part 1)

Don’t be mistaken by Carla Falb’s art. Falb is not a roller coaster fanatic and doesn't consider her work as literally depicting specific rides. Instead, Falb thinks of her Roller Coaster Series as being more about the layers of metaphorical meanings based on the various coasters' physical structures, sudden turns, extreme drops, and cyclical ride. Falb was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is operated by Catherine McCormack-Skiba-- the founder of www.myartspace.com and www.nyaxe.com.

Roller Coaster Series: Medusa Storm by Carla Falb

Brian Sherwin: Carla, tell us about yourself. At what point did you gain an interest in creating visual art?

Carla Falb: In junior high I was deeply involved in music. At home I spent hours practicing classical piano and even auditioned to play with the Philadelphia Orchestra. When I got to high school, my piano teacher emphatically explained that I needed to decide if I wanted to make a commitment to become a concert pianist.

At the time, I was searching for a more creative outlet, so I decided not to continue with music, and began to take classes in visual arts. By my junior year I decided that I wanted to be a painter, applied for early admission, and was accepted to the Philadelphia College of Art at age sixteen.

BS: What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

CF: After spending three semesters at the Philadelphia College of Art (PCA), I realized that I wanted to learn traditional painting techniques, so I began studying at the Pennsylvania Academy of Fine Arts – the oldest art school in the United States. Looking back, I realize that since I was a classically trained musician; it made sense that I desired a more formal approach to painting.

While at the Academy, my most influential instructors were Arthur DeCosta, and Sidney Goodman. DeCosta’s demonstrations in Basic Color class focused on understanding the history of various palettes as well as skill development of alla prima painting techniques. His classes were engaging and informative. On the other hand, Goodman’s classes were intense. On the days he instructed, we were given the task to complete an entire figure painting in three hours.

I now see my undergraduate education as being the best of both worlds. At PCA I received a solid background in design and composition, and the Academy developed my formal/ technical skills. Today as a fine arts teacher in high school, I bring both of these approaches to my classroom instruction.
Roller Coaster Series: Circus Circus by Carla Falb

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

CF: When I decided to focus on the visual arts back in high school, my choice was driven by a strong desire to work in a tangible medium where I could further my quest for self-knowledge. Later, in graduate school, before I came up with the idea for my Roller Coaster Series, I deliberated about who I was as an artist and as a person: what could I paint that truly expressed my personality, energy, and philosophy? Without a particularly interesting ethnic background to explore, and with no strong activist leanings, what unique vision I could share with the world?

After some soul searching I realized that the person who had the most profound effect on my life was my father, a Methodist minister. He shared his beliefs as well as his eclectic interests with me: i.e. the writings of Carl Jung and Herman Hesse, the humor of Charles Addams, and music ranging from Beethoven to the Beatles.

Overall, I see the work I produce as a metaphysical journey that connects the complexities of our physical existence with the emotional/spiritual realm – albeit from a pop-culture perspective. Simply stated, I’m trying to paint the visual equivalent of rock and roll. Summers spent at the Jersey shore and my quirky sense of humor lead me to use roller coaster tracks as means to create movement and depth in my compositions -- to take the viewer on a ride. However, underlying the general euphoria is the unsettling absurdity of the controlled-fear catharsis inherent in thrill rides coexisting with the sense of transcendentalism in my work.

Roller Coaster Series: Batman by Carla Falb

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

CF: When I first began my series, I would construct compositions by making collages of Xeroxed photos of roller coasters. Now, I use Photo Shop and have found that even though the physical process has changed, the creative process is similar. Since I usually don’t have a firm idea of what I want when I begin a new work, I play with juxtapositions of the segmented forms – sections of tracks plummeting downward, spiraling and looping through space; lattice/leg-like supports; bits of ground with pathways, blurred buildings and trees; and pieces of sky.

As I am assembling the collages I feel as if I am finding my way through a maze. I want the tracks to travel effortlessly through space and appear as a never-ending ride –using perspective and shifts in scale; yet also have areas of incongruity and disjointedness when examined closely.


To read Part 2 of my interview with Carla Falb click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Tony Cragg at Galerie Thaddaeus Ropac

Outspan by Tony Cragg

Galerie Thaddaeus Ropac is currently featuring a collection of sculptures and drawings by sculptor Tony Cragg. The exhibition, which involves three floors of the Ropac space, involves new works in bronze, stone, stainless wood and polished stained steel. Cragg’s drawings explore his ideas concerning form-- specifically how new forms can emerge from landscapes and figures. Tony Cragg won the Turner Prize in 1988. The Tony Cragg exhibit will come to a close on June 13th, 2009.For more information visit, www.ropac.net

Art Space Talk: Jimmy Wales (Part 2)

Brian Sherwin: Wikipedia has been criticized for lack of art coverage. For example, Jonathan Jones of The Guardian suggests that a lot of the amassed art knowledge that can be found on Wikipedia lacks passion and basic understanding of art-- he goes as far as to say that articles about art on Wikipedia are "dull".

Jones has stated that “Art is not science”-- going on to say, “the "facts" about art don't take you very far. Knowing what date Goya died doesn't mean very much if you can't enter the emotional world of his paintings.”. In other words, Jones feels that Wikipedia contributors forget-- possibly due to policy-- to inject meaning in the art articles they contribute to.

Jones used the Wikipedia bio about Goya as an example, stating, “The Wikipedia entry just goes through his life in this flat, unemphatic way, because it wants so desperately to seem serious and knowledgeable. In reality, this approach can disguise ignorance and, worse, deliver misinformation.”. What are you thoughts on Jones opinion? In your opinion, what should Jones and other critics consider when thinking about Wikipedia as a whole?

Jimmy Wales: I don't think our rules prohibit nor inhibit lively and interesting writing about artists or anything else for that matter. It is true that we don't always accomplish it, and I think everyone who writes Wikipedia in a serious way wishes and works to be interesting to the reader. Sometimes we fail, of course. And sometimes we succeed.

It may be true that some raw 'facts' about art don't take you very far. And it is true that to help our readers understand Goya, we need to help the reader "enter the emotional world of his paintings". But that shouldn't relieve us in any way of the responsibility of being factual, of citing good sources, of not substituting random opinion of any arbitrary passerby for actual good encyclopedic writing.

BS: Other art critics have had a more positive or neutral view of Wikipedia. For example, notable art critic Jerry Saltz once said at a CAA panel that, "We live in a Wikipedia art world.“ followed by, “Twenty years ago, there were only four to five encyclopedias--and I tried to get into them. Now, all writing is in the Wikipedia. Some entries are bogus, some are the best. We live in an open art world." What are your thoughts on Jerry Saltz’s viewpoint? Would you say that due to Wikipedia the art world is now more open than in the past-- at least as far as information is concerned?

JW: Well, I hope so. I agree completely with what he says about some entries being bogus, and some being the best. That's a nice way to put it.

BS: That said, is it a goal of Wikipedia to bypass the traditional ‘gatekeepers’ of information? For example, an artist may not be reviewed by an influential art critic-- he or she may not be notable within the mainstream art world itself, but he or she can still be considered notable on Wikipedia and technically have the same standing-- as far as information is concerned-- as artists who have traditionally been accepted by art critics. What are your thoughts on that?

JW: Well, in fact, Wikipedia and Wikipedians tend to be quite conservative and old-fashioned (in some ways) about notability, and quite liberal and progressive (in some other ways). We're able to find "notability" in lots of different places and for lots of different reasons.

An artist who works in commercial anime might be completely ignored by the academic art world, but adored in anime circles, and end up with lots of magazine articles about himself and an entry in Wikipedia that treats him - quite properly - as an artist of some public standing and interest. That seems fine.

But I should clarify that I don't think it is a 'goal' of Wikipedia to bypass traditional gatekeepers, and in some ways, of course, we can be perhaps criticized for empowering them too much. It's a complex question, again, and I think there are often no easy answers.

BS: Finally, do you have anything else say about Wikipedia and art in general?

JW: I suppose my greatest hope is that Wikipedia can, in some small ways, help to get the public started in art appreciation and education. Toward that end, entries about art and artists in Wikipedia should be high quality, well-sourced, and lively.

My hope is that if someone comes for some reason (school, personal interest, accidental clicking) to the entry on Picasso (for example), that they find themselves 2 hours later exploring some much less famous artist or art, or learning about particular schools of thought in art criticism, or reading about techniques in painting, or.. or... or...

Life is about knowledge and exploration. I hope that we are a cherished place for people to do that.

This is Part 2 of my interview with Jimmy Wales. To return to Part 1 click, HERE

To read more interviews visit, www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Jimmy Wales (Part 1)

According to Wikipedia Jimmy Donal “Jimbo” Wales is an American Internet entrepreneur and co-founder and promoter of Wikipedia. I recently contacted Jimmy after reporting on an art project controversy involving Wikipedia. As readers know, I try to keep things fair and balanced. Thus, I wanted to give Wales a chance to share his thoughts on Wikipedia, art, and the concept of notability as far as visual art is concerned.

Brian Sherwin: Mr. Wales, as you know this interview will focus on art. Thus, I think it would be good to start out with some general info about your opinion of art in general. You identify yourself as an Objectivist-- with that in mind, how is the philosophy that you adhere to reflected by the art that you personally enjoy? My understanding is that you are very supportive of the arts community in general. Would you like to discuss that?

Jimmy Wales: I enjoy a wide variety of art, and I don't think it's particularly easy to answer your question without a great deal of introspection on the point, and I've not really undertaken that in any systematic way.

Having given that caveat, though, I can say that there is art that I personally enjoy for a variety of reasons - sometimes because it presents a heroic vision of life, but other times because it presents a disturbing or frightening image of life - but in an intelligent way.

I suppose I can say that the common denominator for art that I admire is: intelligence.

BS: Wikipedia has shown support for visual art by establishing a Wikipedia project titled Wikipedia Loves Art. My understanding is that Wikipedia Loves Art will take place each year in February. Can you discuss the project and your involvement with it? It will be an annual event, correct?

JW: I'm not sure if it will be annual or not - I wasn't directly involved in the organization of it, and I don't know what the organizers are planning. I understand that there is now a version of the event taking place later this year in the Netherlands. Exciting stuff!

Let me get on my soapbox a bit, and in a way that I can be gentler about than I used to be. Museums should welcome the Wikipedia community because we serve a major role in bringing art to everyone in a way that will drive interest in sustaining and protecting art in the long run.

Some museums in the past have presented a rather "proprietary" view of artwork in their museums - even art that has long since passed out of copyright. I don't think they do themselves a service in that attitude, and I'm thrilled to see how many museums are coming around to the opposite view - that the best way to promote art is not to control the distribution of information about art, but to join and support the global conversation about art.

BS: Are there plans for other art-specific Wikipedia projects that are endorsed by you?

JW: I think that Wikipedia's coverage of the arts can and should be improved. It's pretty good in some ways, and not as good in other ways. We have gaps in coverage. We have uneven quality.

The community engages in lots of "Wikiprojects" around all kinds of things. This is a good thing and I'm happy about it.

BS: Concerning artist bios on Wikipedia-- in your opinion, what makes a visual artist notable? Often it is assumed-- based on the deletion debates I’ve viewed-- that an artist is simply seeking free promotional exposure by having a bio created on the site. That said, it would be helpful to know in your own words what makes a visual artist “notable” for inclusion on Wikipedia.

JW: I'm probably not the right person to ask, since I don't get directly involved in such debates. But I'm sure many people can understand the complex dilemma that the community faces. There are no easy answers here.

The fact is, there do exist people - not just artists, obviously, and in fact, I doubt if it is a very big problem with artists as compared to some other professions - who would like to use Wikipedia as a self-promotional platform. But that's not what we're here for, really.

We have to contend with potential hoaxes, with puff-piece bios that have false or inflated claims - this sort of nonsense is routinely handled by the community. And the primary way we do it is through reference to quality third-party sources. What counts as a quality third-party source is going to depend on the context. The rules should be as simple as they can be, of course. But also, no simpler.

This is Part 1 of my interview with Jimmy Wales. To read Part 2 click, HERE

To read more interviews visit, www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

George Condo: The Lost Civilization at Musee Maillol

‘Father and Son’ by George Condo

The Musee Maillol in Paris is currently featuring the work of George Condo. The exhibit, titled ‘The Lost Civilization’, is part of a series of exhibits that focus on American painters. Over 100 works of art by George Condo are on display.

George Condo has an impressive exhibition history. For example, Condo’s work has been exhibited at the Whitney Museum in New York, the Museum of Modern Art in New York, and the at the Tate Modern. Condo emerged within the same timeframe as Jean-Michel Basquiat, Keith Haring, and other American artists of note.

The exhibit comes to a close on August 17th, 2009. For more information visit, www.museemaillol.com

Tony Fitzpatrick's "Big Rock Candy Mountain"

Tony Fitzpatrick
"The Orange Beast"
2009
Drawing and collage
10.5 x 7.5 inches

The Chicago-based artist and poet Tony Fitzpatrick participated in Dieu Donne Papermill's 2006 Lab Grant Residency. "Big Rock Candy Mountain," an outstanding exhibition of the collages Fitzpatrick produced during his Lab Grant term, is currently on display in Dieu Donne's exhibition space.

Fitzpatrick's collages incorporate text, print advertisements, handmade paper and drawings. In medium and manner, Fitzpatrick's collages are more coarse relatives of Fred Tomaselli's beautiful resin works. Tomaselli's pictures are dominated by images from nature and evoke the rarified realm of etherial contemplation and transcendental yearning. Although Fitzpatrick's pictures are similarly sacramental, his iconography is wide-ranging and kitsch, drawing principally from post-war suburban and urban culture. His works are as informed by the American taste for consumer ephemera as they are by Calvinist, fire-and-brimstone theology and old-fashioned hard luck. If Tomaselli's works are the ecstatic offerings of a universalistic mystic, Fitzpatrick's are the esoteric assemblages of a struggling hermit poet; his striking collages might be pulled from a latter-day illuminated manuscript.


Tony Fitzpatrick
"The Red Road"
2009
Drawing and collage
7.5 x 10.5 inches

Like his imagery, the poetic texts that Fitzpatrick pastes into his collages speak to complex, even contradictory impulses. They are at once banging proclamations and maudlin laments. Consider the text from "Coal City Cock Fighter."

"It is the cock, hobbled and bled to black ash, walking dizzy narcotic, circles among dead birds and cigarette butts. He looks in the Devil's eyes and is homicidally radiant."

The press release describes Fitzpatrick's works as "visual poems, reflecting on matters of place, history, and sense of being." The "place [and] history" of Fitzpatrick's imagery are specific to America. His collages are nuanced portraits of the schizophrenic exuberance and religious sensibility that informed American perspectives in the middle of the 20th century (and that generally continue to shape our politics and character in the post-millennial world).

"Big Rock Candy Mountain" closes this Friday, May 22nd.


Tony Fitzpatrick
"Coal City Cock Fighter"
2009
Drawing collage
10.5 x 7.5 inches

Image credits: Tony Fitzpatrick, courtesy Dieu Donne Papermill

(Note: This post appeared concurrently on the art blog, Hungry Hyaena.)

Art Space Talk: Miles Holbert (Part 2)

Soldier Boy by Miles Holbert

Brian Sherwin: Miles, you also create sculptural forms and installations. The Strength of 1,000 Babies and The Preservation of Intolerance captured my intention. Can you discuss these specific works and what they symbolize for you?

Miles Holbert: The strength of 1,000 Babies represents strength in numbers. Babies are naturally seen as weak and fragile. But you get a whole mess of babies and they can become overwhelming. When I look at one of the babies by itself I think “This is a cute little guy” but when I started bunching them together it became a little sinister maybe even creepy. There was definitely a shift in power from one to many. I just thought the idea of taking something that symbolizes innocence and powerlessness then giving it power buy increasing the number was an interesting idea.

The Preservation of Intolerance has to do with unwanted or haunting memories of negative events and people I have cut out of my life. I kept having dreams about these people and when I woke up I found myself thinking about them all day. Something would happen that would trigger a memory and there it would be fresh in my mind. I just made me think, that even though these events were over and that I would probably never see these people again, I would probably never get rid of these memories. That’s part of life dealing with the negative and not looking back.

Larry Davids Biggest Fan by Miles Holbert

BS: So would you say that you adhere to a specific philosophy as far as your work is concerned? Tells us more about the thoughts behind your work… perhaps you can go into further detail about society, the concerns you have, and how those concerns are reflected in your work?

MH: I don’t follow a particular philosophy more like anything goes. I do believe that art can be used to inform, educate and transform. I also feel that as an artist and as a human being I have an obligation to try to make a positive contribution to society in some way. And that’s what I try to do.

BS: Can you discuss some of your influences? For example, are you influenced by any specific artists or art movements?

MH: I am influenced from about everything in some way or another, but I don’t subscribe to any particular movement per se. Advertising is a major influence that I can think of. As far as artist go I would definitely have to say Warhol. I live about 70 miles from the Warhol Museum in Pittsburg. As a kid I would visit the museum as much as I could. Other contemporary artist I feel influence me in many ways would be Matthew Barney ,Kris Cinalli, Matt Ritchie, Jennifer Boggess, Jeff Greenham, Sarah Maple, Richard Phillips and Kehinde Wiley.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

MH: I live in a small town in West Virginia. There are plenty of talented artist around here. From music, to theatre and visual arts but there is virtually no exposure, the local newspaper that’s it. The internet is really the only means of getting your work out their and be able to stay in a place which I personally love. It has also exposed me to so many artists and has probably influenced my work more than I realize. Artists need to embrace the internet for the simple fact that it is building a stronger art community and creating a means of exposure.

The More You Ignore Me The Closer I Get by Miles Holbert

BS: Do you have any concerns about the art world at this time?

MH: The major concern I have is how the recession is going to affect art. I think about how employment in the fine art fields is going to be affected and how work is going to sell.

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

MH: Thanks and I hope you enjoy my work.


This is Part 2 of my interview with Miles Holbert. To read Part 1 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Miles Holbert (Part 1)

Miles Holbert paints portraits of rapists, killes, and pedophiles. In a sense, the portraits appear 'normal'-- they play on the viewers perception. Holbert states that he is trying to convey the idea that we as Americans are overloaded with so much stimuli that it is sometimes difficult to determine what is of importance and what is not. He goes on to say that when you view his paintings there is a killer staring you in the face, but all you can seem to concentrate on are the brightly colored flowers or the silhouettes of bunny rabbits.

Holbert was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is a brick & mortar gallery that is managed by Catherine McCormack-Skiba, founder of www.myartspace.com. The gallery serves as a bridge between the physical and online art world.

Roulette Juliet by Miles Holbert

Brian Sherwin: Miles, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Miles Holbert: I live in a small town with very limited avenues to display work. I wanted to introduce my work to a broader audience so I have been looking for a way to show. I then saw the NYAXE Gallery’s call for artists, thought I would take a chance.

BS: You have stated that in your work you explore how Americans are being overloaded with stimuli. Thus, in your paintings there seems to be a fight for dominance between the portrait and surrounding imagery. Can you go into further detail about that-- as well as the general message you strive to convey with your paintings?

MH: This battle is waged purposely to undermine the power of the portrait. The portrait is meant to represent certain ideals that are of importance when regarding information. There or other sources of information in the painting such as color intensity and opposition, scale, line, plants and animals. These decorations are used as a distraction from the importance or meaning of the source image.

The cultural recognition is somewhat obvious in many of my paintings such as Pigs in Zen and May God Bless You and Keep You. These portraits are easily referenced in society and can be associated with serious symbolic representation. Other paintings in this series seem less important due to the normalcy of the portrait. The face seems average and even though it is treated with iconic qualities it doesn’t achieve the same level of recognition.


Death by Color by Miles Holbert

These portraits, normal as they appear, are actually taken from mug shots of rapists, killers, and child pedophiles. I am trying to convey the idea that we as Americans are overloaded with so much stimuli that it is sometimes difficult to determine what is of importance and what is not. There is a killer staring you in the face but all you can seem to concentrate on are the brightly colored flowers or the silhouettes of bunny rabbits.

We are so heavily addicted to stimuli that we sometimes overlook what is crucial and attend to the inconsequential. I feel this goes on way to much in America. For instance when I first started this series the war in Iraq was being heavily scrutinized. Instead of our nations leaders responding to the peoples concern about our involvement in Iraq they decide to go on a crusade to clean up steroid use in professional baseball. The media coverage and press on the steroid topic overshadowed the status of the war. Some Americans were outraged and some Americans were distracted by, in my opinion, the inconsequential.

The Apist by Miles Holbert

BS: Would you mind discussing one of your paintings? I’m Not Johnny perhaps?

MH: Funny story, I took this painting to class for critique and one of my class mates said “How cool, its Johnny cash! I absolutely love Johnny Cash!” I could see a slight resemblance, hair style, man in black that type of thing. I told her the only thing Johnny Cash and this guy have in common is that their both dead. I began to tell her that the gentleman in the painting was executed awhile back for multiple murders one involving a pregnant woman. Her look went from excitement to disgust in a matter of seconds.

This painting is a good example of the struggle for crucial information. It seems my classmate wanted to associate the image with a culturally iconic figure thus missing the real importance of the information. The Information is lost again.


This is Part 1 of my interview with Miles Holbert. To read Part 2 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Leah Tomaino (Part 2)

Recycled Paper Collages: Smith Mums by Leah Tomaino

This is Part 2 of my interview with Leah Tomaino. To read Part 1 click, HERE

Brian Sherwin: Tell us about your process in general. For example, do you work from nature, use reference photograph, or do you create your images in an intuitive manner?

Leah Tomaino: I do all three! I enjoy working outside during the summer months, however my camera is a very important tool to me. I take photographs as often as I have the opportunity and use my photos in my studio during the colder seasons. I start with brown grocery bags which I rip and adhere to canvas. I also paint additional bags, tear them, and then apply them to the canvas into the image of my subject.

BS: Leah, you studied at Cooper Union, William Paterson University, and abroad. Can you tell us about your academic background? Did you have any influential instructors?

LT: I studied painting during my years at The Cooper Union. I did have influential instructors, one in particular, Mr. Don Kunz. He was a painter and he also taught calligraphy. It was through the study of calligraphy that I learned of the serious discipline that is required in order to fulfill my artistic goals.

Recycled Paper Collages: Canadaigua Lake by Leah Tomaino

BS: What about influences in general?

LT: Asian art has always been a influence on my work. I also have been greatly influenced by the American artist, Selina Trieff. I met Selina while at Cooper, for she was the mother of my good friend. I was enthralled with her work and way of life. She has been the biggest artistic influence in my life.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

LT: The internet has been an incredibly valuable tool for exposure. I have had many opportunities presented to me that otherwise would not have happened if not for the World Wide Web. One thing tends to lead to another. It is very important to get your work out there!

BS: Do you have any concerns about the art world at this time?

LT: I am mainly concerned about the economy at this time. I am concerned that funding for important art programs for children may be cut.

Recycled Paper Collages: Sincerely, The Curator by Leah Tomaino


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

LT: Only that I am currently looking for gallery representation! Thank you for this wonderful opportunity!



Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Leah Tomaino (Part 1)

Leah Tomaino states that her work is grounded in her soul. She explains that she is taken aback by the beauty and intangible qualities of natural flora: the various textures; the amazing flowers and fruits and foliage; and most of all, the spectacular rejuvenation after what appears to be a most definite death in the bleakness of a cold, dark winter.

Furthermore, she states that in our largely urban society, the ability to appreciate our natural surroundings has become dulled-the ability to see the wonder in a tree, the magic and the mystery in a flower, the indescribable peace and contentment that can fill one’s heart. She says, “I try to show this to the viewer as my work is a surreal reminder of the peaceful, centered energy of the miraculous, natural living world which surrounds us.”

Tomaino was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is a brick & mortar gallery that is managed by Catherine McCormack-Skiba, founder of www.myartspace.com. The gallery serves as a bridge between the physical and online art world.

Recycled Paper Collages: Blooming Cherry by Leah Tomaino

Brian Sherwin: Leah, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Leah Tomaino: I submitted my work to be reviewed because I believe that it is important to always be involved in a couple of good competitions because they offer different valuable opportunities. The NYAXE Gallery competition seemed to me to be a great competition because of the potential press coverage that the winners could receive. In addition I have been a member of www.myartspace.com for quite a long time and have found the site to be user friendly as well as having integrity.

Recycled Paper Collages: Tyler by Leah Tomaino

BS: You have stated that your work is a surreal reminder of natural world that surrounds us. You are concerned that the day-to-day life of urban society has dulled our perception and appreciation of nature. Can you go into further detail about that and how you strive to, in a sense, wake people up to their surroundings within your art?

LT: I find everything about nature to be fascinating. The color that surrounds us especially thrills me. For example, as I drove up to New England last Friday, I was so inspired by all the various different budding Spring greens that I found the highway to be surrounded by. There were yellow greens, emerald greens, olive greens, dark greens, white greens, hunter greens, hooker greens, sap greens…they just went on and on…and they were surrounded by beautiful hues of browns and purples that peeked through from the surrounding trees that had not yet budded.

The highway view was actually delicious! In my art I try to make the viewer be aware of just how beautiful the natural world is in terms of these naturally occurring popping colors. I think that I also wake people up when they realize that they are looking at recycled brown grocery bags!

Recycled Paper Collages: Looking Up by Leah Tomaino

BS: On a philosophical or spiritual level one could suggest that your work explores the idea of life after death-- or the concept that there is something more to life than just living. Can you go into further detail about that and how it is conveyed within your work?

LT: I am very interested in the possibilities of life after death. I love to work with trees as subject matter because they are a great visual symbol of death in the winter and life in the spring. Also, I find that there really is more to life than what we can see. I often choose to paint the roots of the trees as well as what we see above the ground to represent this.

This is Part 1 of my interview with Leah Tomaino. To read Part 2 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Eva Rothschild sculpture at Tate Britain

Mass mind (steel version) by Eva Rothschild

The Tate Britain has announced that artist Eva Rothschild will create a sculpture for the 2009 Duveens Commission. The 200 foot long sculpture will play on the idea of space and the architecture of the Duveens Galleries. The piece will no doubt play on the perception of visitors due to the fact that Duveens Galleries focus on neo-classical works of art. Thus, it will be an experience that blends old and new. The work will be on display at the Tate Britain on June 29th and will come to a close on November 29th, 2009. For more information visit, www.tate.org.uk

Hernan Bas: The Dance of the Machine Gun & other forms of unpopular expression at Lehmann Maupin

Mystery Bouf by Hernan Bas

The Lehmann Maupin gallery is currently exhibiting a new body of work by contemporary painter Hernan Bas. The exhibit, titled The Dance of the Machine Gun & other forms of unpopular expression, marks Bas’s first solo exhibit in over four years. A retrospective of Hernan Bas is currently on exhibit at Brooklyn Museum as well. The Brooklyn Museum Hernan Bas retrospective involves the artist’s work from the Rubell Collection of Miami. The exhibit at Lehmann Maupin will come to a close on July 10th, 2009. For more information visit, www.lehmannmaupin.com

The Final Deadline for London Calling Competition is now May 17th

The final deadline for the London Calling Competition has been pushed
back by 48 hours to Sunday, May 17th at 9PM PT.

Catherine McCormack-Skiba, founder and CEO of MYARTSPACE notes "The Jury will begin deliberating on Monday. We just thought it made sense to give artists the weekend to get there work in; 48 hours means a lot for those trying to tidy things up".

The juror panel includes Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). See, www.myartspace.com/londoncalling/jurors.html

Winners will have an exhibit at Scream London, a cutting-edge gallery operated by Tyrone Wood (son of Ronnie Wood of The Rolling Stones). Scream London, known for its edgy and progressive atmosphere, is located in the heart of West London’s art district. Notable guests and patrons have included Tracey Emin, Claire Danes, Rosie Huntington-Whiteley, Beverly Knight, Meg Mathews, and Ronnie Wood of The Rolling Stones.

For more information visit, www.myartspace.com/londoncalling

For a special coupon code ($25 off the entry fee) visit, www.myartspace.com/londoncalling/coupon

With the coupon code www.myartspace.com members can enter a myartspace.com gallery of 20 images for only $25. The jurors for the competition are: Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). The competition is open to artists worldwide. All mediums are accepted-- including photography, digital art, and video art.

Interview Magazine Copyright Infringement Controversy on Twitter and Facebook

Early this morning (May 12th, 2009) I decided to look at who some of my Twitter followers follow. While exploring Twitter I came upon the profile for Interview Magazine ( InterviewMag ). The icon image on the profile caught my eye-- it was an image of Andy Warhol that I recognized. In fact, I knew the moment I observed the icon that it was an issue of copyright infringement. I recognized the icon image and had a gut feeling that Interview Magazine-- and more importantly, Brant Publications, Inc.-- did not have rights to the image. The artist behind the image did not receive credit from Interview Magazine.

Interview Magazine used Judy Rey Wasserman's Psalm 19 (Andy Warhol) without permission.

I knew the moment I observed the Interview Magazine Twitter icon that the image was from an ink on paper portrait of Andy Warhol by Judy Rey Wasserman. I quickly contacted Wasserman ( judyrey )on Twitter in order to find out if she was aware of how the image was being used. Wasserman replied to me two hours later and confirmed that Interview Magazine had not asked permission to use her work, titled Psalm 19 (Andy Warhol), as an icon for their ‘official’ Twitter account. I stressed to Wasserman that Interview Magazine’s action was a perfect example of copyright infringement.

Interview Magazine Copyright Infringement Controversy on Twitter and Facebook Psalm 19 (Andy Warhol) Essence series 2007, Ink on paper, 12 x 9 inches by Judy Rey Wasserman -- which can be found at www.ungravenimage.com/essence.php and www.ungravenimage.com/blog. Check it out, Interview Magazine obviously did-- and have used the image in online branding / promotional efforts without giving Wasserman credit.

Oddly enough, Judy Rey Wasserman was thrilled that Interview Magazine had used her image of Andy Warhol as the icon for their Twitter profile-- even though they had done so without permission and without giving her credit as the artist behind the image. I understood why Wasserman was excited. After all, Interview Magazine was co-founded by Andy Warhol and Wasserman happens to be an admirer of Warhol’s work.

Wasserman was excited regardless of the fact that Interview Magazine had failed to ask permission or credit her. However, I still viewed it as an issue that trampled on the rights of a fellow artist. Wasserman did not agree with my opinion on the matter-- she stated that she felt like she had been “discovered”. My point-- if it happened to her it could happen to any artist. Thus, I decided to press on.

It was soon discovered that Interview Magazine had also used Judy Rey Wasserman’s Psalm 19 (Andy Warhol) as the icon for their InterviewNews Twitter account. Further still-- the same image by Wasserman was used on Interview Magazine’s official Facebook fan page-- without permission or credit-- as a way to promote the two Twitter accounts. Obviously the person(s) behind the accounts felt that Wasserman’s image was vital to their social networking branding efforts. I had to make sure that all three accounts were officially endorsed by Interview Magazine.

Detail from Interview Magazine's official Facebook fan page.

As it turns out, all three accounts-- the two Twitter accounts and Facebook account-- are considered ‘official’ by Interview Magazine. In other words, they are not profiles ran by fans of the publication. Someone hired by Interview Magazine was behind the choice of using Judy Rey Wasserman’s artwork 3 times without permission or credit. In fact, Interview Magazine promotes the Facebook page on the art publications official website-- and the two Twitter accounts on the Interview Magazine Facebook page.


I contacted Interview Magazine by email in order to find out if representatives were aware that an artists work was being used in their online branding efforts without permission or credit. I stressed that I felt the action of Interview Magazine in this situation was very unethical. As I pointed out to Wasserman, would Interview Magazine allow an artist to brand his or her business with one of their magazine covers without permission-- no. Needless to say, I have yet to receive a reply from the representatives of Interview Magazine.

I wanted to give Interview Magazine and Brant Publications, Inc. the benefit of the doubt by giving them time to take action. Several hours after I contacted Interview Magazine by email action was taken-- the Twitter icons involving Judy Rey Wasserman’s artwork had been replaced by a photograph of Andy Warhol.

Obviously someone from Interview Magazine was aware of my criticism and had switched the images-- what can only be perceived as an admission of guilt. The images were removed-- however, as of this time Wasserman has yet to receive a public apology from Interview Magazine. Was Wasserman discovered by Interview Magazine? No-- her rights have been swept under the rug.

Several hours after I contacted Interview Magazine the Twitter icons featuring Judy Rey Wasserman's Psalm 19 (Andy Warhol) were replaced by a photograph of Andy Warhol. Representatives of Interview Magazine have yet to respond to the infringement.

For those who don’t know, Brant Publications, Inc. is owned by billionaire art collector Peter Brant. Brant publishes Interview Magazine and Art in America-- one of the highest selling art magazines in the world. In my opinion, the rights of artists have really went to pot when established art magazines use images of artwork for their online promotional and branding efforts without giving credit where credit is due.

The actions of Interview Magazine (or at least the employee who maintains the Twitter and Facebook accounts) begs the question-- is this business as usual for the magazine that was co-founded by an artist who stated “good business is the best art”. In my opinion Interview Magazine has displayed very unethical behavior in handling this issue-- bad business involving an artists work and a violation of her rights.

I realize that many will say 'It is just an icon'. It was more than that-- it was a clear choice in support of the magazines online branding and promotional efforts. It was a business choice that placed the rights of an artist on the backburner. That said, I suppose it is possible that the copyright infringement controversy surrounding Interview Magazine may only last 15 minutes.

Links of Interest:

Judy Rey Wasserman’s website
www.ungravenimage.com

Interview Magazine
www.interviewmagazine.com

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Bill Viola to receive Catalonia International Prize 2009

BILL VIOLA - Ocean Without a Shore, 2007 3-channel High Definition Video/Sound Installation Production stills Photo: Kira Perov

James Cohan Gallery has announced that artist Bill Viola has been awarded the 2009 Catalonia International Prize. The prize, which is also known as the Premi Internacional Catalunya, was awarded to Viola by the Catalonian government of Spain.

The Catalonia International Prize is an annual award that is granted to individuals who contribute to the development of scientific, cultural or human values around the world through their creative work. The prize has existed since 1989.

Bill Viola will receive the prize from the president of the Catalan Government during a ceremony scheduled for June 30th at the Palace of the Generalitat, in Barcelona. For more informatin visit, www.jamescohan.com or www.billviola.com.

NYAXE Gallery Representation Winners. May 21, 2009 Exhibit

Congratulations to the www.myartspace.com artists selected for representation at the NYAXE Gallery. 3 artists-- Jane Fulton Alt, Leah Tomaino, and Miles Holbert, will have their work physically represented at the gallery. 17 others will be represented digitally.

Jane Fulton Alt

NYAXE Gallery is located at 818 Emerson St. in Palo Alto, CA. The represented members were chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation. The gallery serves as a bridge between the online and physical art world.

The NYAXE Gallery in Palo Alto, CA marks myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

Leah Tomaino

Catherine McCormack-Skiba, Founder and CEO of myartspace, notes "It's very exciting to energize the creative spirit in Silicon Valley with world-class contemporary art. The blend of the technology innovation center of the world, and compelling art is very inspiring".

The competition is free for Premium myartspace.com members to enter. Standard members pay a $25 submission fee. Myartspace.com pays shipping expenses to and from the exhibit for artists who are selected for NYAXE Gallery representation.

Miles Holbert

The exhibit will open on May 21st . NYAXE Gallery is managed by Catherine McCormack-Skiba, the founder of www.myartspace.com and www.nyaxe.com. For more information about the winners visit, www.myartspace.com/nyaxegallery/winners.

For more information about Premium membership on myartspace.com visit, www.myartspace.com/premium. To learn about past and current myartspace.com competitions please visit, www.myartspace.com/contests.

The digitally represented artists for the May 21st NYAXE Gallery exhibit (click to view their myartspace.com profile):

Lisa Mistiuk, Edie Nadelhaft, Martin H.M Schreiber, Hans Meertens, Carla Falb, Jovan Villalba, Reka Nyari, Syed Zaman, Viviane Vives, Bill Bosler, Pau Guerrero-Prado, Bob Martin, Jagna Wesolowska, Jason Wolfe, Lucille Dweck, Thomas C Chung, Peter Tankey

To view the prior winners, February 26, 2009, click HERE.

London Calling Update

There are only a few days left to submit art to the myartspace.com London Calling competition. The juror panel includes Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). See, www.myartspace.com/londoncalling/jurors.html

Winners will have an exhibit at Scream London, a cutting-edge gallery operated by Tyrone Wood (son of Ronnie Wood of The Rolling Stones). Scream London, known for its edgy and progressive atmosphere, is located in the heart of West London’s art district. Notable guests and patrons have included Tracey Emin, Claire Danes, Rosie Huntington-Whiteley, Beverly Knight, Meg Mathews, and Ronnie Wood of The Rolling Stones.

For more information visit, www.myartspace.com/londoncalling

For a special coupon code ($25 off the entry fee) visit, www.myartspace.com/londoncalling/coupon

With the coupon code www.myartspace.com members can enter a myartspace.com gallery of 20 images for only $25. The jurors for the competition are: Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). The competition is open to artists worldwide. All mediums are accepted-- including photography, digital art, and video art.

Banksy: Did Banksy Reveal His Identity?

Did Banksy Reveal His Identity?

It appears that British street artist Banksy has once again made a visual play on the pop culture mystique surrounding his identity. This time the anonymous-one has allegedly created a self-portrait on the side of an office building in the Shoreditch area of London. The stencil piece involves a necklace wearing rat holding a sign with a face upon it. Some individuals have assumed that the piece is a self-portrait.

Rumor has it that the face upon the sign is from a photo of a man believed to be Banksy that was taken in 2004. The photo, which Banksy allegedly referenced, was taken during a graffiti event in Jamaica. In 2004 the photo spread on the internet like wildfire-- it caused an online media blitz of claims that Banksy’s identity had been revealed. However, if the piece involving the infamous photograph is authentic it is most likely Banksy’s way of poking fun at individuals who try to make his identity known.

The visual play on identity may very well be a response to a recent hoax that involved Banksy’s identity. Earlier this month an elaborate hoax that involved a former chairman of London’s Institute of Contemporary Arts, an actor impersonating British street artist Banksy, and a celebrity dinner hosted by Joan Collins was exposed. The hoax was masterminded by Ivan Massow, former chairman of London’s Institute of Contemporary Art.

Massow hired an actor, Bryan Lawrence, to dupe his longtime friend celebrity Joan Collins. Apparently Massow had hoped to sell footage of the bogus Banksy attending a dinner party hosted by Collins in order to reveal Banksy’s identity to the masses-- and to profit. After being exposed Massow flip-flopped on the issue by suggesting that actor Bryan Lawrence “could be” Banksy.

Banksy's street work often features humorous images that flirt with serious issues. The images often focus on anti-war, anti-capitalist, and anti-establishment messages. His collective work is often described as a prime example of creative freedom and as a visual voice for a public that would otherwise be silent. His work has inspired thousands if not millions of young artists. However, some critics suggest that Banksy profits from war, capitalism, and the establishment-- as well as the cult of celebrity. Or is it the cult of anonymity?

Today it is difficult to be anonymous-- there is little room to be mysterious in our online world. Thus, the fact that Banksy has been able to conceal his identity, at least to the masses, is attractive in our social media driven age. Regardless of who Banksy is the mystique has proven to be a key factor in keeping his visual message on bookstore shelves, in gallery exhibits, and in the news.

Hoaxes and ethical criticism aside, Banksy’s choice of anonymity has fostered debate concerning who is behind the persona. For example, several Banksy theories have been expressed on blogs and art forums. Some comments suggest that he is actually a she while others suggest that Banksy is a group of street artists rather than an individual.

On that same note, others have suggested that the ‘real’ Banksy has nothing to do with the commercialization of his work. Some have went as far as to suggest that Banksy’s work has been ‘hijacked’ by art dealers for profit due to the popularity of his art-- or that Banksy was ‘created’ by a group of gallerists in order to ‘legitimize’ street art within the mainstream art world for profit.

The Banksy conspiracy theorists suggest that alleged recordings of Banksy’s voice and his ‘official’ website are not legitimate. Some have noted that the registrant for Banksy’s website (www.banksy.co.uk) is Steve Lazarides-- who happens to be Banksy’s agent/ art dealer-- as ‘evidence’. Could it be that Steve Lazarides is running one of the most profitable art schemes in history? Could it be that Steve Lazarides is in fact Banksy? Perhaps the other artists that Steve Lazarides represents are collectively Banksy? Doubtful.

That said, one could suggest that Banksy-- the individual, the myth, the icon-- has found the perfect recipe for fame and fortune (and more importantly a surefire way to keep people focused on his art and social messages) in that he has been able to keep people guessing. Debates about Banksy tend to focus more on who he is rather than the art itself-- at least at first. The motives behind the mystery seep into the dialogue.

Is Banksy nothing more than a paper-tiger provocateur smothered by contradictions and hypocrisy? Maybe. Is Banksy an artist who is more interested in conveying a visual message to the world than basking in the media spotlight directly? Possibly. One thing is for certain-- we won’t know much about Banksy until he reveals his identity and therefore addresses questions more openly. That said, if Banksy reveals his identity would we continue to care?

Link of Interest:

Fake Banksy Infiltrates Celebrity Dinner
http://www.myartspace.com/blog/2009/05/fake-banksy-infiltrates-celebrity.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Tracey Emin: Those who suffer Love at White Cube

Contamination of the Soul by Tracey Emin

White Cube is currently preparing for an exhibit of Tracey Emin’s work. The exhibit, titled Those who suffer Love, will feature a number of recent works by Emin including a new series that has been described as erotic drawings. Those who suffer Love at White Cube will mark Tracey Emin’s first exhibition in London in over four years.

In a press release Emin stated that the meaning behind the title of the show is “self-explanatory” and that “Love rarely comes easily and if it does, it usually goes quite quickly.”. The exhibit opens on May 29th and will come to a close on July 4th, 2009. For more information visit, www.whitecube.com

Premium update, London Calling update, 2009 art scholarships update

Premium Update:

The Enhanced Defintion Gallery is a new capability for myartspace premium subscribers. It allows them to create a very vivid, bold, and spacious gallery with all the power of the traditional myartspace gallery. To learn more visit, www.myartspace.com/blog/2009/05/enhanced-definition-gallery.html

London Calling Update:

There are only a few days left to submit art to the myartspace.com London Calling competition. The juror panel includes Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). Winners will have an exhibit at Scream London, a cutting-edge gallery operated by Tyrone Wood (son of Ronnie Wood of The Rolling Stones). Notable guests and patrons have included Tracey Emin, Claire Danes, Rosie Huntington-Whiteley, Beverly Knight, Meg Mathews, and Ronnie Wood of The Rolling Stones.

For more information visit, www.myartspace.com/londoncalling

For a special coupon visit, www.myartspace.com/londoncalling/coupon

For more updates, artist interviews, and art news visit, www.myartspace.com/blog
2009 myartspace.com art scholarship program:

MYARTSPACE is giving away $16,000 cash Scholarships for students to continue their education in an approved MFA, BFA or higher level degree program for the arts. The 2009 scholarship amount of $16,000 will be divided equally for an undergraduate and graduate competition. The competition is free to enter for college level art students worldwide. For more information visit, www.myartspace.com/scholarships

When Art Dealers Go Bad: Run Ronnie Run!

Art dealer Ronald Coles at his Kenthurst gallery in 2004. Photo: Natasha Paes/Hills News

In February 2009 hundreds of complaints were filed in Australia concerning art dealer Ronald Coles. This was due to two key factors. First, Coles had orchestrated an art market scheme that involved selling forgeries that he claimed were original works by Norman Lindsay and other famous Australian artists. Apparently he had the fakes created in China. Second, Coles owed millions of dollars to his angry clients and allegedly had stolen authentic works of art as well from his cliental. The forgeries had ended up for sale at auction houses and other venues while the legitimate stolen works had been sold online.

Australian authorities raided the Ronald Coles Investment Gallery and Coles residence only to find a large collection of firearms and hundreds of stolen paintings-- some of which were valued at over $4 million at the time of the bust. Afterwards dozens of former clients discovered that works of art that they had entrusted to Coles had been sold on the internet while others found out that the works they had purchased from Coles were in fact fakes. Unfortunately, Ronald Coles was no where to be found-- he has been on the run since before the police raided his property.

It has since been revealed that Coles had been running his scheme as early as 1994. Rumors state that other professionals within the market were aware of Coles activity but were wary of exposing him out of fear that the market as a whole would be scrutinized. In other words, if those claims are true it would mean that other professionals kept silent while Coles established a national reputation for himself as a legitimate art dealer and broker.

The plot thickens-- Ronald Coles is currently running from more than just the law. Recent buzz claims that Coles vanished with over $1 million in cash that belonged to an under-the-table client-- an outlaw biker (bikie for the people down under) gang in Australia. Needless to say, the biker gang did not bother with a formal complaint to Australian authorities. Instead they intimidated Coles stepdaughter, Sage Carver, who also happens to be an art dealer.

Sage Carver claims that the gang told her that they want to take Ronald Coles for a “ride”. However, the name of the specific gang has yet to be released to the press-- though the story has been confirmed by press in Sydney under the condition of anonymity. Apparently members of the biker gang had shown up at a gallery opening hosted by Carver in order to find out where Coles had gone. The outlaw biker gang members left with five paintings after Carver was unable to provide them with information.

A senior member of the outlaw biker gang, under the condition of anonymity, informed the press that the gang had invested money in Coles operation and that the shamed art dealer owes millions to over a dozen dozen senior members of the gang. The outlaw stated that the biker gang has the resources and the manpower to find Ronald Coles before he is captured by law enforcement, stating that “one way or another“ his gang will get their investment back.

The senior member of the outlaw biker gang made it clear to the press that Ronald Coles can only run for so long. All I can say is that Coles had better keep running-- or do the smart thing and run to the nearest jail cell… though it might be wise for him to pay back a few of his clients first.
Link of Interest:

Bikies want to have a 'chat' about their $1m
www.smh.com.au/national/bikies-want-to-have-a-chat-about-their-1m-20090509-aykb.html?page=-1

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

The Enhanced Definition Gallery

The Enhanced Defintion Gallery is a new capability for myartspace premium subscribers. It allows them to create a very vivid, bold, and spacious gallery with all the power of the traditional myartspace gallery. Click on the picture below to see the difference.



For more information on Premium Membership, see http://www.myartspace.com/premium.

Downward Spiral: Confidence in Contemporary Indian Art drops 90%

Diamonds, 2007, Bindis on panel, 64.25 x 70.25 inches. By Bharti Kher

According to ArtTactic, a London based research company that examines the art market, the art market boom for contemporary Indian art may very well be over-- at least for now. ArtTactic’s confidence index states that art market confidence in contemporary Indian art has dropped by 90 percent since last October. ArtTactic’s data is based on a number of factors-- including a balance between pessimistic and optimistic art market professionals who respond to their surveys. The responses were offered by over 80 individuals-- ranging from Indian and international collectors, art dealers, art advisers, to auction house specialists.

The confidence for Indian art in general has dropped 63% in the same length of time. The report states that the market for Indian art in general may take anywhere between two and 10 years to recover due to the aftermath of a market that sent prices for Indian art souring in the last few years. In fact, just over a year ago prices for some Indian artists had doubled-- a rapid increase in what turned out to be a paper-tiger market. The founder of ArtTactic, Anders Petterson, has said, “people see there’s nothing to hold these prices up any more.”.

The current slump is largely due to the state of the economy and the financial crises that has swept the world-- another sign that the stability of the art market in general can shift rather quickly. The implications of the bubble-burst market for contemporary Indian art may end up being disastrous for western art dealers who invested heavily in Indian artist since 2006. Concerning the burst Petterson has stated, “Western galleries got involved with Indian art at a high price-point and now they’re stuck with it.”

Needless to say, there is some concern that younger contemporary Indian artists may end up in obscurity due to the fact that the high prices for their work is no longer valid within the current art market-- 10 years is a long time to wait for the art market to recover after having been introduced to rising success early on.

Young contemporary Indian artists are not alone. There has also been a downward spiral in the art market for contemporary Chinese art. Similar to the contemporary Indian art market many of the top selling Chinese artists were virtually unknown before the Chinese art market boom. Successful young contemporary artists from India and China reaped what quick fame and fortune offers to artists who dominate the global art market.

I suppose the lesson to be learned from this is that success can be fleeting-- these young artists have been caught in the downward spiral of the economically burdened art market. That said, the art market may recover just as fast as it crashed. If the global financial crises has taught us anything it is that the unexpected can happen.

Link of Interest:

www.arttactic.com

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Frieze Art Fair Exhibitor List 2009 (A-F)

The 2009 exhibitor list for Frieze Art Fair (www.friezeartfair.com) has been made public. According to the Frieze website-- details of Frieze Art Fair 2009, 15-18 October, have been announced by directors Amanda Sharp and Matthew Slotover. The site explains that a fresh and exciting addition for 2009 will be the first presentation of Frame, a new section within the fair dedicated to solo artist presentations. Frame will show young galleries from around the world that have been in existence for less than six years.

Frieze Art Fair takes place every October in Regent’s Park, London. The fair provides an environment to introduce and showcase new and established artists to visitors from around the world. Frieze Art Fair features more than 150 galleries from around the world, providing visitors with a unique opportunity to see and buy art by the world’s leading artists. The fair hosts an annual curatorial programme, presented by Frieze Foundation.

Clare Stephenson -- Analysis & Reflection, 2009, framed xerox and collage on paper, 62 x 47.5 x 4.2 cm -- Represented by Sorcha Dallas

Frieze Art Fair Exhibitor List 2009 (A-F)

Galería Juana de Aizpuru, Madrid -- www.juanadeaizpuru.com
Galería Helga de Alvear, Madrid -- www.helgadealvear.com
Andersen's contemporary, Copenhagen -- www.andersen-s.dk
Galerie Paul Andriesse, Amsterdam
The Approach, London -- www.theapproach.co.uk
Galerie Catherine Bastide, Brussels -- www.catherinebastide.com

Boers-Li Gallery, Beijing -- www.boersligallery.com
Marianne Boesky Gallery, New York -- www.marianneboeskygallery.com

Kaye Donachie -- Every mornin' our love is reborn, 2004, Oil on canvas, 24 5/8 x 35 3/8 inches -- Represented by Marianne Boesky Gallery

Galerie Isabella Bortolozzi, Berlin -- www.bortolozzi.com
The Breeder, Athens -- www.thebreedersystem.com
Broadway 1602, New York -- www.broadway1602.com
Gavin Brown's enterprise, New York -- www.gavinbrown.biz
Galerie Daniel Buchholz, Cologne -- www.galeriebuchholz.de
Luis Campaña, Berlin -- www.luiscampana.de
Galerie Gisela Capitain, Cologne -- www.galerie-capitain.com
Casa Triângulo, Sao Paulo
Sadie Coles HQ, London -- www.sadiecoles.com
COMA Centre for Opinions in Music and Art, Berlin -- www.coma-berlin.com

Stef Driesen--Untitled, 2008, Oil on linen, 70.875 H x 59 W inches -- represented by Marc Foxx

Contemporary Fine Arts, Berlin -- www.cfa-berlin.com
Corvi-Mora, London -- www.corvi-mora.com
Sorcha Dallas, Glasgow -- www.sorchadallas.com
Thomas Dane Gallery, London -- www.thomasdane.com
Galleria Massimo De Carlo, Milan -- www.massimodecarlo.it
Dicksmith Gallery, London -- www.dicksmithgallery.co.uk
doggerfisher, Edinburgh -- www.doggerfisher.com
Galerie Eigen + Art, Berlin -- www.eigen-art.com
Galerie Frank Elbaz, Paris -- www.galeriefrankelbaz.com
Foksal Gallery Foundation, Warsaw

Joel Croxson-- Echo Balls, 2009, Acrylic on Linen with wooden strip, 130 x 68 cms -- represented by Dicksmith Gallery

Galeria Fortes Vilaça, Sao Paulo -- www.fortesvilaca.com.br
Marc Foxx, Los Angeles -- www.marcfoxx.com
Carl Freedman Gallery, London -- www.carlfreedmangallery.com
Stephen Friedman Gallery, London -- www.stephenfriedman.com
Frith Street Gallery, London -- www.frithstreetgallery.com

Art Space Talk: Bronwen Hyde (Part 3)

Institutionalized: Untitled #10 by Bronwen Hyde

This is part 3 of my interview with Bronwen Hyde. To return to part 2 click, HERE

Brian Sherwin: Bronwen, do you have any concerns about the art world at this time?

Bronwen Hyde: At the moment I have a couple of concerns in regard to art and photography in particular.

The first is the increasing harassment of photographers in regard to photographing in public places, especially in cities like London. Although this seems to be a lesser issue in Australia, obviously precedents are set for Australia by countries like the UK and US, so it is still something that concerns me.

The second is the double standard I often see in regard to the censorship of and lack of acceptance of nudity in fine art photography versus nudity in other art mediums like painting and sculpture. The recent furore over Bill Henson's work with underage models is an example. No doubt if the models, irrespective of age, had been depicted in paintings the police would not have been so quick to sweep in and remove the works from the gallery, even if the paintings had been more graphic and disturbing.

I see similar issues in online photo-sharing sites where art nudes or art incorporating nudity are lumped together as “restricted” with images of penetration and other images that are clearly pornography, when the same people viewing the work on the site can walk into a gallery and see larger-than-life nude statues. The art world seem to be able to differentiate clearly between art and pornography, but those outside it often seem unable to.

Simulacrum: pin-up by Bronwen Hyde

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

BH: I feel quite strongly about copyright, though I respect the right of other artists to opt for Creative Commons licenses in respect to their own work. In terms of artists referencing existing artworks, I feel there is room for tributes / homages to and commentary on other artworks / films / etc., however, crediting the inspiration in some way, even simply in the titling of the work is basic etiquette.

Creating derivative works, especially where the derivative work doesn't clearly reference or acknowledge the original work or artist, is something I believe should only be done with the permission of the artist, whether through their assigning of a Creative Commons license that allows the creation of derivative works, or with direct permission from the artist.

I've had other artists approach me at various times in regard to creating new interpretations of my work and I'm not adverse to the idea. Where permission has been given the final piece is akin to a collaboration in many instances. It is something that I feel is very personal though, and where you may be agreeable to one image being reinterpreted, you may not be agreeable to others.

In regard to copyright of concepts and ideas in art, it can be very difficult to prove and defend, and many argue there are no new ideas / everything's been done before. However, that doesn't mean you can't make an idea your own, or that you can never photograph the same subject or concept if someone else has already shot it (painted it, drawn it, etc). If that were the case we should all put our cameras, brushes, etc., down and move on with our lives without art.

In my view copyright doesn't stop you putting your own spin on an idea, subject matter, etc., but hopefully prevents artists copying something directly from the source. I have seen a number of instances recently where artists have copied quite specific concepts and compositions from other artists, and I believe that is only acceptable from a learning perspective and with full credit provided to the original artist, and in respect to online publication, with clear links to the original work.

Imitation may be the sincerest form of flattery, but passing off someone else's highly original concept as your own is something I find reprehensible. I do feel strong copyright is a reflection of artists' rights in general, in that especially with the visual arts, artists should receive the same level of credit and right to royalties as musicians, authors and such are entitled to.
Interiors: Untitled #3 by Bronwen Hyde

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

BH: As your stereotypical starving artist, I'm not sure I'm noticing a difference so far! But seriously, despite deciding in high school that I wanted to be a photographer, it's only been in the past 12 months or so that I've been pursuing my art full-time, and I only really threw myself back into photography in 2005 after being distracted by earning a living in office jobs and a 2 year photographer's block. So I'm still very much learning my way around at the moment in terms of developing, marketing and selling my art.

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

BH: More of my photography can be viewed and purchased at www.bronwenhyde.com and I am available for commissions.

This is the conclusion of my interview with Bronwen Hyde. To return to Part 1 of the interview click, HERE . You can read more of my interviews at www.myartspace.com/interviews. Feel free to discuss Hyde’s work on the myartspace forum at, www.myartspace.com/forum.

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Bronwen Hyde (Part 2)

Best of 365 Days: beautiful agony by Bronwen Hyde

This is Part 2 of my interview with Bronwen Hyde. To return to Part 1 click, HERE

Brian Sherwin: Bronwen, what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

Bronwen Hyde: I don't feel there is always a specific message to viewers across my whole body of work. What I am hoping to express can change from series to series and from subject to subject. I do find it interesting though to hear how others interpret my work; how they “read” the work based on the beliefs, thoughts and ideas they bring to it. When viewing artwork you often bring your own experiences and preconceptions to bear on the work and those things affect how you respond to it.

I guess in some respects I like to subvert others' ideas about what they are seeing. For example, the knee-jerk response to death depicted in my work, whether in my sepulchre series or my images of dead creatures, is often along the lines of “Why would you take that? It's ugly / morbid / depressing”. However, challenging viewers to see past their automatic responses, to recognise the beauty in a creature, alive or dead, or the beauty and peace of a grave or graveyard and the history and art of the stonemasonry is something I enjoy.

Intimacy: Untitled #69 by Bronwen Hyde

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

BH: I am currently working on a series of self-portraits titled Interior / Exterior, which explore the relationship between self and environment, whether open or contained spaces, and includes a mixture of autobiographical and fictional imagery.

As I have been developing this body of work I am finding myself more and more drawn to pools of light contrasted with darkness and shadow, combined with strong use of colour. I am hoping to travel to the US and UK in 2010 to continue this series and to develop new work.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

BH: For myself personally, I find the internet a very important element in the development of my art and as an avenue to gain exposure for my work. Though Melbourne, and Australia in general, has very strong art communities and opportunities, the physical distance from the art communities interstate and around the world is somewhat overcome by the accessibility of galleries and other artists online.

There is more opportunity to connect with like-minded artists whom you would otherwise never see the work of, let alone meet; and it is as easy for a gallery, a collector or a potential client to view your work as to view the work of someone from their own city.

Simulacrum: adventures in bedland [inspired by Samantha West] by Bronwen Hyde

Exposure within the local art scene is generally better achieved through exhibitions and publications as art has stronger impact “in the flesh”, but in terms of initial exposure to galleries and other artists, there is more scope to reach a wider audience. I have also found the internet to be an invaluable tool for receiving feedback on my work when I may not be able to afford to stage an exhibition.

However, as with music, the internet has a double-edged effect on artists: on the one hand, the internet allows for more people to see and enjoy your work; on the other hand, it makes it easier for others to enjoy, make money from and / or utilise your artwork without giving appropriate credit or payment to the artist.

BS: Will you be involved with any upcoming exhibits?

BH: I'm hoping to stage an exhibition of my Interior / Exterior work in 2010, and I regularly exhibit work within local group shows and salons.



To read Part 3 of my interview with Bronwen Hyde click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Bronwen Hyde (Part 1)

Bronwen Hyde’s passion for photography took hold at the tender age of fifteen when her father gave her his old SLR camera. She completed a three year Diploma of Illustrative Photography at Photography Studies College in Melbourne, Australia in 1997 and has been working on various photography series since that time.

A large portion of Bronwen Hyde’s work centers around self-portraiture, urban landscapes, graveyards and dolls. Hyde also works on photography projects. For example, between the 17th of April 2007 and 16th of April 2008 she completed a 365 Days project - a self-portrait a day for a year. Hyde’s debut solo exhibition took place at Brunswick Street Gallery in Fitzroy, Victoria.
Institutionalized: truth lies beyond by Bronwen Hyde

Brian Sherwin: Bronwen, What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

Bronwen Hyde: I completed a three year Diploma of Illustrative Photography at Photography Studies College in Melbourne in 1997 and have recently been contemplating the possibility of returning to study. Since completing the Diploma most of my education about photography and art in general has come from looking at and reading about the work of artists I admire.

Institutionalized: overlooked by Bronwen Hyde

BS: Tell us about yourself. At what point did you gain an interest in creating visual art?

BH: As a child I spent a lot of time learning and playing piano, clarinet and saxophone, and visual art wasn't something I was really involved in as I don't have any natural talent for drawing or painting. Initially photography was simply a way of recording the places we visited and the sights we saw on family holidays, but became something of an obsession once I was introduced to processing and printing my own black and white photographs in year 11.

From that point onward music took a back seat, and by the time I finished high school I knew I wanted to be a photographer as I realised there was a way for me to express the visual ideas I had without needing to know how to draw or paint.
Facade: Rebecca by Bronwen Hyde

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

BH: Essentially I will photograph anything I find aesthetically pleasing and interesting, even if that may be subject matter that others find 'weird' or 'morbid'. Fascination with something or someone usually leads me to want to photograph it or them. So my work ranges across a number of subjects in addition to my self-portraiture: portraiture, urban and natural landscapes, dolls, graveyards, and the minutiae of every day life.

My self-portraiture was initially borne from the convenience of using myself as a model, then it gave me an outlet to express my own emotions and experiences. Over the years the convenience and autobiography of it has remained an aspect of my continuation of that work, but it's also become an area of my art where I can create narratives and take on roles and characters.

Like many self-portrait artists, I value having control over every aspect of the work: from conception, art direction / styling, posing, composition, shooting and editing. Although I enjoy working with other models and other artists, there's something I find quite freeing about the autonomy of being able to do a shoot whenever the mood may take me independent of anyone else's schedule or restrictions.

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

BH: With my self-portraiture it varies. Sometimes I will have a specific visual idea in my mind which may be inspired by a particular item of clothing, a wig, a prop, the quality of light through a window or from a lamp, or a location, and the shoot may be somewhat pre-planned. Other times I will just have the urge to shoot on a whim and it will all come together quite quickly.

Depending on how pre-planned the shoot is, I may shoot for as little as 10 to 20 minutes until I get the one image I'm after; other times when the shoot is inspired more by a feeling or a compulsion, the shoot may be longer and more intense and I will continue to shoot until I feel I've exhausted all of my inspiration. As I don't have a traditional studio or studio lighting at this stage, my shoots take place in my home or on location using available light.

Although I originally started off shooting film, my work has been predominantly digital since 2005 so I post-process all my images to some degree in Photoshop, aside from anything because I shoot in RAW format. I rarely consider my photographs to be “finished” without some form of editing, whether it be basic colour and contrast adjustments or more detailed manipulation.

Dolls: Untitled #53 by Bronwen Hyde

BS: What about other influences? For example, are you influenced by any specific artists?

BH: I find inspiration in what I guess are many of the 'standards': film, music, other artists, dreams and books. Some mainstays in my influences are David Lynch, Cindy Sherman and Bill Henson; to list all the artists and films that inspire me would be a lengthy task, as every day I discover more artists, both known and emerging, who amaze me with their work and inspire me to do more. However, some photographers I've recently been drawn to the work of are Aaron Hobson, Jeff Bark and Julia Fullerton-Batten.



To read Part 2 of my interview with Bronwen Hyde click, HERE
Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
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Did Paul Gauguin cut off Vincent van Gogh's ear?

A self-portrait by Vincent Van Gogh

Two art historians from Germany are challenging one of the key legends surrounding Vincent van Gogh-- the story involving his self-inflicted ear mutilation. As the story goes, van Gogh sliced off his ear during a fit of madness and presented it to a prostitute whom he favored. However, Art historians Rita Wildegans and Hans Kaufmann claim to have evidence that supports their theory that Vincent van Gogh’s ear was severed by his on-and-off friend artist Paul Gauguin during their final altercation.

Wildegans and Kaufmann base their theory that Vincent van Gogh was a victim of Paul Gauguin’s skillful swordplay on documents from the time. For example, they note specific letters that Vincent sent to his brother Theo and a sketch of an ear by the artist as evidence. The sketch has the word “ictus”-- a Latin term used in fencing-- upon it.

Paul Gauguin’s account from the time states that van Gogh approached him with an open razor after he informed van Gogh that he was leaving for the last time. Gauguin is quoted as having said that he was able to quell van Gogh’s approach with just a glance. In other words, Gauguin’s account suggests that van Gogh cut off his ear after the altercation. However, Wildegans and Kaufmann suggest that what actually occurred was covered up in order to protect Paul Gauguin.

Paul Gauguin's account makes sense because in many ways van Gogh viewed Gauguin as more than just a man. After all, van Gogh idolized Gauguin. True, Gauguin could have made his side of the event up in order to protect himself-- and it could be that Vincent went along with it in order to protect his idol. However, the theory suggested by Wildegans and Kaufmann does not exactly add up.

I’m not sure if I can agree with Wildegans and Kaufmann’s theory. It is true that Paul Gauguin is noted for having been a skilled fencer and was known to have carried an epee at his side-- that said, an epee is not necessarily a slashing weapon due to the fact that it is designed for thrusting. In fact, an epee does not have a cutting edge. In other words, that specific type of fencing sword involves thrusting motions not slashing. That alone places a great burden on the theory presented by Wildegans and Kaufmann.

A self-portrait by Paul Gauguin

If Paul Gauguin had used his epee upon Vincent van Gogh it would have meant that he was aiming to kill since, based on the claims, he targeted van Gogh’s head. Point blank-- an epee is designed to penetrate an opponent with a thrust-- not severe body parts with a slash. So if Gauguin had thrusted the sword toward van Gogh's head he would have most likely aimed for the eye. Contrary to popular belief that would not have been a prime target.

I'll play Devil's advocate and say that it is possible that Paul Gauguin attempted to land a skillful epee thrust in van Gogh’s direction. However, that act would not have slashed van Gogh’s ear off entirely. If anything it would have-- due to the force of the thrust-- pierced his ear brutally. If that happened perhaps van Gogh decided to slash the rest of the ear off with his trusty razor. That said, it is important to remember that Paul Gauguin was a skillful fencer.

Being a skilled fencer Gauguin would have most likely aimed for Vincent's wrist if he desired to ward him off or for his heart if he desired to kill him. Since Gauguin's account states that van Gogh was armed it would have made sense for him to thrust in a manner that would have disarmed his opponent rather than kill him-- especially since Gauguin would have most likely wanted to sustain an amicable relationship with Vincen't brother Theo.

I doubt that Paul Gauguin would have wanted to kill Vincent van Gogh on the street in the first place-- especially since he was trying to leave hostile living conditions. He obviously wanted to leave trouble-- not find it. Nevertheless, Wildegans and Kaufmann have published their findings in a book titled Van Gogh’s Ear: Paul Gauguin and the Pact of Silence. The book will most likely stir more controversy and speculation once it is widely available.

Links of Interest:

Van Gogh’s Missing Ear: Was Gauguin the Culprit?
www.nytimes.com/2009/05/06/arts/design/06arts-WASGAUGUINTH_BRF.html?_r=1&ref=arts

Van Gogh's ear 'was cut off by friend Gauguin with a sword'
www.telegraph.co.uk/culture/art/art-news/5274073/Van-Goghs-ear-was-cut-off-by-friend-Gauguin-with-a-sword.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

the qi peng dynasty (we are duchampions) at envoy enterprises

alexis granwell panel 1 (2009), ink on paper, 8.5” x 11" by qi peng

envoy enterprises is currently preparing for an exhibit involving the work of conceptual artist qi peng. The exhibit, titled the qi peng dynasty (we are duchampions), will involve a complex installation featuring a hybrid fusion between traditional works on paper and painting and cutting-edge new media art. The installation has been described as being based on the idea of autobiography loosely based on James Joyce’s novel “A Portrait of the Artist As a Young Man” smashed with Facebook and Xerox.

qi peng combines selected “interview portraits,” which he has published through www.examiner.com as an online art project, between art professionals which he has met in real life or Facebook or Twitter or other social networking websites into a larger installation project. By delivering a cross section of the international art world, focusing on New York City and Los Angeles mostly with a small dose of his current hometown of Salt Lake City, the artist attempts to democratize how the public perceives any particular individual within this complex web of artists, art dealers, museum curators, art workers, and “slaves” who comprise this whole system of people who put together contemporary
art for the audience. By displaying offset prints of these portraits like a digital version of August Sander photographs, peng attempts to humanize the art world as an antithesis to the glossy art market and blue chip players portrayed by the magazines.

edward winkleman panel 2 (2009), ink on paper, 8.5” x 11" by qi peng

This installation piece will present secondary documents that will reflect on how the artist’s first solo show in New York City became extant at envoy enterprises. Mixing together proposals, acceptance and rejection letters, critiques, as well some surprising documents that feature a Chelsea gallery, and a painting that is based on a prominent Brooklyn artist with overtones of the idea of “WWPD,” this work becomes a brave exploration of the politics of how exhibitions are created and galleries are curated.

This is a fairly dispassionate view of the artist’s subjective journey from a virtually unknown artist as a displaced New Yorker located in Utah into a slowly emerging artist as a small player within the international art world. He also highlights the challenges of an atypical Utah conceptual artist attaining both “critical affirmation” and “artistic defiance” with and against the somewhat insular New York contemporary art world reframed as the Garden of Eden.

qi peng states that there will be a surprise ending to the whole installation and a possible inclusion of the following events: an artist book signing at a table, an unexpected appearance of the Zero Dollar project by Laura Gilbert, a performance duel between Rick Herron and the artist himself, and guest appearances by famed bootlegger Eric Doeringer and collaborating artists William Powhida and Jennifer Dalton.

william powhida panel 1 (2009), ink on paper, 8.5” x 11" by qi peng

“the qi peng dynasty (we are duchampions)” is qi peng’s first solo exhibit in New York City. qi peng was born in 1976 in Queens, New York City. He lives and works mostly in Salt Lake City and sometimes in New York. His work has been exhibited at The Lab at Belmar, Anna Kustera, James Cohen/NURTUREART, Metro Pictures/Visual AIDS, modern8 gallery, and Projects Gallery. Currently he is represented by The Barbara Ann Levy Gallery in West Palm Beach, Florida.

envoy enterprises is a contemporary art space dedicated to the generation, presentation and promotion of contemporary visual arts practice. envoy enterprises' dynamic program of exhibitions, performances, concerts, artists' talks, publications, video and movie screenings, aims to provide opportunities for artists to exhibit their work within a context of current national and international practice. For more information visit, www.envoyenterprises.com

For more information about the exhibit visit www.envoyenterprises.com or www.qipeng.net



Link of Interest:

Myartspace.com interview with qi peng
www.myartspace.com/blog/2009/04/art-space-talk-qi-peng-part-1.html

Chet Zar / James Zar: When Worlds Collide at L'Imagerie Gallery

L'Imagerie Gallery, located in North Hollywood, is currently preparing for an exhibit titled When Worlds Collide. The exhibit is considered an intergenerational exhibit due to the fact that it will feature the art of Chet Zar and his father James Zar.

The press release states, “This is a father and son show that is amazing in it's polarity of imagery. You would be hard pressed to visually discern that both painters are related-except for their astounding facility with a paintbrush and clarity of their respective vision. This is more than a father/son exhibit, it's a visual polemic of antipodean aesthetics, contradictory world-views and a personal glimpse into the genetics of visual creativity.”

Drawing inspiration from his love of horror films, Chet Zar (the son) creates characters that capture feelings of fear and anxiety. There is degree of isolation about his paintings. The viewer senses danger as he or she views the nightmares that stem from Zar's wonderfully creative mind. When I first observed his work I thought about the horrors of what a nuclear attack may result in.

Chet Zar also draws inspiration from his career as a special effects make up artist, designer, and sculptor for the motion picture industry. Chet Zar has designed and created creatures and special effects make up for such films as, "Planet of the Apes", "The Ring", and "Hellboy". His work can also be observed in the critically acclaimed music videos for the art metal band, Tool.

James Zar (the father), also referred to as the 'Still Life Magician', has been an established artist for decades. He has befriended celebrities and star athletes... a far cry from his humble roots in a hard-working fishing community. However, James still embraces his roots with honor and respect. He shares the same integrity for his work that those who influenced him had shown when he was young. This strong work ethic can be observed in his images, artistic practice, and interactions with people who are interested in his work.

James Zar creates paintings that allow the viewer to travel to another world. A place full of vibrant color and lively beings. His work is marked by a bold use of color, mastery of composition, and playful spirituality. They offer the viewer the perfect visual escape from a long day at work.

James Zar has been involved with major movie studios where he worked professionally and became friends with Arnold Schwarzenegger and Sylvester Stallone. He also befriended Frank Sinatra, Jack Palance, Don Rickles and Hal Holbrook. His paintings have been displayed in their private collections. Mr. Zar has remained humble even though he has had great success with his art.

The L'Imagerie Gallery exhibit-- When Worlds Collide-- opens on May 16th, 2009 and is scheduled to come to a close in June. For more information visit, www.limageriegallery.com


Chet Zar on www.myartspace.com

Links of Interest:

Myartspace.com interview with Chet Zar (2006)
www.myartspace.com/blog/2006/11/art-space-talk-chet-zar.html

Myartspace.com interview with James Zar (2006)
www.myartspace.com/blog/2006/12/art-space-talk-james-zar.html

Mark McGowan: The Reenactment of the Death of Jade Goody

The Reenactment of the Death of Jade Goody (video still) - Mark McGowan

Mark McGowan’s recent performance/installation, titled The Reenactment of the Death of Jade Goody, took place at the Guy Hilton Gallery in East London on May 3rd. For the performance/installation McGowan recreated late British reality TV star Jade Goody's deathbed.

The depiction of Goody’s dying moments has been deemed a controversial exhibition by the media. However, McGowan has stated, “It was not ironic, funny, shocking or disturbing. It was a very emotional experience and of the many people who attended, two people openly cried. Not for Jade, but for their own loved ones who they stayed with and held their hands as they passed away.”


Mark McGowan says, 'It was absolutely extraordinary and beyond expectation, everyone was incredibly emotional. The cardboard boxes that Jade, Jack Tweed and Jade's mum Jackiey wore, were really inspired and captivated peoples imagination.”. The set features a bed on which the artist playing Goody lies while those depicting loved ones sit at the bedside holding Goody’s hands. The performance involves no dialogue or sound in that it is designed to be a tableau representation of what Goody’s final hours may have looked like. The performance/installation, which lasted just over two hours, was attended by over 200 people.

Mark McGowan: Kick George Bush's Ass. Photo courtesy of Charlie Smith, London

Mark McGowan’s work is often provocative. For example, at SCOPE NY 2007 McGowan performed his infamous Kick George Bush's Ass performance during the Collector and Press Preview. However, McGowan has made it clear that The Reenactment of the Death of Jade Goody is a tribute to Goody, who died of cervical cancer at the age of 27.

Concerning criticism over the performance McGowan has stated, "I understand it's provocative and sometime that is my aim, to provoke people. I've been accused of jumping on the Jade Goody bandwagon, but the truth is I think people are just too hung up about death in this country.”.

Mark McGowan on www.myartspace.com

Links of Interest:

myartspace.com interview with Mark McGowan
www.myartspace.com/blog/2007/03/art-space-talk-mark-mcgowan.html

myartspace.com interview with Mark McGowan #2
www.myartspace.com/blog/2007/06/art-space-talk-mark-mcgowan-second.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Thea Pratt (Part 3)

Window 4 by Thea Pratt

This is Part 3 of my interview with Thea Pratt. To return to Part 2 click, HERE

Brian Sherwin: Will you be involved with any upcoming exhibits?

Thea Pratt: No. When I left school I took slides around to galleries and no one was interested. Actually, there were 2 galleries that were interested but I went back and they had closed! I always laugh about that. Then life got weird and I only have time to make the work and survive. However, if shows like the NYAXE show come along, I'll try to take advantage of them now that I've seen how easy it is to apply.

BS: Do you have any concerns about the art world at this time?

TP: I'm sad about it. I think that people (both viewers and artists) are closing themselves off and seem unable to feel or think or care for themselves. Most people focus on the external (just ride the NY subway or walk the streets some time). To be a viewer or artist I think that you have to be coming from someplace central because the external is always changing and moving away and falling apart and it divides us.

But then, I'm naive when it comes to the art world since I've always been on the outside of it.

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

TP: I think that we have to have a balance here. As artists we can box ourselves in saying "this is mine, this is mine". I think that it's most important to find out what we are and then, coming from there, open ourselves to everything. And this means letting things go as well.

I think that it's a question of respect. Asian artists in the past would use an ancestor's poetry in their piece and it was recognized that this was done in homage to the ancestor. At the moment, that's not the modern Western way but it is something to keep at the back of our collective mind.

Alien 1 by Thea Pratt

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

TP: I was laid off from my 9 to 5 library job in 2006 and was thrown back on teaching yoga. I've started a small business which is growing slowly. This actually has helped my art. My present inconsistent schedule is great for making art. I carry my drawing materials with me and use Starbucks as my studio to do my "Swarm" drawings. And this has its own juice. You wouldn't believe how many job interviews, staff reviews and meetings, illicit affairs, divorces, etc., etc. are held in Starbucks!

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

TP: No. But thanks for the questions and your interest in my work. You've made me think a lot. And your interest has helped me to look at my work and put it out on the web. Thanks.



This is the conclusion of my interview with Thea Pratt. To return to Part 1 of the interview click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Thea Pratt (Part 2)

On Fire by Thea Pratt

This is Part 2 of my interview with Thea Pratt. To return to Part 1 click, HERE

Brian Sherwin: Thea, what about other influences? For example, are you influenced by any specific artists?

Thea Pratt: A lot of the artists who influence me are anonymous. The New Guinea carvers who made the "hooks" that can be seen at the Met, the artists who illustrated the Utrecht Psalter, a painting of a Buddha that glows on the walls of the Rubin Museum, a piece of Inuit sculpture of the seal goddess made of green soapstone.

Of known artists, I'm interested in the automatic drawing of the Surrealists and I love the attitude of the 1920's, the humor and biting commentary. I practice Asian brush calligraphy and love the ancient calligraphers. And the Goya show a while back at the Met literally left me speechless, particularly the Saturn pieces. So much agony.

BS: So what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

TP: Ah, yes. At this point I become wordless again. Perhaps a word I can throw out is "honesty". I'm a yoga teacher and coming from the core is so important there. I think I learned a lot about that from making art.
I think that that's why I find words to be such a problem. People just throw them around.

In yoga I can't describe what happens in meditation. It's the same In art. I have more of a philosophy about words than about my art. Words can narrow and categorize, can change the piece entirely. I think that its important to allow art to be ambiguous, to always have that part that you don't "understand". On the other hand, if words are a carefully considered, integral part of the piece, they can open and add to it.

On Fire by Thea Pratt

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

TP: Right now I'm working on several pieces. That's another thing I do. I find that if I focus on anything too much it doesn't work for me. If I were teaching a yoga class I'd describe it as keeping my eyes soft, allowing for the peripheral vision of my mind.

Anyway, I keep doing the drawings for "Swarm". This began as a children's story around 2005 and then grew too dark so I just call it a "story" Right now I'm working on part 3: "exploding houses". This is a wall piece made up of drawings of city buildings. The streets on the periphery of the city are detaching and these houses are exploding. The drawings together form the shape of a spiral galaxy that covers the wall.

I also keep working on the "icons". Each one of these has taken years. They stop and start, the materials keep being recycled and getting more of a "natural" feel and, finally, everything pulls together and they're finished.

And I recently uploaded a lot of photographs and, for the first time, have had a chance to really look at them. So I have my camera out again.

On Fire by Thea Pratt

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

TP: I think that the internet is both good and bad. It's good because the people who are making art that isn't part of the main stream (I know a lot of really good artists who aren't showing in galleries) can be seen and can connect with people who relate to them. It's downside is that the work is never as it appears on the web.

Getting back to Winnipeg, the only work other than local art we saw was in reproductions. It was a shock when I came to NY and saw the real thing. Goya's Saturns are interesting in a book but they bowled me over in real life. However, the internet is good at introducing the viewer and the artist so I think it's important that we use it.



To read Part 3 of my interview with Thea Pratt click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Thea Pratt (Part 1)

Thea Pratt is an artist who works in a variety of mediums. She studied art at the University of Manitoba and Hunter College. Pratt was recently selected for representation at the NYAXE Gallery in Palo Alto, CA.

Woods by Thea Pratt

Brian Sherwin: Thea, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Thea Pratt: It was so easy. My life is hectic just surviving and making art. Trying to get it out there is just one more hassle and I'm not good at it. So when all I had to do was press a computer key, it was a no-brainer.

BS: What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

TP: I did my BFA in Winnipeg, Canada at the University of Manitoba. The best thing about those years was the rivalry between the Manitoba born and bred faculty and those who had come in from the U.S. This produced a really good energy, allowed for experimentation and new ideas. There was also a good Visiting artists program that brought in people like Lynda Benglis, Dennis Oppenheim, Richard Serra, Robert Irwin and so on.

Then I came to New York and went to Hunter College for my MA in studio art. Interestingly I found very little energy and a parochial attitude. The best part of these years was the students I met. We visited each other's studios which were all over NY so I got to see parts of the city I would otherwise have missed.

I left Hunter having completed all my requirements except for my thesis. (call it frustration) I guess the one instructor who I remember from Hunter is Rosalind Kraus. She helped me to "see" photography.

Woods by Thea Pratt

BS: Tell us about yourself. At what point did you gain an interest in creating visual art?

TP: I guess that the consistent thing about my life has been moving. I've done this since I was about 8 and my latest move was in Feb of this year. This means that my life is always "new"I really became hooked on art when I moved to a small town in Manitoba, Canada.

I had been married for about a year and had only lived in cities. I had a lot of time on my hands and our living-room window looked out on a tiny house with a huge vegetable garden owned by a tiny, bowlegged, elderly Ukrainian lady. I saw her planting and weeding during the summer. Then in the fall, she came around the corner of her house, wearing a straw hat and carrying an armload of dried cornstalks and a bucket of straw. The sun hit her and, to me, she glowed. It was a split second but I felt that I had to put this down in some way - it was just too beautiful. I didn't have a camera but I did have some paint-by-number paints and canvas board.

So I started painting. I came across other scenes that hit me the same way and this just continued. (except that I got better paint!) Then I moved back to the city, went to art school and found that I could find that excitement from a blank sheet of paper and lines and forms and colour.

You Are Not Ready by Thea Pratt

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

TP: At art school I had a terrible time talking about my art. This hasn't changed. Part of this is because it's spontaneous and intuitive. One of my profs said that the reptile part of my brain is very active. A fellow student said I take things in, digest them and they come out my own.

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

TP: As I said, the process is spontaneous and intuitive. Some pieces start with a few lines on a page. I keep building until something comes out of it. Some pieces take years to complete. I think that they're done and then have to go back to them again and again. The materials (I include my drawings/paintings/images in this) keep recycling and then become something.

Very few pieces "emerge fully formed" and take a very short time to do. These are usually my favorite pieces. Art is intertwined with my life so I just keep making things and they keep growing.



To read Part 2 of my interview with Thea Pratt click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Tracey Emin at Kunstmuseum Bern

Emin at work. The cover image for the retrospective.

The Kunstmuseum Bern is currently spotlighting the art of Tracey Emin in an exhibit titled Tracey Emin: 20 years. The exhibit includes over 70 works of art. The exhibit was made possible by the Scottish National Gallery of Modern Art-- which compiled the first retrospective of the artist which is currently one display at the Museum of Fine Arts Bern. The exhibit marks Emin's first solo exhibition in Switzerland.

Emin is often accused of creating shocking art simply to attract publicity. However, the artist recently stated that her intention is not to be a troublemaker, stating, "I won't put up with any shit and I won't tolerate injustice, but I never make work to shock. That would be so easy. Anyone could go and shit outside parliament and put a little sign in it saying 'this is art' and it would hit all the newspapers. But that wouldn't be art. Not even if I did it!"

Tracey Emin: 20 Years will come to a close on June 21st, 2009. For more information visit, www.kunstmuseumbern.ch

Aaron Young at Galerie Almine Rech

Smoke Flows in All Directions by Aaron Young

Galerie Almine Rech is currently featuring the art of Aaron Young. The exhibit marks Young’s first solo exhibition in France and is aptly titled, Introducing Aaron Young. Aaron Young has received criticism in the past for what some described as “thin spectacle”. Others have described Young’s art as the embodiment of “art world decadence”. This is mostly due to a showing that involved motorcyclists who Young hired to drive over painted wooden panels.

Key figures in the art world may have not been amused, but the media picked up on the story rather quickly. That said, one of Young’s videos of a motorcyclist repeatedly cycling around the San Francisco Art Institute was bought by MoMA. Young also creates sculptures and drawings. The exhibit at Galerie Almine Rech will come to a close on June 6th, 2009. For more information visit, www.galeriealminerech.com.

Fake Banksy Infiltrates Celebrity Dinner

Will the 'real' Banksy please stand up?

An elaborate hoax involving a former chairman of London’s Institute of Contemporary Arts, an actor impersonating British street artist Banksy, and a celebrity dinner hosted by Joan Collins has been exposed. Apparently the hoax was masterminded by Ivan Massow, former chairman of London’s Institute of Contemporary Art. Massow hired an actor, Bryan Lawrence, to dupe his longtime friend Joan Collins-- a Golden Globe Award-winning English actress, author, and columnist. Collins hosted a dinner for the fake Banksy thinking that he was the real deal. Apparently Massow had hoped to sell footage of the bogus Banksy attending the dinner party in order to reveal Banksy’s identity to the masses.

Joan Collins and her guests entertained the Banksy imposter for hours. During the event the fake Banksy dismissed the art of world renowned artists and declared that Tracey Emin’s art is “just a thought”, not art. Collins was not the only person to be fooled during the dinner. Apparently the dinner was also attended by comedian Stephen K. Amos, stage actress Ann Mitchell, and socialite Tamara Beckwith. The duped guests were given signed napkins by the bogus Banksy-- he gave Collins a can of spray paint displayed on a miniature easel.

The Banksy hoax fell apart after Ivan Massow contacted Daily Mail in the UK. Massow informed The Mail that he had real footage of the elusive street artist. He suggested that bringing the guests and Banksy together was a work of art. However, The Mail quickly discovered that Massow had orchestrated a hoax-- forcing Massow to confess that he was behind a ‘massive art fraud’.

In reality Ivan Massow was not really fooling anyone. He knew that his hoax would be discovered. After all, he arranged to have Sam Bloom, sister of actor Orlando Bloom, to be the waitress for the event. In fact, the chef for the dinner was also stage-- actress Helen Lederer played the role. Massow has stated-- after being exposed-- that he wanted to “investigate the nature of what’s real and what’s not real”. Of the event Massow has stated, “To pull off what was such a massive art fraud would have been really quite spectacular.”. Oddly enough, after being informed of the hoax Joan Collins stated, “I still think it might be him.”.

The Mail reports that Ivan Massow had intended to use the real Banksy in his film-- but the request was refused. Massow, according to The Mail, intends to still sell his film online as an ‘investigation into the nature of reality’. Oddly enough, Massow has flip-flopped on his confession because he has since stated, ‘I still think he might be Banksy. Prove it’s not him.’ Needless to say, I don't think the 'real' Banksy will reveal his identity anytime soon-- Banksy's anonymity have proven to be a key factor in the market for his art.

The Banksy hoax is interesting because it reveals some of the problems an artist like Banksy can endure when he or she decides to keep his or her identity a secret. After all, how can you prove who Banksy is or is not if he has not been seen? Only a few people know who he is or what he looks like. How can you prove that the people representing Banksy have the right guy or that maybe they have been hired by someone to represent Banksy as a male when in reality he may actually be a she? You never know.

If someone wanted to they could declare that they are Banksy and the only way to prove otherwise would be to have the identity of the ‘real’ Banksy revealed, true? It could easily become a legal mess if someone wished to push it. Would it be easy for someone to claim that they are in fact the ‘real’ Banksy and that the anonymous Banksy we have come to know is actually an imposter who has ‘hijacked’ the ‘real’ Banksy’s work for fame and fortune? Far-fetched? Maybe. That said, Ivan Massow has shown that anything is possible-- or can at least be 'created'.

Link of Interest:

When Joan Collins THOUGHT she'd met Banksy: The elaborate plot to impersonate graffiti artist and how the MoS foiled it

www.dailymail.co.uk/tvshowbiz/article-1176729/When-Joan-Collins-THOUGHT-shed-met-Banksy-The-elaborate-plot-impersonate-graffiti-artist-MoS-foiled-it.html?ITO=1490

Street Art Defacement: Appropriate Media vs. Banksy
www.myartspace.com/blog/2009/04/street-art-defacement-appropriate-media.html

Is Banksy for the People?

www.myartspace.com/blog/2007/07/art-space-news-is-banksy-for-people.html

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

Myartspace Blog on Twitter

www.twitter.com/myartspace_blog

Two Weeks Left To Submit Work For London Calling!

Two Weeks Left To Submit Work For London Calling! Save The Dates -- 14 May and 25 June -- Palo Alto and London

Scream Gallery London, Bruton Street W1J 6QX -- www.screamlondon.co.uk

Our Call for Artist for our London Calling Exhibition will be over in less than 2 weeks. Opening night in the west end of London will be Thursday, June 25th.

We believe our Exhibition in London will be our best ever. The jury panel, with representatives from the Tate Modern, the Hayward Gallery and the Barbican Gallery are poised and ready to begin reviewing your work.

The jury will select 50 finalists and 3 winners to have their work live in London. An additional 17 artists will have their work shown electronically!

Save $25 on registration:

White Hot Magazine has become an anchor sponsor for the London Calling Exhibition, and have provided a $25 discount coupon for those artists that still wish to register. The normal registration is $50, but with the White Hot Magazine Coupon, it cuts this in half to $25. White Hot Magazine will be covering the Exhibition with the best contemporary art critics in the industry.

Located in the heart of the West London art district, Scream is just a moment away from Sotheby's, Cork St and the Royal Academy, and rubs shoulders with some of London's most established art galleries in the traditional hub of the capital's art market.

Visit,

www.whitehotmagazine.com/index.php?action=articles&wh_article_id=1829

Or click the link below:
www.myartspace.com/londoncalling/coupon

SAVE THESE DATES:

Our NYAXE GALLERY Spring Exhibition will kick off on May 14th in our gallery on Emerson Street in downtown Palo Alto, California. Opening night will run 6-9PM, and you are invited to attend. If you are out on the west coast, we would love to meet you!

Five weeks and 5,600 miles later, the London Calling Exhibition will be kicking off on Thursday, June 25th, 2009. If you are in or around London, we would love for you to stop by from 6-9PM at the SCREAM LONDON Gallery on Bruton Street.

We hope you can attend our upcoming events, AND we hope you submit your work for consideration.

Visit, www.myartspace.com/nyaxegallery/register/

Links of Interest:

Social Art Site Has Offline Presence: myartspace.com opens NYAXE Gallery in Palo Alto, CA www.myartspace.com/blog/2009/02/opening-of-nyaxe-gallery-in-palo-alto.html

Whitehot Magazine becomes anchor sponsor for MYARTSPACE London Calling 2009 Competition www.myartspace.com/blog/2009/04/whitehot-magazine-becomes-anchor.html

Kind regards,

Catherine McCormack-Skiba
CEO and Founder, www.myartspace.com

&

Brian Sherwin
Senior Editor, www.myartspace.com

Damien Hirst: The Blue Paintings at the Wallace Collection

Human Skull in Space (oil on canvas) by Damien Hirst. The painting is the cover art for the 150th anniversary edition of Darwin's On the Origin of Species.

The Wallace Collection is preparing for a Damien Hirst exhibit titled Damien Hirst: The Blue Paintings. The exhibit will feature 25 painting by Damien Hirst completed between 2006 and 2008. The exhibited has been billed as “Hirst’s return to painting”. Sources state that Hirst’s work will be exhibited beside Old Master paintings. Of the exhibit Hirst has stated, “I’ve chosen to show my new paintings here because I love the fact that it is a family collection,”. Hirst describes the Wallace Collection as “a world away from the world.”.

According to the Wallace Collection website-- “The Wallace Collection is a national museum in an historic London town house. In 25 galleries are unsurpassed displays of French 18th century painting, furniture and porcelain with superb Old Master paintings and a world class armoury.”. For more information visit, www.wallacecollection.org.

Antony Gormley: ATAXIA II at Galerie Thaddaeus Ropac

Clutch II by Antony Gormley

Galerie Thaddaeus Ropac is currently featuring the art of Antony Gormley in an exhibit titled ATAXIA II. The exhibit involves recent drawings and sculptures by Gormley. The exhibited works explore different states of the body with ‘loss of control’ as a general theme. The exhibited work also explores how the body is influenced socially and physically by outside forces.

Gormley describes his work as "an attempt to materialise the place at the other side of appearance where we all live." Gormley won the Turner Prize in 1994. The exhibit at Galerie Thaddaeus Ropac will come to a close on May 23rd, 2009. For more information visit www.ropac.net or www.antonygormley.com.

Dustin Yellin: Dust in the Brain Attic at Robert Miller Gallery

The Invisible Man by Dustin Yellin

Robert Miller Gallery is currently featuring the art of Dustin Yellin. Yellin is best known for his works that involve layers of ink and resin. His work has been described as permutations of natural life and form. The exhibit marks Yellin’s 3rd solo exhibition in New York. He has been represented by Robert Miller Gallery since January 2005. The exhibit, titled Dust in the Brain Attic, will come to a close on May 22nd, 2009. For more information visit www.robertmillergallery.com or www.dustinyellin.com.

Art Space Talk: Michael Drysdale (Part 3)

Sitting in the cold by Michael Drysdale

This is Part 3 of my interview with Michael Drysdale. To return to Part 2 click, HERE

Brian Sherwin: You mentioned to me that you have been diagnosed with HIV. Would you mind discussing how having been diagnosed with HIV has changed your perspective on life?

Michael Drysdale: It was a difficult thing, I don' mind discussing it, I contracted HIV/AIDS while working as a missionary for the Church, in another disaster area, we were trying to save children trapped under a collapsed building, and we were pulling up bits of mangled iron and bricks, you name it, with our bare hands and a lot of blood was flowing on that day, everybody's hands were raw and bleeding, and of course, the HIV virus had freedom to flow.

About six months later I became desperately ill with a streptococcal infection in my lungs and my throat, I was then tested and diagnosed as HIV positive, it was only 4 years later that I progressed to stage 3 (Commonly known as full blown AIDS.) And I have been full blown now for six years.

Back to realizing the implications of being diagnosed HIV+ -- it was a shock, but having done so much work amongst people living with AIDS I had about 10 minutes in which to make a decision, and I decided there and then that I was not going to let this disease get to me, I was and still am determined that I am not going to lie down and die, I will live every day as if it is the last day on earth and I will use every opportunity that I have and every resource to make a positive difference in the lives of others, and that is where I have been for the past ten years, trying to make a difference.

It has not been easy, and I hope that perhaps here I might have a voice to say to everyone out there, "ARV's are not a cure, they only prolong life, do not go out and be reckless, it is no fun living on ARV's, the side effects are awful, be responsible" Ok I'm off my soapbox now. Yes it hasn't been pleasant living on ARV's, I have been on them for 5 years now, my CD4 count has gone up from 119 to 490, and my Viral load has decreased from greater than 500,000 to less than 50.

I suffer the most extreme nausea, sometimes vomiting for 3 hours at a time, even when there is nothing to vomit, I have extreme headaches on a daily basis, I have lost part of the feeling in my left hand, I have terrible temperature variations, these are only side effects but I am alive and I am still contributing to society.

Brothers by Michael Drysdale

BS: How is your experience living with HIV/AIDS reflected in your art?

MD: I have tried very hard to have some sort of conscience in my work, but again I have to try not to be offensive, which is a line so easily crossed, I have been working on a series for the past three years where I have been photographing AIDS patients in the extreme (Near Death) with all the horrors surrounding this awful disease, but as yet I haven't yet decided how far the conscience goes, so perhaps one day I'll release it as an exhibition, but as a celebration to life and the living.

One young woman I photographed, I stayed at her side for 3 days, and she had two small children, but the hospice would not let them near her, so I sat with her and held her hand, and I cried, I cried with her, I cried for her, and I photographed her, as she begged me "Please don't let me die?" the photographs are not offensive, they are exquisite, but my heart is in the photographs so as yet I cannot let them tell a story, maybe one day.
Sunday Lunch by Michael Drysdale

BS: Finally, have you sought any specific form of acclaim for the work you have done as far as your art is concerned and the documentation of your experiences? Or do you see that specific use of your skills as an artist as a selfless contribution? (I should make it clear that Michael agreed to this interview because we at myartspace.com felt it would be a good way to raise awareness about the project he is working on and the plight of the people he is attempting to help.)

MD: Honour means everything to me, so even though I could possibly win a Pulitzer Prize for documenting a disease, the honourable thing to do is to let it lie right now, or maybe forever. To be a photographic artist, I need to invade personal space, and I have to be trusted and respected, and those are two values which can only be earned.

These values are more important to me than selling a photograph, and if I can let values and respect show through in my work then I will have made a difference. Perhaps a very hard balance to achieve, but again the artist, any artist has a voice and an audience, and both must be used wisely, we as artists have an ability to make a difference.

This is the conclusion of my interview with Michael Drysdale. To return to Part 1 of the interview click, HERE



You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Feel free to discuss the interview and the art of Michael Drysdale on the myartspace.com Forum-- www.myartspace.com/forum.

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Michael Drysdale (Part 2)

Community in Decline by Michael Drysdale

This is Part 2 of my interview with Michael Drysdale. To return to Part 1 click, HERE

Brian Sherwin: Michael, can you discuss your experiences in Richmond and the project in general? What is day to day life like in Richmond?

Michael Drysdale: It's been different, I still have half of my belongings in Johannesburg, we spent our first two weeks sleeping under my grandson's travelling blanket, as all our linen and 90% of our clothes were left behind on the initial trip down, and right now I'm still waiting for all my equipment and boxes, and work tables, which will be here in about two weeks, so we're kind of camping right now, and turning the whole thing into an adventure, I have no stove here, so we're doing barbecue's every night, and my poor grandson still doesn't have a single toy here, but we're all coping.

Richmond is a really small town, and I am used to having the streets buzzing around me 24/7, but here at 5.00pm the streets are deserted, everybody goes home and they close there doors and that's it till 7.00am, so that is taking some adjusting. There is only one store in the town and on Saturdays at 1.00pm they close and don't open again till Monday 8.00am, so that's been another adjustment, in that I have to have everything I need before 5.00pm weekdays and before 1.00pm on Saturday or I go without.

The streets are very quiet, bumper to bumper morning rush hour traffic, "What's That" here rush hour is five cars going past on mainstreet at ten minute intervals. The streets though are safe, I don't have to worry about being mugged anymore, I was mugged 5 times in one year in Johannesburg.

BS: Did the community welcome you? Are you accepted?

MD: The farming community are rather conservative, and they find it very strange that I have come here as a white man with a black grandchild, but little Theo is a charmer, and he is fast winning the hearts of the residents in the town, I thought he would find it difficult to fit in, but even though he doesn't speak the language, he has terrific leadership abilities, and has all the community children running around after him.

He had his first day at school and when he came home I asked him if he enjoyed his first day, only to be told "No Brampa, there were two girls following me around and I told them not to, and they wouldn't listen." So I gathered that he had a fabulous day. He's at an age where all that matters are transformers, cars and trucks, and things with guns and bombs, girls do not feature.

I spend most days going around in the community and getting to know the people, as my first step in being successful, I need to be accepted here, then everything
else will be easy.

Lunch at The Soup Kitchen by Michael Drysdale

BS: Can you go into further detail about some of the difficulties you have had in trying to help? I understand that it has not been easy.

MD: I have been coming to the soup kitchen everyday to read to the children, as they need an escape from reality as much as they need nutrition, and carrying storybooks around is quite a mission, but the soup kitchen doesn't always operate, so the children don't come, which is troubling as it should be running 7 days a week. Here we're still
working at getting the project up and running, I'm still trying to raise funding as well as equipment, as I can't start skills training until I do.

The property that I've been given to run the project needs to be secured, and repaired. I am down here currently without any form of fixed income, so I have nothing coming in, I have been blessed in that I have a terrific family to help me and wonderful friends, and I am grateful to them for keeping the wolf from the door so that I can get this project up and running.

Story Time by Michael Drysdale

BS: Michael you have mentioned that due to the state of the economy it has been difficult to do fundraising compared to the recent past. I'm sure fundraising in general always involves struggle-- that said, can you discuss how the situation has become harder in the last few months?

MD: Yes fundraising is always difficult, as most donors or Grant givers have very specific requirements as to what they are prepared to fund eg: some will fund children's education, others will fund water projects, and others will only fund projects that target women's issues, so generally it is difficult, and the norm is that for every 20 doors you knock on one will open, and you'll get a small portion of your requirements, so I probably still have a thousand doors to knock on.

The current economic crisis has made it harder, as donors who are usually large corporate entities, are feeling the financial pinch, and one of the first place where they cut the budget is on the disbursement of grants, usually because they are using funds to stave off bankruptcy.

But I have managed to gain absolute legitimacy for the Richmond Community Trust in that the South African Government will be involved in the project, I have a mandate from the Dept. of Labour, and the dept. of Social Welfare as well as The dept. of Agriculture, which is a major coup for me, as many donors, have as a funding requirement the involvement of central government.

I am a go getter, and no matter what I will make this project work even if it means flogging my photographs on a street corner to raise money, I'll make it happen, as this is a community in desperate need.



To read Part 3 of my interview with Michael Drysdale click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Michael Drysdale (Part 1)

Michael Drysdale is a South African Fashion and Interior designer, motivational speaker, AIDS activist, humanitarian and community development consultant. Drysdale is a promoter of cultural diversity and an Anti Racism Campaigner-- a core of values that he brings into his work as a photographer and artist.

Michael Drysdale is also the founder of Pakedi South Africa, a design company that donates income from all sales to the Richmond Community Trust. Drysdale’s goal is to help improve skills development poverty alleviation in Richmond. He took the time to answer some questions about his project and his experiences in Richmond. For more information visit, www.nyaxe.com/pakedisa or www.pakedi.co.za.

Bone Weary by Michael Drysdale

Brian Sherwin: Michael, you have explored several mediums. You have created sculptures, fashion design, paintings, photography. can you discuss your work in general? Perhaps you can tell us about the different stages of your visual exploration?

Michael Drysdale: Life is a visual experience, and living in a magnificent country such as South Africa which is described as "A world in one country" I am constantly bombarded with changing images. Having been born a natural social worker (my family fight with me constantly about actually giving away the clothes from my back) I have moved through different communities throughout my life, and during the Apartheid years I was constantly in trouble for being "on the other side of the tracks" But this has led to my visual growth as I have been exposed to different vistas of my country as a landscape as well as the different vistas of life, form the wealthiest to the poorest of the poor. And seeing these constantly changing images I've always tried to capture them and preserve them.

As a child I grew up under my grandmother's feet and she was always busy making things, if not on the sewing machine then it was in the kitchen where her pantry was an Alladin's cave for a child. She was instrumental in encouraging me to do things with my hands, and thus I started making things, going to school I had a wonderful Art teacher Nelly Byrne, who encouraged me to paint, I was surprised to see 35 years after I had done a painting in grade one of a tree, she still had it framed in her house, so I began capturing images of nature as a child.

My riding instructor, was a brilliant artist and sculptor Antoinette Markus and she encouraged me to sculpt, here I started to capture the magnificent beasts and to really capture both the strength and the gentleness in these creatures.

After school I did veterinary nursing, but the fashion bug bit and I packed my bags and went to Iceland where I did an apprenticeship in fashion design, once again capturing the beauty of movement in fabrics and learning to create 3 dimentional masterpieces, culminating in my dressing miss world Linda Petursdottir and several of the European beauty queens, this all as a very young and immature individual.

Coming back to South Africa, I was totally taken back by the poverty, after having evidence enormous wealth in Europe, and decided to use my creativity and my skills to make a difference in the lives of others. but I began this stage of my life also as a young inexperienced individual, eleven years later and I have finally grown up, with a few thousand miles under my belt and a wealth of experience.

I have discovered myself through the poverty stricken people that I have been teaching, I have been forced to evolve on a daily basis, and push my talents to the limit, which I feel I still haven't even opened yet. Working in the cholera epidemic that shook South Africa to it's roots was the spark to my photography, I had so many images, of people dying and desperately ill, in the magnificently beautiful surroundings of the Kwazulu-Natal countryside, I was constantly asking my self "It's so beautiful here, how can these people be dying?" So I bought a cheap camera and started to capture images, most of which were awful, but I began my journey of "Painting with Light" (Which is the definition of photography)

Street Kid by Michael Drysdale

BS: You are no stranger to fighting for good causes-- you are a motivational speaker, AIDS activist, and you have actively promoted cultural diversity and an anti-racism campaign. With that in mind, my understanding is that at the heart of your work is the idea that great change can be spurred by means of creativity. How can artists and the work that they do help to support the type of change that you have strived for?

MD: It's a difficult question to answer, but I think that the simplest answer here, is that artists have a captive audience, an artwork is constantly on display, and if it can carry a message, albeit to just highlight an image which will make the viewer think about the subject, they will have succeeded. I try to highlight images around me, the beautiful and the ugly, sometimes I try to capture something terribly ugly in a beautiful way, in the hopes that people may think.

On my web-site is a poem called "Imagine" which I wrote about a beautiful young girl in the slums of Hillbrow whom I used to visit, I think this poetry writing was a beginning to my journey into photography, instead of verbalising the vision, I have begun to capture it with a lens. Here in Richmond where I have come to work at alleviating the most terrible poverty I have started to capture the decline of the community by photographing their homes that are disintegrating, I must admit that I haven't yet the courage to photograph the people, but as I get to know them I will do that too, with their permission.
Townhouse by Michael Drysdale

BS: I understand that you recently returned from a trip to The Karroo, a semi-desert region of South Africa. You were invited to help people living in abject poverty in the town of Richmond. You have since decided to move into the community? Correct? What has that been like?

MD: Yes I've packed up my home, my studio, my grandson whom I have been raising since his birth and my animals in Johannesburg to come here, it's been quite earth shattering, more for my family than me, as they have gone through many emotions in that I have litteraly come to the back end of the world, as The Karoo is South Africa's version of the Australian Outback, it is the middle of nowhere.

It's strange moving into a new community, especially a small one like this, where it is very closed, so making friends is harder than moving into a big city, and my grandson doesn't speak the local language so he has a lot moreadjusting to do, but, I always adapt to my surroundings, as the key to community development is not to just dump aid onto the community but to become a part of the community, to share their troubles as well as their joys, and I have always been the sort of person who just "Jells".

To read Part 2 of my interview with Michael Drysdale click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Stoked Sessions Los Angeles 2009

Stoked Sessions Los Angeles 2009 is an art auction and fundraiser for Stoked Mentoring-- a non-profit action sports organization for at risk youth. Stoked teams up with artists annually in order to raise money for the program. 100% of the sales benefit Stoked Mentoring. This year Upper Playground is currently involved with Stoked Sessions: “I Love LA” at their flagship Los Angeles location. Today is the final day of the two day even-- so if you are in the area do check it out and show some support! For more information visit, www.stoked.org or www.upperplayground.com.

Berliner Unkraut, at 111 Minna Gallery

111 Minna Gallery is currently preparing for an exhibit titled Berliner Unkraut,. The exhibit is curated by Gabe Scott and artist Jay Howell and will feature works by Johan Potma, Tina Zellmer, Mateo Pisa 73, and Evol. Berliner Unkraut, is scheduled to open on May 7th. For more information visit, www.111minnagallery.com.

Envoy Enterprises, Split; Catherine Tafur Solo Exhibition

(c) Catherine Tafur, "Filter" image courtesy of the artist

Envoy Enterprises

131 Chrystie Street

NYC, NY

Split; One Night Only, Solo Exhibition

Catherine Tafur presents works on canvas, paper and a live performance at Envoy Enterprises.

“Cha- Cha- Cha Changes, turn and face the strange...” Catherine Tafur’s works explore ideas surrounding gender, sexuality and loss of innocence through images of androgynous figures painfully mutated and transformed.

These “changelings” bare their innocence, pain, sexual pervasiveness and mutations openly to the viewer. Both Beautiful and disturbing, some recall mythical combinations of human – beast not made from divine sources but rather painful interventions. “Bisters”, drawing on paper depicts the boy- girl figure with small horns, a snout and blisters forming on the small chest. The body language also ambiguous seems alarmed at s/he’s discovery reacting as if caught off guard poised to run for safety or making a defensive stand towards the unknown pursuer.

(c) Catherine Tafur, "Blister" image courtesy of the artist

“Family” drawing on paper, depicts two larger pubescent figures with gas mask-like head gear holding the small child off it’s feet as they wrangle a tiger mask over it’s head. The suspended child hangs motionless with arms revealing more of a startled fear of an unknown result similar in feeling to stories of forced clitorectomies on young girls. Though the older figures clearly possess both gender physicality’s it is more the stance that suggests the more masculine of the two alluding to the offense of the mutation is from both genders.

(c) Catherine Tafur, "Family" image courtesy of the artist

Catherine Tafur’s performance, a minimal set up consisting of a drawing easel with a drawing of a window with a tree outside. On a small pedestal; charcoal, lipstick, hand mirror, eraser, knife and clear large lidded jar. Tafur plays a soundtrack comprised of therapy sessions, phone messages, readings from the SCUM manifesto by Valerie Solanas and sounds sampled from online pornography layered onto a guitar piece. She draws, erases, re-draws, cuts, and strikes out, the figure and structure of the work continually redefining through process. Her acts are synced with the recording. One memorable act in particular was watching her applying lipstick to her mouth as she kisses the figure’s groin area that is left blank. She then kisses the torso as if healing the wound in an act of love.

And so it begins...

The sound begins with Tafur saying, "Once upon a time, I lay naked, trembling and crying on a bed. I had nothing. I looked out the window and I saw a tree."

Tafur states, “the performance takes as it’s initial narrative, an autobiographical account of past sexual trauma. It then morphs into a hateful rage that becomes directed to the self. The piece is a metaphor about the creative process and the transformation of conflict in art. “

This was Catherine Tafur’s first performance piece. The audience gathered around sitting on the floor or standing. My knee cracked a bit getting up and well worth the effort. I’d gladly do it again to catch her next performance
You can find the performance in it’s entirety on You Tube:

www.youtube.com/watch?v=RTGVbPrIPFI

Dianne Bowen, www.diannebowen.com

Andy Kehoe: Living in Twilight at Jonathan LeVine Gallery

Jonathan LeVine Gallery is currently preparing for a solo exhibition of new works by Andy Kehoe. The exhibit, titled Living in Twilight, will feature a new series of oil and acrylic painting on wood panel by Kehoe. The exhibit will include some of the largest paintings created by Andy Kehoe to date. The solo exhibit at Jonathan LeVine Gallery will mark Kehoe’s first solo show in New York and the largest collection of his work in a single exhibit to date.

Andy Kehoe’s allegorical compositions are painted in a strict palette of rich earth tones beneath a fine layer of crisp black accents. His work often involves themes of alienation and the concept of finding peace in solitude. His isolated figures are often surrounded by the majestic grandeur of nature. Kehoe’s body of work draws inspiration from folktales and mythology. In his work the viewer observes visual narratives of the fantastic and grotesque. The exhibit opens May 16th, 2009 and will come to a close on June 13th, 2009. For more information visit, www.jonathanlevinegallery.com

Russ Mills aka Byroglyphics at Signal Gallery

Signal Gallery is currently preparing for an exhibit, titled Domestic Science, that will feature the art of Russ Mills aka Byroglyphics. The exhibit will feature large mixed media canvases that explore movement and the figure. It should be noted that Byroglyphics launched his career independently online by producing a series of prints that quickly captured the imagination of the public. The exhibit will be open on May 22nd at Signal Gallery in London. It will come to a close on June 13th, 2009. For more information visit, www.signalgallery.com.

ArtPrize competition receives criticism from critics and art dealers

I've read some buzz about the ArtPrize competition. A few art critics and NYC art dealers have called it a sign of desperation rather than an opportunity for artists-- implying that anyone who enters it is 'just desperate'. In fact, one critic of the competition-- András Szántó -- suggested that anyone who wins the competition will never be accepted in the mainstream art world.

András Szántó also suggested that the $400,000+ cash prize should have been donated to existing art programs or as grants to artists who are represented by notable galleries. He actually made the case that only a select few should dictate what is 'good' art or 'bad' art instead of the general public-- backing the idea that only certain individuals are capable of understanding or appreciating art.

Szántó stated, "we already have a system for recognizing meritorious artists", "Would we pick heart surgeons this way? Architects? Firemen?", and "Rather than creating yet another channel of art-world mobility, how about improving what we have?" The only problem with that opinion is that a lot of great artists are never recognized by the mainstream art world-- or are cast aside due to gender or age -- so one could say that the 'system' Szántó speaks of has failed.

That said, I would have to ask Szántó if that is a sign of the failure of art critics or a sign that maybe, just maybe, there should be more opportunities for artists in general. At the very least there should be more rights for artists within the 'art world'. There is always room for the 'system' to improve, right? If needed there is reason for the 'system' to be destroyed and built again with the advances of today and the idea of equality in mind, true?

The basics of ArtPrize from the ArtPrize site: "At ArtPrize, any artist—from established to emerging—has the chance to show work. Any visitor can vote. The vote will determine who wins the largest art prize in the world. We also took the unusual step to allow people in the city to open a venue and choose the artists to show in their space. There is not one official curator or jury for the competition."

The main point of criticism about the competition is the fact that the public will decide the winner. In other words, those who have spoken out against the concept of ArtPrize feel that the competition is worthless to the winners since the competition does not involve professional jurors (I guess it would be a better competition if it involved them?). True, I prefer art competitions that involve a strong panel of jurors. That said, I don't think an artist is "desperate" if he or she decides to enter an art competition that is judged by the public.

My opinion is that the critics of this competition are stuck in the past and fear change. They fear the same public that they strive to reach out to with their art criticism and exhibit reviews. They don't want the flood gates of the art world to be opened to the public-- while at the same time it is common for these same individuals to complain about how the general public is not interested in art. It is obvious that they want the 'system' to change-- on their terms. They want a segregated system that supports the faces and spaces that they praise while upholding a facade of public inclusion-- just as it has always been.

I think the words of András Szántó reveal that some key players in the mainstream art world are wary of online juried art competitions in general regardless of how they are judged. After all, there have been a number of online art competitions involving jurors from the TATE and other high profile museums and galleries (including myartspace.com competitions-- www.myartspace.com/contests) and, as far as I know, none of the ArtPrize naysayers embraced those competitions. Thus, it would seem that certain individuals are not very accepting of online art competitions in general-- or the way the internet is changing the art world for that matter. Why? Because art competitions of this nature are a thorn in their 'system'.

There is obviously a fear of public opinion coming from those circles. In fact, one comment suggested that if the chosen work does not reflect the choices of professional art critics it would mean, at least in the eyes of the public, that the opinion of high profile critics does not really matter in dictating public taste for art. I think people already know that though-- people like what they like regardless of who said what, when, and where.

It is amazing to observe the unease that the internet has caused for traditionalists within the core of the art world. These are the same type of individuals who scoffed at the importance of having a website in the 1990s. Because of that the majority of the art world is only now catching up to technological standards that other businesses have long embraced.

In closing, one could say that the internet is forcing a few key art world figures to release their grip-- or has at least forced them to think about their future relevance within the art world as a whole. Is it a sign of desperation if an artist enters ArtPrize or any other online art competition for that matter? I don't think so. It is just an opportunity-- an opportunity that some artists will enjoy participating in.

That said, I think individuals who openly scoff at online art competitions are truly desperate-- especially when they talk about their beloved 'system' and how competitions of this nature threaten said 'system'. What say you?

Links of interest:

ArtPrize
www.artprize.org

myartspace Forum debate
www.myartspace.com/forum/topic.php?id=76&replies=1

The Thorny Authoritarian Issue : Open Thread -- Winkleman Blog
http://edwardwinkleman.blogspot.com/2009/04/thorny-authoritarian-issue-open-thread.html

The Prize of Desperation
www.artworldsalon.com/blog/2009/04/the-prize-of-desperation/

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

The Future Is So Bright at 666 Gallery

666 Gallery in San Francisco is currently involved with an upcoming exhibit titled The Future Is So Bright. The group exhibition will feature artists from the Bay Area and Portland, Oregon. Including, Nas Chompas, Mark Warren Jacques, Alexandra Steele, and Kyle Lee. The Future Is So Bright opens on May 15th, 2009.

The artists will be exploring different themes. However, they are united with an overall idea that embodies an earthly spirituality and organic quality. 666 Gallery is an experimental space for emerging artists from around the country. It is located on 66 Sixth St. in San Francisco. The gallery currently does not have a website, but can be reached at 666gallerysf AT gmail.com.

Mickalene Thomas at Lehmann Maupin

‘Don’t forget about me (Keri)’ by Mickalene Thomas

Mickalene Thomas‘s exhibit, titled ‘She’s Come UnDone!’, at Lehmann Maupin in Chelsea comes to a close today. The exhibition-- which is Thomas’s first solo exhibit in New York, features photographs, paintings, and collages. Mickalene Thomas is known for creating elaborate paintings adorned with rhinestones, colorful acrylics, and enamel. Her work often depicts African American women in a kitschy 1970s Blaxploitation style. These works explore notions of black female celebrity and identity while romanticizing ideas of femininity and power. For more information visit, www.lehmannmaupin.com

Art Space Talk: Catalina Viejo (Part 3)

American Gothic by Catalina Viejo

This is Part 3 of my interview with Catalina Viejo. To return to Part 2 click, HERE

BS: Catalina, what are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

CV: I think the internet is great to get an initial introduction of your work out there. It is great that someone across the globe can see my work who would otherwise not have a chance to see it. Of course, any work of art can only truly be experienced to its fullest, by being infront of it, but for a general introduction, I think the internet is great.

BS: Will you be involved with any upcoming exhibits?

CV: I recently had a show "Color Correspondence" of my recent letter collages in the mimi gallery in Ipswich, MA. Also, several of my letter collages were accepted to Tufts University Annual Summer Juried Exhibition and will be in display at their Art gallery all summer.

Shopping by Catalina Viejo

BS: Do you have any concerns about the art world at this time?

CV: Not necessary concern, since I believe artists are going to make art no matter what. However, I am intrigued by how the economy and the new president is affecting artists and their materials and subject matter.

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

CV: I definitely think copyright is necessary for any artist. I think it’s a case by case thing. Its very different if someone very obviously steals an image from another artist, or is simply inspired by it.

La Alfombra Roja by Catalina Viejo

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

CV: Not really. I am still making paintings and collages. It might take me a little longer to save up for good quality paints or materials for the paintings, but I end up getting them regardless. As for the collages, most of my materials are found papers so the economy has no effect on them. Lately I find, that a few more artists are starting to use renewable materials in their work .

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

CV: Only that people can keep updated about my art by visiting my website, www.catalinaviejo.com.


This is the conclusion of my interview with Catalina Viejo. To return to Part 1 of the interview click, HERE

You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Feel free to discuss the interview and the art of Catalina Viejo on the myartspace.com Forum-- www.myartspace.com/forum.

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Catalina Viejo (Part 2)

Letter to Hans Hoffman by Catalina Viejo

This is Part 2 of my interview with Catalina Viejo. To return to Part 1 click, HERE

BS: What about other influences? For example, are you influenced by any specific artists?

CV: I am constantly looking at everything around me for inspiration. Trash on the ground, papers, graffiti, architecture. I am very sensitive to the divisions of space around me and any sort of mark. For both mediums, I look a lot at Vermeer, Jenny Saville, R.B Kitaj, Hockney, Kurt Schwitters, Gaugin, Euan Uglow and Peter Blake to name a few.

Letter to Katie by Catalina Viejo

BS: So what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

CV: Be it a painting or a letter collage, I introduce a new individual to the viewer. Someone or something that they can get to know.

In the letter collages, I make it a point that words are not necessary to convey feelings and thoughts. The human being is very sensitive to patterns around him/her, and color and light is plenty of information to get a specific message across.

Circle Notes by Catalina Viejo

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

CV: I am continuing my series of letter collages and also starting a new series of paintings.

The titles in the letter collages are becoming a lot more abstract. My earlier letters were aimed at specific beings, such as "Letter to Paul Newman" or "Letter to God" but the recent letters are expanding into "Letter to those who think outside the box" and "Letter to Spain".

As for the paintings, it is a series of 12 panels. Six of the panels are representing single individuals and the other six are self portraits with people and figures that have made a strong impact in my life, such as my sisters, or the Virgin Mary.


To read Part 3 of my interview with Catalina Viejo click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Catalina Viejo (Part 1)

Catalina Viejo has a strong interest in the portrait and its surroundings. In her paintings she emphasizes how important it is to introduce the figure in a challenging space. Catalina states that the space around the portrait is just as important as the portrait itself. Thus, she investigates the division of the painting surface and the relationships of the figure to pulsating color and pattern environments.

Catalina also creates collages. Either figurative or abstract, the collages adhere to the same rules of divisions and layering as her paintings. When combining collage with other mediums to create a figurative collage, she makes sure that all mediums on the piece emerge simultaneously to create a single balanced piece. Catalina states that she enjoys the immediacy she gets from the collages and the fact that they have helped her in the division of large and small ratios in her paintings.

Catalina has worked on a series of letter collages. Each letter is aimed at a very specific being. They vary from people, such as Letter to an Artist and Letter to Mama y Papa, to more abstract entities such as Letter to Barbara’s Womb or Letter to the Night. Just like any letter, Catalina thinks about what she desires to say and who she is saying it to. She states that she translates her feelings about the person, being or thing and the emotions that they express into a combination of shape and color. In other words, a letter to her lover will convey a very different type of excitement than a letter to her parents.


In the Light by Catalina Viejo

Brian Sherwin: Catalina, what can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

Catalina Viejo: I went to Montserrat College of Art in Beverly, MA. It is a very small school (less than 400 students) but that is what I loved about it, since you really developed a personal relationship with professors. All the professors there are great, all very different from one another so you just took a little bit from each and bloomed into your own work.

BS: Tell us about yourself. At what point did you gain an interest in creating visual art?

CV: I am originally from Spain and I went to school in Dublin, Ireland for many years. I then came to U.S for my Bachelors in Fine Arts. I’ve had an interest in creating art ever since I can remember. When I was really little I used to make drawings and paintings and sell them to my parents in order to earn some money. I stuck with making art ever since.

Alejandra by Catalina Viejo

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

CV: I have two main bodies of work. My representational paintings and my abstract collages. I work on them pretty equally since each medium allows things to be said differently. The paintings tend to represent figures among environments that speak directly about them.

The abstract collage letters are a series of letters in which I think of a person or thing that I would like to write to. I think about what I want to say and translate those feelings into color. Literal words are replaced by little shapes of colored paper that I feel convey the thoughts just as well as words would.

David by Catalina Viejo

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

CV: For the paintings I use many many layers to achieve depth within the paintings. I will sometime use photoshop to modify compositions and placement of objects.

In the abstract collages I cut and glue each little shape by hand. It is very time consuming, but there is something very therapeutic about it. I tend to use papers that I find on the ground. That way they already have a history to them that can be incorporated in the letter.


To read Part 2 of my interview with Catalina Viejo click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Motion Parallax at Franklin Parrasch

Alexis Rockman
"Corpse Flower"
1989
Pencil and ink on paper
18 1/8 x 24 inches


The conceit behind Franklin Parrasch Gallery's recent exhibition "Jason Fox/Alexis Rockman: Motion Parallax" is simple:

"From 1988-2002 [artists Jason Fox and Alexis Rockman] shared a studio space - divided by an eight-foot high wall - that kept them physically apart while audibly in close range. Over that wall, a flow of ideas, conversations about life and art, as well as a host of objects were lobbed back and forth on a continuous basis."

It's a slight concept, but I like the idea; the personality and interests of a studio mate can markedly affect one's work. I imagine the two young artists engaged in happy labor on their respective sides of the studio partition, creative energy and ideas inspiriting the space.

Odd, then, that I don't see a "flow of ideas" exchanged in the artwork. I acknowledge a certain shared boyishness - Fox likes "super-hero comics, science fiction movies, [and] hard rock album covers," while Rockman is into "gargantuan insects, morphed mammals, and carnivorous flora" - but the paintings and drawings at Franklin Parrasch don't provide plain examples of conceptual intercourse between the two artists. It seems a stretch to argue that Rockman's alternately earnest and winking examination of natural history and environmentalism shares "overriding concerns" with Fox's grisly pictures of humanity's dark or lugubrious qualities.


Alexis Rockman
"Cloud Forest"
1994
Pencil and ink on paper
18 1/8 x 24 inches


Curatorial concepts aside, however, "Motion Parallax" has a lot to offer. Fox includes several strong, mixed media paintings of red masks and skeletal angels that prefigure his more mature and better known work. Rockman's early works are often excellent, and his watercolor paintings and drawings are generally superior to his oil or acrylic efforts.

At Franklin Parrasch, two of Rockman's ant species portraits are particularly striking, and his pencil on paper series of "Untitled Field Drawings" is comprised of eleven handsomely rendered vespids, mosquitoes, mantids, beetles, a walking stick and one spider.

Rockman's more loose, playful pieces are especially remarkable. Works like "Cloud Forest" marry illustrative detail to explosive and vibrant ink washes, and Rockman's "Corpse Flower" flirts with an almost Kandinsky-like lyrical abstraction (though I doubt the urbane Russian would have smiled upon a parasitic plant so named because it stinks of rotting flesh in order to attract potential insect pollinators).


Alexis Rockman
"Untitled Field Drawings" (1 of set of 11)
1994
Pencil on paper
7 x 0 1/4 inches


Photo credit: all images, Alexis Rockman; courtesy Franklin Parrasch Gallery

(Note: This post originally appeared on the art blog, Hungry Hyaena.)