ART BLOG
Blog Archives July 09 | Blog Archives June09 | Blog Archives May 09 | Blog Archives April 09 | Blog Archives March 09 | Blog Archives Feb 09
| Blog Archives Jan 09
ARTICLES FOR THE MONTH OF AUGUST 2009
Malibu – the Sun, the Beach and the Art
Well, the summer is almost over –at least August is. The heat wave we’re experiencing at the moment will probably drive a lot of you to the sea this coming weekend in search of a cooler breeze. If you are thinking of hitting the beaches, why not take in some art after an hour of sun and sand? Seven contemporary art galleries who normally operate downtown in the Chinatown area or in trendy Hollywood have rented a former high school building in the Malibu County Mart to organize the First Malibu Annual Contemporary Art fair which opens tonight (Friday) and runs through the weekend. The gallery owners hope that the weekend fair will bring in lots of local Malibu residents who, given the prices for homes in the area, probably have the means to invest in art. If the buyers don’t come to you, then you take your wares to the buyers. It makes good business sense and we hope that this inaugural event will lead to many future contemporary art fairs in Malibu.
Update on the Iraqi Picasso
Experts in the Art World are casting doubt on the authenticity of the ‘Picasso” that was seized by Iraqi Special Forces in the southern city of Hillah. The painting titled “The Naked Woman” carries inscriptions and a tag on the reverse side that led authorities to believe it was a real Picasso, looted from Kuwait during the 1990 invasion by Iraq. However, the misspellings and mistakes within the inscriptions point more to a forgery. One inscription reads “sold by the louvre to the museum of kuwait” – written all in lower case. A stamp on the back bearing the name “Louvre Museum in Paris” has no resemblance to official stamps used by the Louvre. In addition, an official with the Louvre has declared that the museum has never had the Picasso in its collection and, in any case, is forbidden to sell artworks from its archives since they are government property. The Art Loss Registry in London that records and traces thefts of artworks worldwide, has no such painting listed as missing. All in all, the evidence points to a fake –so please disregard yesterday’s information about the stolen Picasso, recovered in Iraq.
A Stolen Picasso is recovered in Iraq
2009 has been a good year for discovering unknown works by some of the great masters of art. So far this year we have published articles on the Artlanow Art News Blog about hitherto unknown Leonardo’s and Michelangelo’s and now it is Picasso’s turn to make the news.
Special Forces in Iraq have arrested a man planning to sell “The Naked Woman” by Picasso, a painting that was looted from Kuwait when Saddam Hussein’s army invaded that country in 1990. The painting was seized during a raid on the suspect’s house August 25 near the city of Hillah. A spokesman for the Iraqi police said that the man arrested was planning to sell the work for $450,000 –a nice bargain for someone, since the estimated price is about $10 million. The painting, which is signed by the master and bears inscriptions from the Museum of Kuwait is being held as evidence while the suspect undergoes investigation.
Is Art is good investment when you’re on a tight budget?
Most people buy art as decoration for the walls; it is the final touch in home design that matches the furniture, fixtures, carpets and drapes. The art embellishes and creates a whole ensemble, designed to be agreeable, relaxing and comfortable. Art, however, even in-expensive art can be more than decoration for the home –it can be an investment. In the high end market some investors rank art second only to property as the best place to put their money. Investing money, at every level, requires educated judgment and the same principles that determine successful investing exist whether you’re buying a Picasso or an unknown local artist. Investing in art can be done on a small budget. It was recently proven by Herb and Dorothy Vogel of New York. Postal worker and librarian before they retired, the Vogels amassed a collection of 4000 artworks over a 40 year period that is now worth millions. They did this by constantly visiting galleries, by educating themselves about the careers of young emerging artists - and by buying their works when they were still relatively unknown. It sounds easy enough to do, right? Investing successfully in any ‘commodity’ is rarely an easy task but
if art interests you more than stocks and shares, and you think you’re prepared to do the homework, then affordable art, if well chosen can be as profitable as any other investment. The secret, of course, to good investing is to make the right choices.
Don’t think that just because you like art and maybe paint a bit yourself (perhaps you even took a few art history classes in college) that you have a good basis as an art investor. Even if you can tell your Manet from your Monet, don’t jump in with your Money until you done some serious homework and some introspection. Learn the ropes. First find out what kind of art lover you are by visiting galleries and art museums. Museums will give you an indication of the successful past but in galleries you’ll see what's going on in the world of art right now.
Galleries and exhibitions are the marketplace; you’ll see the good and the bad, but you must attend them to know what's going on. As a bonus, you get to ask “knowledgeable” gallery staff lots of your questions -- but bear in mind, they are first and foremost salespeople –out to make a sale. Remember also while you are doing the rounds, the art world is like any other market, though it lives on what's happening today, the real investors hunt for what will happen tomorrow.
When you’ve done enough research and are ready for your first investment in art, probably the best way to ensure some return on your outlay is to purchase art that you like. That way, at least you’ll have something to look at every day that is aesthetically pleasing. Having “monstrosities” hanging in your home while you wait for them to increase in value can be depressing.
Once you’ve taken the plunge, keep yourself continually informed about the innovations and changes in the art world by reading the art section of your newspaper and local magazines. There are quite a few periodicals (in L.A. – Art News, THE Magazine and the L.A. Weekly) that are specifically about art and the ongoing art market with reviews and info on current trends. Maybe, go one step further by seeking out an advisor and consultant.
In any investment market it is always useful to have a trusted advisor –someone with more experience; someone who has a proven track record of making good investments in that market. The more you frequent exhibitions, galleries and openings the more people you’ll meet and the more chance you’ll have of coming across someone who has that experience. You will be surprised how many familiar faces you begin to see after you’ve been to a lot of gallery events. At the same time you’ll be able to make clearer judgments about the different gallery dealers and your willingness to accept one of them as your advisor.
What type of art should you invest in as your “portfolio” develops? As with any relatively unknown company, here is no way to gauge what the future will bring. A diverse portfolio of investment is generally the safest route to follow and the same is true of art; when one medium or style goes up another goes down. The Vogels of New York, whom we mentioned at the beginning of the article, had hundreds of artists’ works in their collection but the real monetary value was concentrated in only a tenth of them –and not necessarily in the works they preferred themselves. Perhaps, the best advice is to start with what you like and then, as your taste and judgment change with experience, branch out with acquisitions that are based on understanding the attraction of the artists work to a different type of collector.
The question still remains; is art a good investment? The truth is that some people can make money out of anything; but if you are someone who thrives on the flashing tele-text numbers and stats of the stock exchange, then art investment is probably not for you. In the art world change occurs slowly and, whatever changes do occur, are difficult to explain by numbers and logic. Investment in art requires patience and faith. Trends in the market are slow processes; there is no set time to sell; art is not a field in which investors make money with quick trades; in general art appreciates over many years or even decades. In fact, some statistics show that over the last 50 years, investment in art has outperformed the Standard and Poor 500 Index with an average of 15% annual return. When asked for advice most successful investors reply with the same simple remark “Buy low sell high.” That’s how it is; when investments succeed, the explanation for success is very simple. When an investment tanks there are always a thousand complicated reasons for the failure. It’s your money - you decide.
A call to Los Angeles Artists for Submissions to an Open Regional Exhibition
VIVA Gallery over on Moorepark St. in Sherman Oaks has done some exceptional work over the years promoting local artists at all levels. The gallery has worked hand in hand with several local art associations and societies when organizing annual exhibitions ad events that bring their members together. The VIVA has published, online, a call to all Southern California artists to participate in an Open Regional Exhibition to be held from January 6-January 30 2010. They are accepting submissions in all media, except film and video. All work must be original and must be hand delivered to the gallery. The number of works per artist is limited to 2 pieces and must have been completed within the last 3 years (and has not previously been shown at VIVA.) The fees are $30 for 1 or 2 entries. The Gallery will be charging a 30% commission on sales. If you’re interested send a SASE to 5704 McDonie Avenue, Woodland Hills, CA 91367 or phone 818-346-0855 for details. Visit the gallery website at hht://www.vivagallery.org for full information and a prospectus. The deadline for submissions to this exhibition is November 16, 2009.
How to Work with Art Dealers
Gallery shows are essential for getting your art in front of curators, critics, collectors, dealers, and other influential players in the art community. When you do get a show, take full advantage of the opportunity to bring in the plaudits and get recognition within the art world. With dealers there is a protocol that prevails and needs to be respected. Understanding the experience from the gallery’s perspective will help you navigate through the process more successfully.
When you are accepted for a gallery show, you and your dealer are basically forming a contractual or casual partnership. The goal of this partnership is basically to make the other party look as astonishingly spectacular as possible. Once you get your first show there is only one way you want to go –and that’s up; because down invariably means OUT –out of the game permanently. The artist would do well to remember, that once you’re in a gallery, the dealer is calling the shots—it’s his turf and his goal is to sell enough of your art to make expenses or else the gallery folds. Your skills are in making good art; his talents are in sales and promotions. A gallery show gives you exhibition space, a setting for your art to be on display for as long as the show lasts but, in addition, once the dates have been fixed, it gives you a purpose - to create a new body of work, a deadline by which to create it, a duty to discipline yourself in the process, and a place for you to present it when you're done. For the artist who is used to the freedom of working alone, without time constraints, without structure, and without knowing whether anyone will see the results (except maybe people who visit your studio), it is big change in mode and great responsibility. When working to a deadline interesting things (good and bad) can happen with your art when an element of pressure is factored in. On the positive side, from the moment you sign for a show, and for as long as your relationship lasts with the gallery, the dealer acts on your behalf and is there to advise and assist you to make the show as successful as possible.
The best dealers recognize talent, spot trends and sometimes even influence tastes. Simply put, they've got a grip on what the buyers want to see. Some dealers can even envision what artists are capable of, often ahead of the artists themselves, they can often see the future potential, and then apply that vision to the broader picture. They can guide their artists when they lose direction or become confused, they can provide overview, perspective, stability, or just plain support. The intimacy of the artist-dealer relationship depends on the degree of trust and co-operation that is formed between the two.
If your first show goes well, tomorrow you get another, and then another - a gallery show is a serious opportunity where you're up for public inspection and it's either impress the cognoscenti or else you’ll be back to your own studio and eBay art.
Bricks and mortar galleries are time and labor saving devices where buyers come to buy. Unlike buying directly from an artist where there's one option-- the artist-- galleries offer many options, including the option of browsing from one gallery to another in the same vicinity. It is true that lots of collectors buy directly from artists, but the majority prefers galleries, particularly those who don't have much experience, or who are trying to figure out what they like, or who want to get an education about what’s out there first.
A good gallery owner is a good curator, knowing what to hang where, how to arrange it, effectively presenting your work to the public while making sure you're satisfied at the same time. These talents come to the fore especially in group shows, where the gallery has to present the overall vision of the exhibition in a unifying manner, minimize any chance of confusion on the part of viewers, understand the needs of the artists, avoid conflict, and keep everybody happy. The job is analogous to the orchestra conductor who prepares the concert so that on opening night everything is flawless.
The dealers are there to sell your art for, acting as your advocate. As a qualified intermediaries, they can field the uncomfortable questions like "Is it a good investment?" or "Why does it cost so much?" or "What's your best price?" While it’s true that some artists are good salespersons most would rather have nothing to do with it and have the freedom to focus totally on their art. Experienced dealers have sold hundreds, if not thousands of art works, and their sales experience is what their most important asset. No matter how important your art is or how brilliant you are, there’s nothing better than having a respected dealer showing and telling people these things on your behalf.
Gallery representation is the first step on the ladder of ascendancy in the art world. It gives you the dealer’s connections with collectors, critiques, publications, museums and other gallery higher up in the dealers’ hierarchy. In the art world they all play different roles and the more experienced the dealer representing you, the more doors will open.
Determination, persistence, staying power and faith in your own talent are essential to out-running the vast competition that abounds in the art world. Do not denigrate any avenue that can help you get exposure, appreciation and recognition. Each method, whether it’s selling from your studio, selling online, at art fairs or at street markets –they all have their own advantages and flaws and should be pursued as means of progress. Learn from them all but persist with the goal of finding a real gallery that will give you a ‘real’ show. It is the only way to the top.
Art Gallery is accepting submissions
Getting an exhibition in a gallery is no easy mission to accomplish nowadays; the opportunities are rare and any avenue is worth exploring. So, here is an announcement that I came across by chance that was posted on Craigslist at the beginning of August. Given the avid competition between artists for wall space, and the more than two weeks lapse of time, maybe it’s too late…and maybe not.
An art gallery in the Phinney-Greenwood neighborhood in Seattle is now accepting submissions from new and established artists for inclusion in future shows. They show all types of artists, photography, painting, sculpture etc. but are mostly looking for something new and different to appeal to their clientele. Your work is more important than where you have shown before. Interested artists should respond with website, approx price ranges (sales subject to 40% commission), and if you have work or an existing show that is ready to hang (number of pieces?). Artists selling their work at an affordable price point have had most success in the gallery during the recent economy. Reply to: gigs-e2zyp-1298951143@craigslist.org
Got a few millions to spare? Andy Warhol’s portrait of Michael Jackson will be auctioned today (August18).
The Vered Gallery in East Hampton, N.Y. is auctioning off a 30 X 26 inch painting of a smiling Michael Jackson by Andy Warhol. The auction, conducted online, by phone and at the gallery is scheduled to close this evening at 8 p.m. EDT and last minute bidding is expected to be fast and furious. Since the sale of the painting, which depicts Jackson in his red jacket from the “Thriller” days was announced last month, few bids have been entered, however the gallery owners say that many potential buyers have registered to participate in this evening’s event. The painting is currently owned by an anonymous private collector. If you have a few million dollars to spare: you’re a fan of the king of pop-art and the king of pop music, this is must-have painting for you.
Are the minorities represented in art museums?
American demographics are changing rapidly and in some states today’s minority groups will be the majority in a few decades. American corporations, universities and government offices for years have mirrored the ethnic makeup of their communities, yet one sector seems to be sadly lacking behind – art museums. Though I have been unable to find any statistics concerning the ethnic background of art museum employees, I think it would be a fair judgment to assume that most senior management positions are held by white Caucasians.
In the 1990’s the Association of Art Museum Directors raised the issue of diversity in its agenda but few changes have been implemented in to the personnel structures of most art institutions.
There are obvious advantages to broadening the diversity of the workforce at all levels in art museums. With more representatives of ethnic minorities, especially at the helm, the focus of exhibitions and events will naturally go from “white orientated to colorful” - with content that does not appeal primarily to white, western Americans.
The current president of the American Association of Museums has stated that “the big challenge, nowadays for museum directors is how to deal with the increasingly diverse American public. When a visitor to a museum looks around and doesn’t see anybody who ‘looks like him/her’ among the other visitors or staff, the chances that he/she will come back are slim. Diversity is not just a moral imperative it also makes good business sense. Museum directors should read the US Census publication to keep in tune with their communities changing population.”
One example of a museum that has implemented changes in its administrative staff and public relations outlook is the Brooklyn Museum, NY. It has increased its percentage of non-white visitors from 17% to 45% in the past 12 years by promoting exhibitions that appeal to minority groups. Its director, Mr. A. Lehman has encouraged affirmative action in employment at the institution and many of the departments are now run by non-whites. Mr. Lehman has promoted a sustained and pro-active effort in the museum’s choice of exhibitions, relying on advice and input from his diverse staff. The museum’s monthly free “First Saturdays” are filled with events to appeal to the area’s African-American, Latino and Asian-American communities.
Here in Los Angeles, the LACMA has teamed up with the UCLA Chicano Research Center to launch a Latino Arts Initiative. To attract the large Latino community in Los Angeles, the LACMA wants to develop a series of exhibitions of US Latino and Chicano artists. The museum plans to devote more resources on focused programming, publications and community relations to reach the Hispanics in the area. The museum’s curator and adjunct curator of contemporary Chicano-Latino art are both of Latino descent and contributed to a successful 2008 exhibition dedicated to Chicano art. Despite the fact that half the population of L.A. is Latino, the last time the LACMA had organized a large show of Latino art was in 1975.
As the US population continues to change, the survival of museums in this country will depend on their ability to embrace diversity. If they don’t, they will become empty, lifeless halls that without visitors’ fees and public subsidies will literally go out of business.
The Artist went to paint a tree –and it wasn’t there!
British artist David Hockney, who returned recently to his native Yorkshire after spending many years here with us in Los Angeles, found himself confronted with an interesting dilemma. The artist had commenced a series of paintings that was to depict a cluster of trees in Yorkshire during all four seasons. Unfortunately when he came to the site to commence his rendering of “Spring” he discovered that the trees had been cut down.
The sycamores and beeches were felled because they were considered, by the property manager of the private estate on which they stood, to pose a hazard to tenants of nearby cottages. Mr Hockney had previously painted the scene in summer and winter and was dumbfounded to find only a pile of logs when he came back to the landscape with paints and easel in April. The Artist told local newspapers that the view (without the trees) looked like a scene from the devastation of trench warfare during the First World War.
Mr. Hockney can perhaps paint the new modified landscape without the trees and include it in the series as a statement about the destruction and changing of the land. Or, he can refer to his previous works and reconstruct the trees using his artist’s imagination. Either way, if it is a ‘Hockney’ it will sell for a lot of money.
A Berlin Hotel lets Artists pay for their stay with Artwork –not Cash
Here’s a novel idea that hotels might like to adopt here in the USA so that Artists can get a nice vacation in exchange for some art. A five-star hotel in Berlin has opened its doors to cash-poor artists, asking them to pay for their rooms and services with a work of art and not money. This extraordinary offer has been made by the directors of the Hotel Marienbad located on Auguststrasse in Berlin. The offer is open to painters, sculptors or conceptual artists forom outside of Berlin, itself who can transform the hotel with their artistic talents.
The hotel has launched the project in conjunction with the Kunst-Werke Institute of Contemporary Art. Designed as a way to stimulate interest in the hotel during the economic slump while revamping the overall conservative look, the project is to attract artists, who come to the hotel for short stays (mostly overnighters) and do some art while there.
A long waiting list of hopefuls has already been set up so the directors of the Marienbad will be able to carefully pick and choose, whom they invite to the hotel as ‘guests’.
The first Artist to participate was Douglas Gordon from Glasgow, Scotland, who is a previous winner of the prestigious Turner Prize. He designed the new red neon sign that protrudes from the hotel’s façade. Gordon was followed by a German couple from Frankfurt who adorned one room with 400 pieces of art made by students and teacher from the art school where they work. Artist Anna Jandt from Bremen helped create the installation shown in the photo below of a horse’s head mounted on the wall above the bed. (Since the days of “The Godfather” it’s definitely preferably to have a horse’s head on the wall and not in the bed!)
The Marienbad says it is open to all kinds of ideas, no matter how strange, providing the art adds something positive to the hotel or will attract new interest. One participant was a writer who gave a reading of his novel from his bed while listeners sat around the room. One up-coming ‘guest’ plans to transform a room into an area of comfort and contemplation in a tribute to the Eiffel Tower. (One can only wonder why; the famous Parisian landmark, is always packed with tourists from opening to close, and is hardly a place of contemplation and solace.)
Perhaps some of the hotel directors in the U.S would consider undertaking similar projects. Some of the same, same old room décor that we find in all the chain hotels and motels could do with a make-over that would add an element of “je ne sais quoi.” Just think how nice it would be to travel from place to place and leave your art behind you as payment for your room and board.
Learning about the Art World –Some Summer Reading
If you’re reading this blog, it’s more than likely that you are interested in art and the goings on in the art world. That, or simply you have blundered on to this site by mistake and have decided to read on….. Whatever, the reason you’re here, even if you don’t like the stuff we write on our own blog, we suggest you read some of the articles and books in the following list. They provide a lot of interesting factual information and anecdotes about, art, artists, dealers and art auction houses.
Branding in the art world is as important as the branding of blue jeans or soft drinks: branding is the necessary lynchpin for successful sales in galleries and in the established auction houses. No artist should underestimate the importance of branding him/herself as the foundation on which to build a financial success. You can read about the importance of branding in an essay called “Branding: An Examination of Auction House Branding Strategies and Management London: Sotheby’s Institute of Art, 2005” by Minna Hanninen.
There are branded collectors as well as branded dealers so read about the guy who started the phenomenon, Charles Saatchi. He has put together one of the largest and most controversial collections in the world – and made a fortune doing it! You can read about his strategy and tactics in “Super Collector: A critique of Charles Saatchi”: Hong Kong – Ellipsis, 2000.
Try to get hold of Robert Lacey’s: Sotheby’s –Bidding for Class, London: Time Warner, 2002 which is about maintaining the snob status appeal necessary for selling high priced art.
Another book by J.H. Duveen “ Secrets of an Art Dealer “ New York; E.P. Hutton, 1938 gives insights into the workings and intrigues of dealing art, as does a rather good work by Frenchman, Rene Gimpel, titled “Diary of an Art Dealer’ published by Strauss and Giroux.
Artists are always looking for info about how to break into top galleries and dealerships, so if you’re looking for some insights, read “Tales from the Art Crypt” by Richard Feigen –( New York; Knopf, 2000) or “Artistic Capital” by David Galenson published in London; Routledge. A good read about contemporary art in general is “Art Incorporated; The Story of Contemporary Art” published by the Oxford University Press, 2004. I, personally, recommend “The $12 million Stuffed Shark –The Curious Econonics of Contemporary Art” by Don Thompson published b Palgrave MacMillan. It explains how a dead fish came to be sold for $12million.
Ever wondered why contemporary art is worth what it is worth? You can find out more by reading “The Worth of Art: Pricing the Priceless” by Judith Benhamou-Huet, published in English by Assouline, New York, 2001. Lastly, the art world cannot go very long without fakes and forgeries, so, get yourself “Provenance – How a con man and a forger rewrote the history of modern art.” It is a great book about the life of John Matt, an English artist who managed to fool the art experts and historians for years by reproducing masterpieces that were sold by the best auction houses and galleries in the world as authentic works.
Happy reading and if you have any recommendations –let us know.
Commemorating the fall of the Berlin Wall in Los Angeles -20 years after
In commemoration of the downfall of the infamous Berlin Wall, a symbolic recreation of it is to be erected across Wilshire Boulevard on Sunday November 8th this year. The Wall project, a collaboration sponsored by Culver City’s Wende Museum, the City of L.A., the German Consulate General and other partners, will be painted by amateur and professional painters. Once installed, the wall will prevent traffic from passing along Wilshire Blvd. from 3pm through 6pm on that one day. At the end of the three hours a re-enactment of the actual historic events will place when invited dignitaries will break down selected portions of the wall. The broken pieces will then be placed in front of the LACMA by the outdoor installation - ”Urban Lights.” The project organizers are planning a live transmission of the events between Los Angeles and Berlin, who have been official sister cities since 1967. Though the Wall project is slated for November 8th here in L.A. the timing, because of the different time zones, corresponds to the actual date of November 9th when the real Berlin Wall was torn down in 1989.
Among the professional artists participating are muralist Shepard Fairey, known primarily for his ‘Obama Hope’ image and L.A. muralist Kent Twitchell. Artist Theirry Noir, who is based in Berlin and who painted brightly colored human figures on the real Berlin Wall, will also be participating.
The project consists of two parts: The first part, “The Wall Across Wilshire” will be dismantled after a few hours, while the second, “The Wall Along Wilshire” will have a longer life since it will not interfere with daily traffic. The second part will remain on view in front of the 5900 Wilshire building until Nov 14. When the two parts are briefly erected simultaneously they will intersect, symbolizing the division of two societies that were politically divided, but then reconnected by the strength of their deep historical, cultural unity.
From October 23rd to Nov 7th, 40 wall panels, all 11 feet high by 3 feet wide will be painted by different artists on the grounds of the Page Museum at the La Brea Tar Pits adjacent to the LACMA. Thirty of those panel will be used to construct the “Across” wall and the remaining ten will constitute the “Along” wall. The newly arrived Consul General at the German Consulate in Los Angeles has said that his country is donating $40,000 towards the proposed $500,000 cost of the project, which is probably the largest art event commemorating the demise of the notorious Wall outside of Berlin itself.
Little Michelangelo’s first painting
Over the past year quite a bit of news concerning undiscovered Leonardo’s, or possible Leonardo’s or fake Leonardo’s has surfaced in the media. Now it’s Michelangelo’s turn to make the headlines. The Metropolitan Museum of Art in New York has put a small oil painting on show, apparently painted by a young Michelangelo Buonarroti in 1487-88 when he was about 12 or 13 years old. The painting “The Torment of St. Antony” was kept hidden in storage for some time while research went on to conclusively identify the artist. In order to authenticate the origin of the work, the museum called upon the expertise and scholarship of curators and art historians working with an array of X-Rays, carbon dating techniques and other forensic tricks. Although the painting has generated a lot of interest, a spokesperson for the Museum has said that “it is less worthy than the Sistine Chapels works. However, the spiritual and emotional drama evident in the painting leads to the conclusion that this is the earliest known work by Michelangelo. This is the great master’s virgin artistic creation.”
The odd composition and the awkward iconology of the painting were apparently taken directly from an undistinguished German print, made at an earlier period, however, the young Michelangelo added many of his own distinctive touches when translating the black and white print into colorful oils. In this precocious work he has added naturalistic elements that add realism to what is an otherworldly scene of demons and dragons. Legend has it that the young apprentice would shop for fish in the Florentine markets in order to copy the scales on to the bodies of his pictorial demons. The twisting formation of figures within the composition resembles the intertwined nudes that are so prevalent in Michelangelo’s later sculptures and paintings.
All in all –the general opinion is that it’s not a bad piece of artwork for a 12 year old!
Is Contemporary Art rubbish?
Over the past few years there have been several reports in the media about pieces of contemporary conceptual art being mistaken for trash and thrown out in to the trash can. Just to give a few examples, and there are many, many more, in June of this year a national newspaper in the UK published an article about a BBC radio DJ who had accidentally thrown out a piece of artwork by Damien Hirst, the highest selling British artist of the moment. The error occurred while the millionaire radio celebrity was packing up his collection of paintings to move house. The Hirst painting, bought for six figures, was inadvertently placed in to a pile of things that were shipped to a local charity shop and sold for peanuts. In 2008 a sculpture by Anish Kapoor, who won the famed U.K. Turner Prize in 1991 and whose works sell into the hundreds of thousands, was thrown into a dumpster when workers were told to clean out a storage area where the work was being kept for safe keeping. The workers who threw out the sculpture were convinced that the sculpture was nothing but junk; as were the workers at the waste disposal yard who promptly crushed the piece of art to – pieces.
Closer to home, a similar episode occurred in Culver City in January of this year when maintenance workers were sent to remove a city approved’ sculpture from the sidewalk after a resident complained of a hunk of trash being left in the neighborhood. For the neighbors and the city workers the piece looked like junk.
In England (again) workers of famous collector and art entrepreneur Charles Saatchi, who is known for buying and promoting of shock art, unplugged a freezer in his mansion and defrosted the infamous frozen blood head by celebrated artist Marc Quinn. Again the guys who did the job could see no artistic quality to the piece they were destroying. Even the Tate Britain Gallery – part of the heart and soul of London’s Contemporary Art scene doesn’t seem to be able to distinguish art from rubbish. An art work by Gustav Metzger, on exhibition in the gallery earlier this year, was thrown out by the cleaners. The artwork, said to demonstrate the “finite existence” of art was a trash bag with trash inside it (see photo). This superb piece of ‘art’ was created in 1960 as part of the artist’s first public demonstration of ‘auto-destructive’ art. Gallery employees, noting the missing art work rushed to the dumpster outside and after some confusion (a lot of trash bags look similar), managed to retrieve the very valuable trash bag of art. According to the reports some restoration work was needed before the art was put back on display. Art lovers worldwide will be able to continuing viewing the restored trash bag that shows no visible signs of trauma after being thrown away with the trash.
The general response to stories like these appears to be one of horror and incredulity - but not for the loss of the artworks. People are not saddened or shocked that such ‘artworks’ are accidentally lost to the world they are more concerned about the amount of money that disappeared with the cost of the art. When so much contemporary conceptual art keeps getting thrown out with the trash isn’t it time to realize that it is trash? Who cares how much some idiot paid for it – let them look at it all day. Take it out of the museums and galleries! The thread, linking the stories above, is the notion that it is always the common workers, the cleaners, the removal guys and the janitors who cannot distinguish art from trash. What is the inference here? That they do not have the education, the finesse, the eye to be connoisseurs of art and therefore they cannot possibly know ‘real art’ when they see it? Since Marcel Duchamp’s urinal, almost 100 years ago, modern art has been slowly going down the drain. The crappy stuff belongs in the toilet, and a lot of the rest deserves to go to the trash bag and then to the trash can. If an artist can present a trash bag filled with trash as an artwork, then the logical thing to do with it is not exhibit it in a gallery, but to do with it what we all do with our trash bags – throw it out! It is time that the art critics, the gallery operators the art dealers and the artists stop this whole charade. Buyers –wake up! Where is the status in spending hundreds of thousands of dollars for trash bags, an un-made bed, formaldehyde animals and even gold plated human excrement (yes that too, has been presented as art.) If so much conceptual art is mistaken for rubbish, maybe it is time to own to the fact that it is – RUBBISH.
The Ongoing ‘Fight’ against Graffiti
In the relentless battle by Local Authorities to combat graffiti on public property, a dozen surveillance cameras have been installed inside the 700 foot tunnel on Sherman Way, near the Van Nuys Airport in the San Fernando Valley. All Un-commissioned ‘art works’ on public highways are treated by the authorities as acts of vandalism, even when the art gets some kind of reluctant approval by the general public. The truth is that among the bad crap, there is some good stuff out there that truly embellishes the locale.
In the case of the Vans Nuys tunnel, the taggers had no support from local residents who viewed the graffiti as an eyesore and appealed to the Department of Public Works to intervene. With the increased surveillance, warnings signs and additional night patrols the message has gone out - “Beware taggers, you’re entering a no-tag zone and if you dare – we’ll do everything to get you.” In the next few weeks two more cameras will be installed with the capability of capturing license plates and of taking close up images of any night time would-be Picassos. (I presume that the camera will not be able to see through taggers’ anti-spray face masks?)
Van Nuys spent $36,000 removing graffiti in the tunnel last year in addition to the regular budget put aside for its cleaning and maintenance. Public and private funds totaling $30,661 paid for the cost of the surveillance equipment and its installation. Local residents played an active role in getting the camera project off ground, maintaining that the surveillance system will not only prevent future un-invited nocturnal artists but also provide added security to pedestrians who walk through the tunnel, especially in the dark, dismal hours of night.
This latest undertaking comes a month after a Los Angeles City Council public safety committee began drafting an ordinance requiring people, who wish to buy sprays paints or hydrofluoric acids (material used by taggers) to be at least 21 years old. Another proposal, under consideration by the committee, is to penalize the parents of young graffiti artists by forcing them to pay for the clean-up. Some committee members, perhaps overly incensed by the issue, have referred to the taggers as visual terrorists, who blatantly disregard all the laws in place against vandalism and desecration of public and private property.
Los Angeles is not alone in its battle against graffiti. Two other great US cities known for their thriving artists’ populations have already taken legal steps to reduce the amount of un-authorized public art on their streets. In 2007 New York City banned the sale of spray paints, etching acids and indelible markers to under 21’s, revising earlier laws from 2005 that restricted sales to under 18 year olds. Chicago, however, was the forerunner in the ongoing struggle to keep the taggers under control by passing a ban on spray paint sales in 1992. The initial law was subsequently appealed by a coalition of paint manufacturers but nevertheless reinstated in 1995.
Now if only the same time and effort could be put into gun control legislation as is directed to controlling the sales of destructive weapons like spray paint….
Some Helpful Information for Buyers of Fine Art Photography
When is a photograph considered as a work of fine art? One answer is basically when it is produced specifically for the purpose of being presented as a work of fine art. It is a very broad definition, more or less determining that any photo, if intended by the creator to be fine art, is fine art. Given that in the world of contemporary painting, sculpture, mixed media, and installation works just about anything can be called ‘art’, then the same can true of photography. Though much of photographic fine art is produced by using carefully designed sets and elaborate lighting, a chance, spontaneous, click of the shutter can also bring about a work of art as powerful as is sometimes produced with the casual flick of the brush or by a non-intentioned shaping of the clay. Whatever the case, it is the artist’s immediate understanding of the result; his/her perception of the moment that transforms the ordinary into art.
Enthusiast and collectors of fine art photography look at several factors when assessing the value of a photograph as a work of art and when evaluating the quality of the materials involved in the creative process.
Photographs made by the artist, or under the direct supervision of the artist, are considered to be of the highest pedigree. These photographs are generally made with conservation in mind using only the finest quality papers, photo-chemicals, inks and printers. Many fine art photographs are signed by the artist. In certain circumstances photographs by well known photographers may be produced posthumously by the estate controllers and notated as such on the actual photo. High quality photographic materials are always acid free in order to help the preservation of the photos which should be stored framed and protected.
Here are some explanations of the technical terms used in photography:
Photogravure is the most aesthetically beautiful process for reproducing a photographic image with ink. Gravures are images produced from a photo negative that are transferred to copper plates and then etched in using acid corrosives. Early photographers used hand-pulled gravures to reproduce their work and the process endows the final result with subtle tonal ranges.
Gelatin Silver Prints are black and white photographs printed on a cotton rag fiber based paper, coated with gelatin and light sensitive silver salts. The prints are made in a dark room employing a photo chemical process, either directly by the photographer or by a professional printer working under his/her supervision. These types of print are also known as silver bromide prints. The paper is almost permanent and a sound method to conserve in archives black and white photographs.
Platinum Palladium Prints show extraordinary tonal richness, giving the longest lasting of any of the printing processes. This method employs light sensitive iron salts to form a provisional image which subsequently becomes visible by conversion into a platinum metal.
Contact Prints are made directly from a negative by placing light sensitive paper directly onto the negative and then exposing it to light. Contact prints have very sharp resolutions and extensive tonal ranges since they are direct impressions without any change of scale.
Autochrome is an early form of color photography using glass plates coated with dyed starch grains. It was patented by the Lumieres brothers in 1904.
Wet Stamps are rubber stamps that are usually found on the reverse side of a photograph. They are ink-coated stamps used to give information about the photographer, the photograph itself, the edition and copyright details etc.
Blind Stamps Are embossed markings that are used like wet stamps to give pertinent information about the work and the artist. They are usually present on the mount of a photograph or the photograph itself.
Vintage Prints were typically made by the photographer close to the time the picture was actually taken. Like a fine wine, these rarer prints usually command a higher monetary value. In the photography collector’s world, a print made within 5 years from the date that the negative was originally produced is considered a vintage print.
The Art Auction
Registration completed and paddle in hand I sat down with the assembled crowd and waited for the auction to begin. Head down I browsed once again through the catalogue, wondering why the estimates were so high, given the endless news about recession, unemployment and financial crises. Well, I thought, at least I won’t have to wait too long for the painting I’m interested in to come up. At all auctions the lower priced pieces are first up. I looked around the room wondering if there was anybody I knew, and as my gaze came full circle I surreptitiously looked at the guy sitting to my right. He was dressed in a business suit, (perhaps Armani I thought,) was well groomed and tanned and looked extremely bored. I wondered if he was there to really bid or if he was one of the “planters” –an employee of the auction house planted in the crowd to compete with real bidders and drive up the prices. No, I realized, he was too conspicuous dressed like that. He must be a dotcom/stockbroker/banker, coming straight from the office to spend some of his bonus money on art. I went back to my catalogue, referring again to the lot number that I was interested in buying, hoping perhaps that I had misread the printed estimate price. Unfortunately the ink did not dissolve and re-form into a lower price.
I scratched my nose a few times to pass the time and then realized that I should stop doing this since it might be construed as a secret bidding device later on during the auction. I made a mental note not to scratch my head, not to blink, not to blow my nose nor look too intently at the auctioneer. Over to the right hand side of the room about a dozen workers were manning a bank of phones, while a couple of technicians were making final adjustments to a computerized screen.
The auctioneer came on to the podium, acknowledging the applause of the people in attendance and after a few preliminary announcements the auction got under way at a rapid pace. All the first ten artworks went under the hammer at more than the estimated price –my lot number was 11. Considering myself an ‘experienced’ bidder, I had resolved not to enter the fray until the low estimate had been achieved, so as to not demonstrate amateur enthusiasm. Unfortunately the auctioneer began by calling out ‘absentee bids from his book’ that went as far as the budget I had set myself; then in house bidders, online and telephone bidding progressed furiously until the piece I had set my sights on, sold for three times the top estimate to the dotcom banker to my right. My trusty paddle had not even left my lap. Not even a wave or a wiggle –lifeless. At least I have good taste I said to myself as compensation for my ‘loss.’
While the auction continued I began thinking about how much of the auction bidding process nowadays is real and how much of it is fictitious. Why is there so much secrecy and behind the scenes manipulation? Where is the transparency? How can a regular guy know if the auctioneer really does have absentee bids on his books? In some auction houses they have a system called chandelier bids, basically meaning that the auctioneer is looking at the ceiling and ‘accepting’ fictitious bids from the light bulbs. Do they really plant people among the real bidders to push up prices? How many of those telephone workers are actually taking bids from buyers and how many are talking to their friends while pretending to accept bids? Are the online bids real, or are there computer technicians hiding in the backroom, plugged into the website, generating false bids to excite and encourage other bidders? Who knows maybe dotcom/banker guy really didn’t buy it? Maybe he was bidding on someone’s behalf? Maybe it was sold - but not sold? Maybe he was planted there just to sabotage me….. It seems to me that the only transparent thing about auctions, and auction house dealings, nowadays, is the bottled water.
Writing an Artist’s Blog
At Artlanow, we have noticed during our research for Artists in Los Angeles that quite a few artists have set up their personal websites with a Blog section – but never post any entries to it. It is not easy eh! Being a painter, sculptor, or photographer is quite different from being a writer. Most adults stop any serious kind of writing when they leave high school or college. And it’s true what they “if you don’t use you lose it.” Nevertheless, it is well worth the effort to begin Blogging on your own website, since the Blog section is an important tool for the optimization process – promoting your site up into the first few pages of a web search. The search engines read only text, and since an Artist’s website consists principally of images the additional essays or articles you create in your Blog can assist in the search (especially if they are peppered with useful keywords like “Artist,” “Landscapes,” “Oil Painting” etc.
Albeit optimization being a reward for text, the Blog can do so much more if developed well, increasing even more visits to your website to view what is most important - the Art. If you haven’t yet started a blog, give it a try. Art blogs don’t have to be great literature: they are not books: you don’t even have to know how to write grammatically correct English – today’s computer technology will review your text with a programmed ‘spelling and grammar’ check. Few readers of Blogs are interested in reading long chapters of prose. Begin by keeping it short & simple, and keep it short & simple as you go along. Forget the formal writing techniques from academic studies and keep it “conversational” rather than literary. Maintaining the Blog will become easier as you get into the habit of writing, then you can try a couple of flourishes with your pen if the mood takes you. The first thing to do, if you’re ready to upload some content to your Blog is some research by browsing through other Artists’ website Blogs. Glean ideas from them; read what kind of articles they write and assess the quality of the content.
Here are few tips to help you get you organized.
First, try to give a heading to each blog that grabs the reader’s attention. If the heading piques his/her curiosity, it’ll entice him/her to at least begin to read the succeeding blog.
Second, keep your paragraphs short and the flow of words neat and easy to read. Unless you’re an accomplished writer, don’t try to impress anyone with your literary prowess.
Try to write in a ‘friendly’ manner as if you’re communicating to an acquaintance. Seeing as it’s your personal blog you can write most articles in the first person, especially when you’re writing about your thoughts and feelings or about your art and your career as an artist.
Here’s some tips that might sound stupid, but, having looked at thousands of website, I’ll still mention them – choose a font size and font type that is easy to read. Use bold and italics, sparingly, but don’t hesitate to use them to define parts of your text you wish to emphasize. Don’t go crazy with page background colors and weird colors for the text. Black on white is the easiest on the eyes! The cardinal rule for eye comfort is contrast.
Set up the page margins for your blog so that the text area is not too wide. Take a tip from the newspapers that package our daily information into narrow columns so that we can skip through the text quickly and retain the gist of the article.
Finally, leave spaces between blocks of texts so that potential readers can digest small segments before delving into the next paragraph (or not).
Most enthusiast bloggers find that their writing skills develop quite rapidly; the more bloggers blog, the more they find to write about. For those of you whose inspiration comes only at the canvas and not at the keyboard, remember that even a few well chosen keywords, from time to time, will help optimize your website and ultimately your Art.
When Museums De-accession - One Artist Recycles
‘De-accessioning’, for those who don’t know, is the term used by Museums when they decide to sell works from their collections. It is an accepted way of cleaning out ‘unwanted’ art from the basements without giving an explanation or a specific reason. Museums often receive art works as donations and like to avoid embarrassing situations that portray them as profiteering from philanthropic acts. Thus they prefer the term de-accession to sales as it seems less crass. During the past few months there was a lot of public furor and objection when the Rose Art Museum de-accessioned works from its permanent collection. Earlier this year the LACMA sold two paintings and more than 100 objects from its collection of costumes and textiles. De-accessioning is suddenly a hot topic in the media. When times were hard Museums looked to de-accessioning as a quiet solution to their economic problems but nowadays the noise is out!.
One Los Angeles Artist decided to enter the debate over the pros and cons of de-accessioning and make an artistic statement. Robert Fontenot’s latest art project is called “Recycle LACMA.” The artist participated in an auction at Bonhams in Feb 2009 and bought more than 60 items that were on the block, all de-accessioned from the LACM costume & textile collection. He has set about transforming them into clever, thought provoking offbeat pieces with the intention of bringing the message that museums can be more creative with the art works they wish to part with. Part of his message is that art works are not sacrosanct- they can be re-adapted, transformed and reworked into other pieces of artistic value.
The low prices for which the items were selling during the auction due to lack of interest by potential buyers allowed him to forge ahead with his idea to make a statement about de-accessioning. Calling the project “Recycle LACMA” is not directed as a criticism of the LACMA specifically; it is to call attention to the issue of de-accessioning in general. He feels that until now the media dialogue has been about the abuse of ‘public trust’ without considering the viewpoint of the artist whose work is de-accessioned. If museums start treating collections as commodities, then there is nothing to prevent them from considering certain items as parts that can be disposed of without affecting the integrity of collection as a unit.
Each new work by Fontenot retains the original accession number from the LACMA as a kind of evolutionary documentation. The artist, himself, refers to these numbers as being ‘tattooed’ on to the new piece like a prison number branding them as things that were part of an important museum collection. It will be interesting to see if any of the new work is ‘accessioned’ in the future into the halls of the LACMA from whence it came.
Juried Art Competitions and Events –Deadlines August 2009
Projekt 30 has a call out to all artists for a competition called “1: Part 2” This show will consist entirely of self portraits, though their definition of “self portrait” is very broad so that artists of all styles can participate. The competition is publicly juried (online) meaning that all the artwork submitted will be posted on-line for review and voting. The final exhibition will include 30 artists. Fees $35 for 10 images. Free for project 30 members. For more detailed information visit http://www.projekt30.c0m or email: admin@projekt30.com DEADLINE AUGUST 2, 2009
Still Point Gallery announces a call to all artist 18 years or older living in the USA. Original works in any medium except video and wearable art for an online exhibition/competition called “Autumnal Tints.” Three artists will be chosen by the director of the gallery for a special online exhibition to be held August 31-November 8, 2009. Non-refundable fees or $25 for up to 3 images; additional images $5. Info: go to http://www.stillpointgallery.com or email: director@stillpointgallery.com (or) Tel: 207 837 5760 DEADLINE AUGUST 2, 2009
The J. Lucas Gallery in Provincetown, Massachusetts announces a call to artists for a group show to be held Sept 25 – Oct 25, 2009. “Icons & Art; Michelle and Barack Obama will focus on how the Obamas have been embraced by artists around the world to depict changes in race and politics. Two dimensional works accepted with maximum size 16” x 20”. Entry fee $20.00 (US Check or Money Order.) Visit http://www.jlucasgallery.com (or) send SASE to J. Lucas Gallery 437 Commercial St. Provincetown MA 02657 (or) call: 508 487 1890) DEADLINE AUGUST 7 2009
3rd Ward in Brooklyn has out an open call to all photographers for a juried group show that will feature work by the top 25 photographers who are selected. The work will also be printed in the 3rd Wards Quarterly Publication. Top prize is $500 and a bike. Fees $10 per image. Visit http://3rdward.com for details or contact opencall@3rdward.com DEADLINE AUGUST 7, 2009
Upstream People Gallery has an online international exhibition open to all artists world-wide using any photographic process, including digital works, and mixed media work incorporating photography. The 11th Annual Photographic Process Juried Online International Art Exhibition is slated for September 1 until August 31, 2010. There are cash awards for Excellence; Special recognitions with press releases sent out to artists’ newspapers. Fees: $25 for up to 5 slides, jpegs or tiffs with $5 for each addition. Contact Upstream people gallery, 5607 Howard St. Omaha NE 68106-1257 0r call 402 991 4741. Visit http://www.upstreampeoplegallery.com DISCOUNTED DEADLINE AUGUST 8 –LATER DEADLINE AUG 24
The American Artists Professional League has a call out to all living artists for its 81st Grand National Exhibition to be held November 3 –November 13 at the Salmagurdi Club in New York. There are over $14,000 in awards. One submission per artist. Work must be done in traditional realism styles in original oil, polymer, water-media, pastel, graphic and sculpture and not previously exhibited with the AAPL. No photo-lithographs or oil pastels accepted. Paintings and graphics must not be larger than 42” in any direction including frame. All work must be framed –no wrap around. Sculpture must not exceed 24” at base in either direction. (No exceptions to size limits!) Fees: Members of AAPL $35 non-members $40. For info: Call 212 645 1345or go to http://www.americanartistsprofessionalleague.org DEADLINE AUGUST 8, 2009
Shenandoah University and Shenandoah Conservatory Arts Academy announce a call to artists for a juried art show at the John Kerr Building- Shenandoah Conservatory Arts Academy in Winchester, Virginia, August 21- September 4, 2009; closing reception September 4. Awards: $250/$150/$75- one overall category. Submissions are via email only! Mixed Media art show (painting, photography, printmaking, drawing). Work must be created within last 4 years. This show is intended to highlight student and professional talent with fresh and modern ideas. $15 for first entry; $7 for additional entries (5 entries max). For prospectus, visit http://www.sudowntownartshow.wetpaint.com. (OR) contact Lucas Servera at lserverasu@gmail.com (OR) call (703)-966-1825. DEADLINE AUGUST 8, 2009 |
The 12 12 GALLERY in Richmond, Virginia announces a call to artists for the "12 12 Gallery National Juried Photography Exhibition", to be held October 4 - November 8, 2009. Up to $1000 in cash prizes. Juror: Open to artists aged 18+ from the USA or Canada, working in 2D and 3D that incorporates output from any photographic process. Work previously exhibited at 12 12 Gallery is not eligible. Fees: $25/3 and $5 each additional. Up to 5 entries total. Visit http://www.1212Galleryrichmond.com or send a SASE to: 12 12 Gallery, 12 E. 12th Street, Richmond, VA 23224. Email: 1212galleryrichmond@gmail.com or call 804-233-9957. DEADLINE; both postmark and/or online by AUGUST 14, 2009 |
The American Charity Calendar (TACC) contest is open to US legal residents or citizens, age 15-30 years. We especially encourage youth/students to submit their artwork. Winning prize: $500. Art Requirements: Paper size: 13" x 16"; must be in color. Pencil, paint, ink, collage, etc. The winner will also create 25 small images that will be hidden behind each of the 25 numbered "windows". The winning artwork will be printed as the 2009 American Charity Calendar. There is NO entry fee. Visit www.taccfoundation.org/youtube/ to see last year's winning artwork. Do not send original art, instead send or email a color copy in the correct size to: TACC Foundation, 1524 Eucalyptus Hill Road, Santa Barbara, CA 93103. Email questions to info@taccfoundation.com or call 805.965.0817. More info: www.taccfoundation.org/competition.html. DEADLINE AUGUST 15, 2009 |
"First Fall 2009 Contemporary Art Online Exhibition: ArtCompete is sponsoring its first call for entries for an online exhibition, from September 1 thru November 30, 2009. Cash awards for First, Second, and Third Place. You must be 18 years or older to enter. $20 for two images. Email: ac@artcompete.com https://www.artcompete.com/wpsdocs/prospectus.rtf. Questions? Call 513-528-1980. DEADLINE: AUGUST 15, 2009 |
Tarleton State University's Langdon Center announces a call to artists for the "Rio Brazos Juried Art Exhibition & Sale", October 11 - 25, 2009 at Tarleton's Langdon Center in Granbury, Texas. All media will be considered. This could include, but not be limited to, water media, oil, acrylic, pastel, mixed-media, photography, printmaking, graphics,collage, 3-dimensional, fabric, etc. Open to all artists 18 years of age and older. Entries must be original, unpublished and executed within the last two years by an individual artist. Entries must not have been previously exhibited in the RBAE. See prospectus for complete guidelines. $40.00 for up to 3 pieces of artwork Download prospectus (PDF format), or send a SASE to: 308 East Pearl St; Granbury, TX 76048. Email: langdoncenter@sbcglobal.net or call 817.279.1164. DEADLINE AUGUST 17, 2009 |
The Center for Fine Art Photography in Fort Collins, Colorado invites photographers working in all mediums, styles and schools of thought to participate in "Portrait", November 6 - 28, 2009. Awards: $700. The exhibition is open to amateur and professional photographers world-wide. Experimental and mixed techniques are welcome. Fees: $35 ($20 for Members) for the first 3 images, $10 for each image after that. http://www.c4fap.org/cfe/2009Portrait Please contact the office at cfe@c4fap.org or call 970-224-1010. DEADLINE 18, 2009 Midnight PST |
The International Society of Acrylic Painters-Florida announces a call to artists for its "Fourth Annual Juried Exhibition", held November 3-30, 2009 at the Carrollwood Cultural Center, Tampa, Florida. There are $5000 in cash and merchandise prizes, including $1000 cash for Best of Show. Juror: British Artist Kenneth J. Hodgson, Founder of the National Acrylic Painters' Association-UK. 2009 membership ($20.00) in the International Society of Acrylic Painters-Florida, payable at time of entry. Paintings must be at least 80% acrylic and size limited to 40 inches including frame. $25.00 for up to 3 paintings, on CD entry only. Visit http://www.isap-florida.com (or) contact judywtkp@tampabay.rr.com or Tl:727-823-6946. DEADLINE postmark AUGUST 21,2009 |
The Santa Cruz Art League announces a call to artists for "Beasts on Broadway, Animals Galore!", October 24 - November 22 in Santa Cruz, California. 3 equal monetary awards. Juror: George Rivera, Executive Director of the Triton Museum of Art. Open to California residents. Two & three dimensional. Paintings, drawings, sculpture, ceramics, fiber, photography and mixed media. Non-members: $40 for up to 3 entries, Members: $30/3. For more information, visit http://www.scal.org or send a SASE to: Santa Cruz Art League, 526 Broadway, Santa Cruz, CA 95060. Questions? Contact Cindy at cindy@scal.org or call 831-426-5787. DEADLINE AUGUST 21, 2009 |
The Kumono Gallery announces a call to artists for "Art After September 11", to be held September 4th-6th, 11th and 12th, 2009 at the Kumono Gallery in Brooklyn, New York. We are looking for any individuals who would like to participate in this memorial event. Open to all artists. Original works may not exceed 24" in any dimension. Performance may not exceed 5 minutes. Entry is free. Administrative fee will be charged $30 per artist if accepted. Download prospectus (PDF format) or send a SASE to: Kumono Gallery, 464 7th Avenue, Park Slope, Brooklyn, NY 11215. Questions? Please contact Aki Kumono at Tel: 718.788.6020 DEADLINE AUGUST 2, 2009 |
APW Gallery in Long Island City, NY announces a call to artists for an exhibition/competition entitled “Small Works Big Idea Vol.2” for Sept. 4-13. Award to the winner – A Solo Exhibition. Open to all artists, each artist can submit up to 6 pieces of artworks. Anything from art & crafts, jewelry, mini sculptures, paintings, prints, photos etc... The size limit is 10 inches or less. The artworks can be free standing or ready to hang. Each artist is guaranteed to be featured in this exhibition upon completion of registration. We will be only accepting 250 artists worldwide. $50 entry fee. For more info go to http://apwartgallery.com/Small_Works.html. Email: info@apwarts.com or call 718-383-0671. |
|
Aesthetica is seeking Artwork, Photography & Sculpture, Fiction and Poetry for the 2009 International Aesthetica Creative Works Competition. The 2008 Competition was a successful springboard for artists’ careers around the world. Further details: http://aestheticamagazine.blogspot.com. Three winners will be awarded £500 each (approximately $USD 750). Finalists will be published in the Aesthetica Creative Works Annual (December 2009). Entry fee: £10/$15 approx. Tel: 011 44 1904 527 560. For guidelines, visit http://www.aestheticamagazine.com/submission_guide.htm. DEADLINE AUGUST 31, 2009 |
"World Views - Juried Photographic Art Exhibition" is organized by the Southeast Gallery of Photographic Art in Vero Beach, Florida. Focusing on travels around the US and the World, this exhibit will feature photography exploring the uncommon, the breathtaking, or maybe just a point of view. The exhibit will hang from October 1 to November 28, 2009. Open to all photographic artists. Fees: $30 for first 3 images. Visit www.southeastgalleryofphotographicart.com. Email: southeastgallery@gmail.com or call 772-643-6994. DEADLINE AUGUST 31, 2009 |
Diffusion Magazine which focuses on unconventional photographic processes and photo related artwork has a call out for Unconventional Photography Group Show 2010. They encourage artists working in alternative processes, experimental darkroom derived work, low-fi/analog, as well as unique digital processes to submit work for review. Believing the print market is saturated with traditional photography and conventional digital photographic practices, Diffusion showcases artists working with unusual photographic methods. No entry fee. Visit http://www.diffusionmag.com for more information. Email:info@diffusionmag.com or 503-961-5704. DEADLINE AUGUST 31, 2009 |
The Limmer Gallery in Hudson, New York has a call out for "A Show of Heads" - a thematic exhibition based on the portrayal and interpretation of the human head to be held at the gallery from November 6 to December 5, 2009. Open for entry to all artists. There is $2600 in publication awards. Juried by the gallery director. There is a $35 entry fee. There is a Prospectus available online at http://www.slowart.com/prospectus/head.htm or artists can send SASE to: Limner Gallery, 123 Warren Street, Hudson, NY 12534. Questions? Email - Tim Slowinski at TheLimner@aol.com or call 518-828-2343. DEADLINE AUGUST 31, 2009 |
"Color The Skies Hot Air Balloon Festival" in Ripon, California. Color The Skies, Inc. invites artists to apply for the "Color The Skies Hot Air Balloon Festival", to be held September 5 & 6, 2009 at the Mistlin Sports Park in Ripon, California. $500 to 1st Place & opportunity to create the 5th Anniversary Commemorative Poster. Artists 16 and over are eligible. Only original work created in the last two years will be accepted. Works must be related to hot air balloons. Eligible media: -all media except video. All work must be presented in a professional manner and ready to be exhibited. Accepted work inadequately prepared will not be included$25 entry fee. For an application, visit http://www.colortheskies.com or send a SASE to: 14705 E. Leroy Avenue, Ripon, CA 95366. Questions? Please contact Jessica Coleman at jessica@colortheskies.com or call 209-480-5244. DEADLINE AUGUST 31, 2009 |