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ARTICLES FOR THE MONTH OF MAY 2009
Contributing Bloggers: John Harbinger Jr.and David Harbrenig
What to do on the weekend?
On this last weekend of May, enjoy the beautiful weather and take advantage of some of the activities that are happening around us on Saturday and Sunday.
First of all, there’s the Culver City Art Walk on Saturday May 30. Organized annually since 2004, more than 40 Culver City Galleries, this year, are participating in the Art Walk. This is a self guided tour. If you stroll around the Galleries you’ll be able to see work by A-Listers, such as Damien Hirst and Jeff Koons, and art by some fantastic local emerging artists. The event is between 12-8pm. Details at www.culvercity.org
If you already nearby, why not drive over to the Miracle Mile Art Walk taking place on the same day (Sat) at the same times (from 12-8pm). The Galleries and Museums over on Wilshire Blvd between Fairfax and La Brea will be opening their doors with some great exhibitions and extended programs at the LACMA.
Over in Pasadena, at the Pasadena Convention Center there is the Pasadena Antique Show for those of you who enjoy perusing through that kind of art (details www.BustamenteShows.com) and also at the Center Ballroom there is a Indian Arts Market showcasing and selling art & artifacts by Native Americans.
Again in Pasadena, on Saturday May 30, the Pasadena Society of Artists will be holding a reception for an exhibition entitled “Heart Exhibition” at the AIDS Service Center, 909 S. Fairs Oaks, Pasadena ,CA 91105. The reception will be from 3pm-6pm with proceeds from sales going to the AIDS Center.
The Collage Artists of America have a reception on Sunday May 31 at VIVA Gallery Moorpark Sherman Oaks from 2pm-4pm. The exhibition is called E-Collage-Ical. Good name!
If you haven’t already seen it, try to get down to the L.A. Coliseum and Exposition Park, 3939 S. Figueroa to see the collection of huge globes. Entitled ‘Cool Globes’ the outdoor art installations are part of an international undertaking to highlight the problems of global warming. Visual artists, architects, scientists and engineers have worked together to create mammoth works that are being continually redecorated and redesigned. This exhibition will be in L.A. until July 23, when it will move on, as part of the program to show it world-wide.
This weekend try taking the kids to enjoy one of the Getty Centers Family Festivals. These Art Adventures are offered every weekend, throughout the Summer, from Memorial Day through to Labor Day .Families are invited to join a small group led by a gallery teacher, who will introduce them to artworks revolving around a theme, such as portraits or artists as storytellers. Working as a team, families use what they see to tackle fun, hands-on drawing, writing, or drama projects.
Does size matter? - Small or Large Paintings?
It’s an interesting question that I found posted on an online painting forum. The replies from the responding artists were quite amusing and intriguing.
In addition to the downright despondent and disappointed who basically wrote in to say that, for the moment, with the economy in the gutter, neither small nor large are selling, some of the artists (listed by letter only from A - J) send in the following pearls of wisdom.
A) “I have concentrated more on painting smaller paintings because they are more affordable. Many people, who’d still like to purchase art, don't have much room in their houses to hang larger, more expensive works. I’ve had to make changes, however, since some of my preferred subject matter doesn’t lend itself to a small format. I’ll keep the larger paintings until the economic horizon brightens- though it does create a bit of a storage problem.”
* This artist is trying different approaches and storing away the big stuff for later…
B) “It's been my experience that all paintings sell, but it's nice to have little ones or prints if you have them for those who are on a tighter budget.”
* Good for you. You are taking on the bad times and forging ahead with optimism….
C) "Smaller paintings sell for less money, but they don't take less skill and talent. If you can fill that niche, and work well, be happy. When I consider my work, I don’t think I could do the same in small size or miniature. Some work has to be large and some painters, including myself, cannot paint smaller paintings well. I believe that if the art is good, no matter what the size or price, it will sell.
*Here is an artist who has blind faith in him/herself….
D) "I really think we need to do both. I’m still creating the larger size formats (from 20" x 24" and up) but I’m also offering smaller paintings (8" x 10"), hoping that they’ll be more affordable to a wider cross section of buyers. A watercolor society, to which I belong, organizes a special juried show each year around Christmas where 8” X 10” is the maximum size allowed. The show has always been very well attended and we had good sales, even this past Christmas. From my own personal experience there I was able to sell small works which were purchased as gifts, and I sold a few larger works that were not on display. The larger ones were bought to be kept. It was as if the small works ‘reeled in” the bigger buyers.”
*Does a fisherman always tell the truth about the size of the catch?
E) “My smaller paintings seem to sell quicker to the impulse buyer. Personally I prefer to keep the freedom I have painting in a larger format. I would rather feel that the buyer really loved my work, than think that it was just filling a space on the wall.”
*Honesty and integrity come at a price…….
F) “My teacher thinks that you first master painting on a regular size canvas (at least 16” x 20”), before turning to small size. Big works-small problems. Fixing small works is a big problem.”
* You might want to look for another teacher….
G) “Many, if not most, artists price their work by size. I do not think this is a fair way of presentation. The public prefers to see consistency in prices (as well as in the paintings of any artist). I want the price of any piece I do, to be based on how I consider the work in relation to my other work. Size shouldn't matter, at least in art.
*He’s right –size should not matter-at least in art!
H) “Four years ago, I sold a small painting for what I thought was a large sum because it was a great piece; it just came out very well. Since then, I have also sold large paintings for much less. Other paintings, that I liked much less, were sold and some, that I like, have never sold. I’ve decided to be more attentive and try to gauge people's reactions before I put a price on my paintings. I remember reading that Matisse said “If I get one good painting out of 20, I consider myself fortunate. “
* Good luck with that system…though it seems fraught with dangers.
I) “If I've toiled over a piece of work and if, in my own opinion, it is good, then I always feel that I should charge more. I have to admit though, that I've also sold pieces that took me no time at all. I think it all seems to boil down to taste.”
* There is no arguing when it comes to taste.
J) “Size is not everything. Buyers choose by color, feel and subject matter. I think a lot of buyers also think about whether a painting will go with what they have got and then size. Let’s face it, if they like it they will buy it, and if the size is not right, they might ask for it in a different way.
* Leonardo, do you have that Mona Lisa in a size 10?
Some Opinions about Art
Everybody, it seems, has their opinions about art and artists. Here are a few quotes by some of the more famous people - past & present about the world of Art.
“What funny people artists are! The abstract painters always insist on the connection with visible reality, while the figurative artists insist that what they really care about are the abstract qualities of life.” (Marlene Dumas)
“Look, it is my misery that I have to paint this kind of painting. It is your misery that you like it –and the price of your misery will be $1350.” (Mark Rothko)
(Poor Mark Rothko was always so despondent and miserable. He committed suicide in the end. I don’t think the people who paid $1350 for one of his works are too miserable about their decision nowadays.)
A more up-beat quote from Marc Chagall: “In our life there is a single color, as on an artist’s palette, which promotes the meaning of life and art. It is the color of love.”
“Good Art is in the wallet of the beholder” (Kathy Lette)
“Art is either plagiarism or revolution” (Paul Gauguin)…..meaning that if you’re not doing something new, you’re copying somebody else….
“Art is meant to disturb. Science reassures.” (George Braque)
“Art is a jealous mistress, and, if a man has a genius for painting, for poetry, music, architecture or philosophy, he will make a bad husband and an ill provider.” (Waldo Emerson)
And lastly a quote from Pablo Picasso: “God is really only another Artist. He created the giraffe, the elephant and the cat. He has many styles and goes on always trying new things.”
We wish you all success in your search for new styles and new things……..
local Art News - some good, some bad
First the good news:
The Smithsonian American Art Museum in Washington DC has awarded the 2009 Charles C. Eldredge Prize for Distinguished Scholarship in American Art to Cécile Whiting, a professor of art history at UC Irvine. Her book, Pop LA: Art and the City in the 1960s, explores how pop artists in Los Angeles became fascinated with the city of L.A. and how their work expressed their different perspectives of it. Along with the prize comes a $3000 award. Only Art-related books published in the last three years are eligible for consideration.
Her book is intended to fill in historical background about the Pop-art movement and to spotlight artists who haven’t received adequate recognition, such as Llyn Foulkes, Noah Purifoy, and the feminist artists of LA’s Women’s House.
Now the bad news:
Just before the Memorial Day weekend, leaders of the financially troubled Los Angeles Museum of Contemporary Art said they have put together a balanced budget for the coming fiscal year. Unfortunately it entails sacrificing four planned exhibitions and seventeen more jobs,-including two of seven curators remaining. Officials hope that a fall exhibition consisting of the MOCA’s acclaimed collection of post–World War II art will be a crowd drawer and signal a turnaround from last year’s near collapse.
The LA MOCA has run consistent deficits since 2000, draining money from its endowment to maintain a highly respected exhibition program. Last year’s global financial meltdown brought the institute to its moment of truth, when the endowment previously totaling thirty-eight million dollars (in 2000 ) dropped to five million by the end of 2008.The latest budget cuts come after the museum had already announced in January the elimination of thirty-two jobs—sixteen full-time and sixteen part-time positions—across all museum departments.
For Women Artists Only
The Centre Pompidou in Paris, housing the largest collection of modern and contemporary art in Europe will be showing an exhibition of 20th and early 21st century art history composed entirely of works created by women. The show opens Wednesday May 27 and will run for an entire year. The exhibition is the brainchild of an intrepid female curator called Camille Morineau, who has put all the men in storage, temporarily, and filled the museum with 500 artworks by more than 200 women artists.
Ms. Morineau, who has organized “elles@centrepompidou,” is well aware of the dramatic impact her revolutionary gesture of affirmative action might have. She is relying on the reputation of the Centre Pompidou Center as an avant-garde institution to attract the crowds and convince other museums world-wide to devote more space and attention to female artists.
The exhibition, “elles” includes an international array of paintings, sculptures, installations, photography, video, furniture and other media. There are works by early 20th century French artist Suzanne Valadon and also by up-to-the-minute artists such as Japan's Mariko Mori, Switzerland's Pipilotti Rist and England's Rachel Whiteread. Everything is presented in thematic and chronological sections encompassing two floors of the museum. Visitors will be able to enjoy a lot of good art and some feminine attitude. Among the exhibits are Niki de Saint Phalle’s huge sculpture of a monstrous bride and a video by Sanja Ivekovic of a woman cutting holes in a black veil that conceals her face.
Some of the works are obvious punches at the male psyche and others deliver strong messages for the advancement of feminist movements.
Ms. Morineau remarks that "Nobody counts the number of men and women in museum exhibitions. Very few people notice that sometimes there are no women there at all-especially in France."
Back here in Los Angeles we have had our own mini version of “elles” when “WACK! Art and the Feminist Revolution opened at the MOCA and moved on to New York, Canada and England. It was an exhibition designed also to promote efforts by museums everywhere to expand their collections of women’s work.
A senior (female) curator of modern art at the Los Angeles County Museum of Art has said: "When you have an institution of the scale and prestige of the Pompidou devoting its entire hang of its collection thematically to women artists, it's making a very serious statement."
We wish the Pompidou success in their endeavors to give women artists their rightful place in the great institutions of art.
Celebrities Who Paint
About three years ago I came across an exhibition of drawings by John Lennon at an art gallery in Laguna Beach. Last year I saw an exhibition of paintings by Rolling Stones guitarist Ronnie Wood here in town and an exhibition of drawings by the late great physicist Richard Feynman in Pasadena. I got to thinking about how many famous celebrities there are out there who are also good painters and sculptors. Well, it seems that there are quite a lot!
Sir Anthony Hopkins (great Shakespearean actor + “Silence of the Lambs”) is in their ranks. He had an exhibition of his paintings on display at the MW Gallery in Aspen, Colorado in July 2007. The works were mostly abstract landscapes and surrealistic faces. Apparently, the star began painting a few years ago because he felt there were no more challenges for him in the acting world. The paintings at the Aspen exhibition were priced at $4,000-$20,000.
While we are on the Brits…Prince Charles is an avid plein air painter as was one of the UK’s most famous Prime Ministers, Sir Winston Churchill. Another Beatle, Paul McCartney has been doing landscapes and portraits since turning 40 and, should he ever exhibit, will probably get some decent prices. One of his paintings, titled 'The Kiss' was inspired by his first wife Linda, and shows two cartoon-like characters kissing - the man, obviously Paul, is wide-eyed, seemingly caught off guard by this surprising kiss..
Prints, paintings and sculptures by English rocker, David Bowie are available on his own website at prices ranging from $300 for lithographs to $3,000 for acrylic and computer graphic collages on canvas.
Irishman & actor Pierce Brosnan, 007James Bond in several Bond productions, trained as a commercial artist before turning full time to acting. He has sold some of his artwork in order to raise money for charity. Brosnan has done some excellent landscapes and also produced many portraits of his family.
Coming back to home…Tony Bennett is well known for his oils and watercolors. Although Bennett has been drawing since he began using chalk on the sidewalk when he was 11, the famed singer, who works in oils and watercolors, still takes the occasional art class. His watercolors sell from $10,000 to $35,000, and his oils command closer to $80,000.
Tony Curtis (father to actress Jamie Lee), who had a distinguished acting career himself, has been a full-time painter since the 1980’s. His portraits and still lives command prices of $25,000 and more. Curtis' bright acrylic canvases, assemblages, collages and boxes are in the private collections of people like Arnold Schwarzenegger and Maria Shriver, Frank and Kathie Lee Gifford, and Arsenio Hall. His originals have been on display at various museums and galleries across the country.
Actress Jane Seymour finds sanctuary in her studio, where just lately you’ve probably seen her on TV advertising her ‘open heart’ designs for jewelry. She likes doing watercolors of children, self portraits and designs on silk. .
Mary Steenburgen and Ted Danson are both talented artists. They have set up a studio in their L.A. house where she especially likes to work in oils. I’ve heard that their own works hangs on the walls alongside more renowned artists.
Of course absolutely any article about celebrities cannot –NOT- include something about Jenn or Brad. So, in order to maintain the natural order of the universe here is an exciting piece of news for all us artists. Jennifer Aniston in a past Vanity Fair article disclosed that she likes to paint quite a lot and that ex Brad Pitt is an avid photographer who takes his art quite seriously.
Artists: –an illustrious group of multi-talented folk…….
A curator, an art dealer and an art critic walk into a bar…
…The curator looks at a painting hanging on the back wall and says, ”I would have hung it on the side wall, where there is much better lighting.” The art dealer says, “I would have hung behind the bar counter where more customers can see it.” The art critic says, “I would have hung it in the toilets where it belongs.” Besides the artist who creates and the collector who buys, there are three very important players in the world of art. They all have their roles to play, their different perspectives, and provide counter balances each other to ensure a healthier, dynamic market. The opening joke takes a poke at the three different ways art professionals view art.
Curators: The role of an Art Gallery Curator differs from that of a Museum Curator. They both concern themselves with organizing displays and managing collections of paintings and objects that are of historical and general interest. They also catalogue art and write articles about the objects they exhibit and the artists who created them. To become a respected Curator, academic studies in Art is essential.
The big difference between the two is that the Art Gallery Curator’s objective is to put together an exhibition of work that will interest buyers; the Art Museum Curator’s goals are often to raise funds and solicit donations for acquisitions. The Art Gallery Curator must be aware of the potential commerciality of what he intends to exhibit, whereas the Art Museum Curator has more scope to consider works that represent trends, ideas and movements.
Art Dealers: Art Dealers have a very focused position in the world of art. Although most dealers have academic qualifications in Art related studies, they are not a pre-requisite for the job. The Art Dealer needs to know more about the clientele than he does about the artwork and the artist. He or she is first and foremost a salesperson. A good salesperson needs to know the product, but more importantly, needs to know how to sell. An art dealer is concerned with price. Once the deal done, the astute art dealer will always be looking for a future buyer for the same work for more. The best Art Dealers are the ones who make money for their clients.
The Art Critics have the best of the art world at their finger tips. They get to review art constantly without the pressures of commercial concerns. They don’t have to sell it; they don’t have to buy it. They get to give their own opinion (honestly-we hope) about something that they enjoy or dislike. An experienced eye gives us perspectives and insights that we might otherwise have missed.
No matter where each of us thinks the painting should hang, we all entitled to our opinions…
Art as the precursor of Science
Dr. Leonard Shlain, who passed away on May 11 in San Francisco was a renowned surgeon who had other interests far from the fields of medicine. Among the diverse works that he authored was a book entitled “Art & Physics –Parallel Visions in Space, Time & Light”. In this very interesting and entertaining book, Shlain proposed that visionary artists throughout history have been first to perceive the world in new ways that lead physicists almost simultaneously (or soon after), to discover new theories about the world. Giving examples drawn from the classical period, through the medieval, the renaissance and up to the modern era, he argued that artists’ images, when juxtaposed to new concepts in physics could be often understood as precursors to the latest scientific findings. There are specific examples in the book juxtaposing artworks by Giotto and the ideas of Galileo; some of Leonardo da Vinci’s drawings correspond to the discoveries of Isaac Newton; Picasso’s perspectives on the world are linked to Einstein’s revolutionary view of the universe. There are many intriguing examples where artists create imagery and metaphoric expressions that predate novel ideas formulated by scientists. Dr. Shlain also believed that art is precognitive. We recognize great art because it is great art. His theory, apparently, was based on brain research (the different sides of our split brain etc.- one side into art, the other into science), mixed with a bit of Jungian theory about the unconscious where patterns are said to be stored in DNA strands. The book makes for a great read - especially to artists and art lovers. It is provocative, engaging and intriguing with lots of art reproductions and explanatory diagrams. The scientists, however, forever skeptical - (it goes with the job) – will surely look at “Art & Physics” through the microscope and not the Artist’s eye.
So, the next time you are in the bookshop we recommend: Art & Physics for your bedtime reading.
Sculptures are falling down, instead of going up
I seem to be coming across some weird stuff on the net. Two completely separate news articles that caught my eye recently concern public sculptures that have fallen down. The first happened towards the end of April in NYC in the Pearl Street Triangle which is across the river just under the Manhattan Bridge overpass. The sculpture, titled Zeus, by sculptor Bates Wilson was knocked down reportedly by people who were riding bikes up it. The sculpture, as you can well understand, was not designed for this purpose and was toppled off its base. The bolts, anchoring the piece, were not screwed through the Belgian block but rather into it- which apparently was the only way to do the job. After lying on its side for a month, the great Zeus was hauled away unceremoniously by a pick-up truck. There will be thunderbolts over NYC if he is not returned.
An unrelated event:In Springfield, Ohio a statue of Tecumseh the Shawnee leader was toppled on Monday May 11 from its base situated behind the Springfield Museum of Art. The local police have no real clues to what happened, but believe it was an act of vandalism. The bronze statue was commissioned by the Springfield Cultural Committee in 2006 from sculptor, Mike Major of Urbana.
Major, who has created statues for the city of other Ohio historic figures like Georges Rogers Clark, was called in to assess the damage and the costs of repair. Tecumseh - the statue - weighs about 980 pounds and stood in a concrete pad with rebar on his feet that went down inside the pad. Let him rise up again and reclaim his rightful place on the land…..
Still unrelated: The two stories reminded me of the article in our February 2009 Artlanow Blog. A sculpture, set up on the streets of Culver City as part of the California Biennial & LAXART’s Public Art Initiative, was carted away by mistake after residents thought it was trash left on the sidewalk.
Still even more unrelated: The preceding stories brought to mind an incident that occurred last year while we were in England. One Saturday, last summer (July-August 2008), while we were in London, visiting a Royal Academy show curated by British Artist Tracy Emin, a sculpture was accidently knocked down by an over-admiring female viewer, who tripped over the cordon rope.
The damaged work, which smashed into hundreds of pieces, was about 9ft-tall and one of five ceramic totems by a Costa Rican artist called Tatiana E. Fernandez. Break a leg! The show must go on! Immediate, succeeding visitors seemed to be just as enthralled by the four remaining totems and many thought the broken work, with the pieces strewn on the floor, was part of the display. It took awhile but eventually a broom was found and the broken pieces were removed.
Additional info: Ms. Tracy Emin (part of the Young Brits Artists from the 60’s) was asked to curate part of last year's 240th Royal Academy Summer Exhibition and sparked controversy with her choice of explicit art works- including a sculpture of hands and penises and a video of a naked woman hula-hooping with barbed wire.
We hope that all the people involved in these stories had good insurance coverage.
Tough times–even at Beverly Hills Art Fair
The Affaire in the Garden in Beverly Hills this past weekend seemed to be well attended, as it always is. We didn’t come across any of our Artlanow members showing their work…. However, from discussions we had with numerous artists presenting their work, we got the impression that most people had come to look at the art and enjoy the springtime sun, than to make acquisitions. A few artists seemed pleased with their sales but for the majority, the word ‘recession’ was the explanation for their disappointment.
Ah, this awful recession. There’s the credit squeeze, the ‘for lease’ signs everywhere, fuel prices that are up – stocks that are down, and everybody’s personal debts are sky high. The keywords that seem to hold our future in the balance are "consumer confidence." We have lost our confidence to consume –to buy, to acquire, to purchase, to want to possess. It seems that even people who aren't that impacted by the soft economy are hesitant to spend because they aren't sure what the future holds.
None of this bodes well for the art market. For Art lovers their love of art is fading as quickly as their consumer confidence. Love art, they might, but they, too, have less discretionary capital to spend. Selling artwork isn't easy even in a healthy robust economy, and at times like this, well, it can seem downright impossible. But, the good news is - that it’s not impossible. Difficult times demand difficult decisions. Artists, like everybody else, have to make adjustments to survive the current economic tsunami.
The number one consideration for any ‘seller’ in this market is to be flexible with respect to prices. Art is a commodity (yes, I know it’s a crass statement but, still it’s true.) The same people who denigrate the commerciality of the art world suddenly realize the importance of the money side when the ‘market’ is adversely affected. When your rent is at stake, the lofty ideals and values fly right out the window.
Just like any other commodity, prices fluctuate – they go up; and in tough times, they go down. When money flows freely and demand is high it’s whupee for everybody. But, when money dries up, and in the galleries, studios, and art fairs nothing seems to be moving –it’s time for adjustments.
Art Galleries, where business considerations are highest on the priorities, are all making temporary reductions to get through the slump. Many, if not all, have worked out interim agreements with the artists they represent, to make their art more affordable. They realize that money isn't flowing as freely as it was a year or two ago but there are still people out there who want to buy art. Lowering your prices to entice buyers and survive as an artist has nothing to do with your “integrity or worth” as an artist. Let go the ego and compromise. The point is to get through to the end of this bumpy ride and carry on with what you really want to do –create art.
During a discussion on prices with one of the artists at the Affaire Show he mentioned “how do I explain lower prices to the people who bought my work last year at the top?" Well, it’s quite simple. One of the results of the recession is that everybody is on the look-out for good bargains: whether in real estate, stocks, cars or whatever. When prices are down – that’s when buyers make their best investments before the prices go back up. Any artist, in these times, can say that price reductions are in response to the appeals of some collectors who love the art as much as they did in the good old days when there was more money to spend. Reducing prices is a way of maintaining interest and loyalty. It’s a temporary opportunity, a special consideration of the times to buy at better prices as investments. There's never been a better time to buy artwork than right now.
With every commodity there is an ebb and flow –to survive you have to go with the flow.
Some tips: Offer affordable options for buyers, artwork under $1000, for example, or even under $500. Don't make the mistake of ignoring small sales and focusing all your attention on large ones; a steady stream of small sales can easily add up to a livable income.
Offer the buyers an installment plan if you believe that they are bone fide clients.
There is the option to rent your artwork. There are several agencies in the Los Angeles who work with artists on this level. Having your artwork rented out to corporate offices & public buildings etc, can generate you a nice basic monthly income.
Now - a word to our starving artist members. Even the very best, like Picasso, at some point traded their art for lodgings, for food and materials. Maybe you can think about offering your art in exchange for medical, dental, and legal services and just about anything else you can think of. For example, offer to hang your artwork at restaurants or coffee shops in trade for monthly food allowances. Keep an eye out for people selling furniture or household items and offer to trade artwork for whatever you might need. Ask people having garage or house sales whether they'd consider taking your artwork in trade for items left over at the end of the day. In other words, trade your artwork for goods or services whenever and wherever you can.
Thanks in large part to the Internet and art fairs like the Affaire in the Garden, art markets have steadily progressed from local and regional to national and international. The global nature of today's art trade allows artists to present themselves and their art to far more markets than ever before, with minimal investments and efforts on their parts. The good times will come back. We wish all our very gifted Artists at Artlanow good sales and the recognition you deserve for your work.
Joining An Art Association Brings Rewards & Benefits
We have written articles in previous months about the professional and social benefits one can get from joining an Art Association. Many of our Artlanow members are already active in local art societies, organizations and associations and enjoy the collective social activities, and the opportunity to show work in the periodic group exhibitions they put together. Working alongside fellow artists allows each of us to keep up with different ideas and techniques. Being part of a dynamic group facilitates the exchange of perspectives, promotes learning, encourages constructive criticism –and (perhaps most importantly) can be a lot of fun.
There are many local Art associations that welcome new members. Each organization has its own selection procedure, its own terms of acceptance and conditions of participation. However, joining an association is a two-way process; you’ll be bringing your own special skills and input to the group. It is worthwhile taking the time and searching for the right association where you can best express your own work and personality.
The Collage Artists of America (CAA) has a very dynamic and active group of members in the Los Angeles area. The association puts together exhibitions for its members a few times a year and organizes workshops and various other activities. Master classes, offered by visiting artists, are usually well attended and are open to prospective candidates, affording an opportunity to study and to get a better look at the society before committing to membership. Some members of the CAA, organize specialized workshops (for a fee) in various aspects of collage, assemblage and mixed media in their own studios. Members of the CAA exhibit regularly at the Viva Gallery, 13261 Moorpark St., Sherman Oaks, (Tel: 818 385 0080) where more classes are offered in calligraphy, monotype printmaking, pastel, collage and more. The Spring 2009 Group Exhibition, entitled E-Collage-ical, runs from May 20 –June 6 with the Artists’ reception on Sunday May 31 (2pm-4pm). Come along and enjoy the work of this very talented group. If you’re interested in joining the CAA or participating in any of their workshops, go to www.collageartists.org or contact Barbara at BJones2796@aol.com
The Art of Photography Show 2009 – Deadline May 22
The deadline is approaching for submissions to an open exhibition of photographic art at the Lyceum Theatre Gallery in San Diego’s historic Gaslamp Quarter. This year’s exhibition marks the 5th year and the show will be held from August 29-Novemer 1, 2009
The Judge is Charlotte Cotton, Curator and Head of the Photography Department at the Los Angeles County Museum of Art (LACMA)
The Art of Photography Show 2009 is an international exhibition featuring all forms of photographic art — images taken on film, shot digitally, unaltered shots, alternative process, mixed media, digital manipulations, montages, and photo-grams, etc.
To all our photographer/members who are interested - complete the online entry process at: www.artofphotographyshow.com/registration.html and upload your jpeg images.
Entry Fee: $25 for the first entry, $10 for each additional entry. There is no limit to the number of entries an artist may enter. Artists who entered work in any previous Art of Photography Show or Art of Digital Show will receive a $15 discount towards the Art of Photography Show 2009. Remember: The entry deadline is May 22nd.
This annual project was organized to create an exceptional presentation of photographic art as part of the cultural activities of the city of San Diego. One of the goals is to encourage excellence among photographic artists and to provide a great forum for the exhibition and sale their work. A vigorous marketing and publicity campaign will be pursued to bring maximum media attention to the photographic artists who are juried into the exhibition.
On the buses and on the trains- there are opportunities for your Art
The Los Angeles County Metropolitan Transportation Authority (METRO) periodically commissions artists to incorporate art into various transportation projects throughout Los Angeles County. We’re not talking about commercial posters here. At bus stops, in rail stations, in streetscapes to bus interiors and temporary construction fences, art engages transit riders and helps create a sense of well-being.
Metro's Art Department was established in 1989 and has since commissioned over 250 artists for a wide array of projects. One half of one percent (0.5%) of rail construction costs is allocated to the creation of original art works that are especially created for their transit related sites. The Artists are selected through a peer review process with some references and input coming from the community.
Metro has received numerous design and artistic excellence awards for its very imaginative program to promote public art. The arts advisors to the deciding committee have taken an interdisciplinary approach and over the years, and a broad range of artists have been commissioned. Additional funding of over $1.5 million for commissioned artworks has also been provided by municipal and corporate contributions.
To have some idea about existing commissioned artworks, a pocket size brochure depicting all artworks on the Metro transit system is available by calling 213.922.4ART.
Opportunities for Artists: Metro periodically invites artists to submit their qualifications or proposals for a variety of projects and offers internships to qualified juniors/seniors and graduate students enrolled in Los Angeles area universities. For information on current artist and internship opportunities, visit: www.metro.net/about_us/metroart/ma_opportunities.htm.
or Tel: 213 922 4278
Make sure to join their mailing list to hear about public art opportunities - email them your name, mailing address, telephone number and e-mail address. Once you’re on the list you’ll know what’s going on….. By the way, Metro Art shares its mailing list – on a carefully selected basis – with other public art programs seeking to inform artists of additional opportunities.
Interesting events for the rest of the week and the weekend
This coming Thursday May 14th between 6pm -9pm, the Los Angeles Center for Digital Art (LACDA) is holding a reception for the “2009 Top 40 International Juried Competition” downtown at 107 W. Fifth St. (Tel: 323 646 9427). Many of our Artlanow members are digital artists and perhaps would like to see the exhibition of best entries to the competition.
On the same afternoon, Thursday May 14th (2-5pm), The Los Angeles Department of Cultural Affairs will be holding a reception at the L.A. Municipal Art Gallery for the 15 mid-career local artists who have been awarded this year’s Individual Artist Fellowships. Address: 4804 Hollywood Blvd. Los Angeles. (Tel: 323 662 8139). It is always interesting to see who the yearly award winners are….
On Saturday May 16th (6pm-10pm) Artlanow member Norm Maxwell who has his Studio Gallery at 430 N. Fairfax Ave Los Angeles CA 90036 invites artists and art lovers to an evening of good vibes, music and live art at the gallery. This is a monthly open studio event with live models on hand -so bring along your sketch books and pencils. For more info contact Norm at Tel: 323 528 1135 or email him at info@normmaxwell.com. (There is a $10 donation to help cover costs)
The spring weather is just right for spending some time at this coming weekend’s (May 16th & May 17th) Artwalks & Art Fairs. We recommend:
The Venice Artwalk which is celebrating its 30th anniversary this year. There is the architectural tour, the silent auction and the self guided tours through the studios and galleries of Venice’s finest artists. For more information about special events and costs go to www.venicefamilyclinc.org/indexphp?view=art_walk_auction
……and we recommend:
The Spring Event of The Affaire in the Garden. It will also be held this coming weekend in Beverly Hills on the lawns running alongside Santa Monica Blvd. This event usually draws big crowds of art enthusiasts and buyers. About 250 Artists of all media show their work. There is also live music, catering and distribution of awards to the best artists in each category.
2009 Congressional Art Competition - The Next Generation
Each spring, since 1982 the Congressional Art Competition, a nation-wide high school arts competition sponsored by the Members of the U.S. House of Representatives attracts a lot of our most gifted young high school artists to compete. The Artistic Discovery Contest is an opportunity to recognize and encourage the artistic talent in the nation, as well as in each Congressional District.
The Congressional Art Competition was set up to provide an opportunity for members of Congress to encourage and recognize the artistic talents of their young constituents. Since its inception in 1982, over 650,000 high school students have been involved with the nationwide competition. All entries must be an original in concept, design and execution.
We, at Artlanow, have attended local events over the years in different districts. We have seen the extraordinary talent of so many high school students that will become big names on the future Art scene. The next generation of L.A.’s artists is waiting in the wings.
When the next competition comes up in your district take the time to visit the students’ exhibition. Give the next generation your encouragement and support.
A few days ago, House representative David Dreier announced the winners of his Congressional Art Contest at a reception held at the Historic Walker House in San Dimas over in the San Gabriel foothills (east L.A. County for those of you who don’t get out too much.).
The top prize was awarded to Glendora High School student Evelyn Jarrous whose oil painting “Spectacles” will be on display in the U.S. Capitol for the next year. Evelyn will also be attending a national reception to be held to promote the arts nationwide in Washington D.C. in June.
Runner-up in the competition was Nicole Kwon of La Canada Flintridge who attends the Crescenta Valley High School. Her acrylic painting, “A Study on Surrealism will hang in Rep. Dreier’s office during the next 12 months.
Congratulations to them and the winners in all the L.A. districts.
More Juried Competitions -Deadlines May 2009 (more published earlier on)
Still Point Art Gallery has a call out to all artists 18 years of age or older living in the USA to submit original work in any medium except video and apparel. This is for an online exhibition held June 22 –August 30, 2009. Three artists will be chosen to participate in a group show planned for the Spring 2010. There is an Entry Fee $25 for up to 3 images. Each additional image, another $5 each. For more info go to http://www.stillpointgallery.com/index.php?action=prospects You can also call Tel: 207 837 5760. The DEADLINE for this competition is MAY 25.
"ACCI Gallery 2009 National Juried Exhibition" The ACCI Gallery in Berkeley, California announces a call to artists for the "2009 National Juried Exhibition", July 10-August 23. They are giving $2500 in Cash Awards. Jurors: Suzanne Tan, Berkeley Art Center, and John Toki, Professor, California College of Arts. The entry fees are $25 for up to 3 digital or slide entries. You can download a prospectus at http://www.accigallery.com/pdf/2009_Prospectus.pdf
or send a SASE to: ACCI Gallery National Exhibition, 1652 Shattuck Ave., Berkeley, CA 94709. Contact Lisah Horner, Gallery Director at muse@accigallery.com or call 510-843-2527.DEADLINE MAY 27.
"Axis Gallery in Sacramento, CA has a call out for its 4th Annual Juried Competition" for August 1-30, 2009. Cash Awards. The Juror is Janet Bishop-Curator of Painting Sculpture SF MOMA. Open to paintings, prints, drawings, sculpture, original digital images, and photo process produced in the last two years. $30 for 3 entries, with $5 for each additional image,(there is a limit 6 total.) For more information, visit http://www.axisgallery.org or send a SASE to: 1517 19th Street Sacramento, CA 95811. Questions? Please send email to info@axisgallery.org or call (916) 443-9900. DEADLINE MAY 29, 2009
"5th Annual Juried Exhibition" call for entries by The Newspace Center for Photography in Portland, Oregon - to photographers for its 5th Annual Juried Exhibition, August 7-30, 2009. One photographer will be selected for a solo show in 2010 and receive $500. The competition is open to all photographic themes and processes, but the work should have been created in the last three years. $40 for 5 images. Entry form is available at http://www.newspacephoto.org/callforentries/. Inquiries? Send email to info@newspacephoto.org or telephone 503-963-1935.
DEADLINE May 29,2009
The Sylvia White Gallery in Ventura, CA has a call out for entries to the"2009 National Juried Exhibition"
The Sylvia White Gallery in Ventura, CA 2009 National Juried Exhibition is open to US/Canadian residents 18 years old & older. Awards: Solo Show (July 8 - August 8)/ Group Show (August 22 - September 12). Juror: Sylvia White. $40 entry fee. Download Prospectus (PDF format): http://www.artadvice.com/juried.pdf. Questions? Send email to info@artadvice.com or call 805.643.8300. DEADLINE May 30, 2009
Something I found at Bergamot Station –“How to Sell your Art”
Here is something you might find interesting. A postcard I picked up on a visit to the James Gray Gallery at Bergamot Station, Santa Monica invites the public to a special event at the gallery on May 12, 2009 entitled “How to Sell your Art.” Etan Boritzer, the Special Projects Manager at James Gray will be talking and advising on the subject of what it really takes to promote, market and sell your art on Tuesday night between 7:00 to 9:00 pm.
ETAN BORITZER has more or less spent his entire life involved with art in all its aspects and has traveled extensively in pursuit of good art and good artists. In 1988, with his business partner James Gray, he opened BGH Gallery (now James Gray Gallery). In 1995 they moved the gallery to the Bergamot Station and in 2004 Etan sold his part to James. He has written about Art for the L.A. Times and numerous monographs for art catalogs. For 5 years he taught a well attended course called “How to Break into LA Art Galleries” for the Learning Annex.
He also taught “The Business of Art” as a seminar at Art Center, Pasadena and the same course as a 15 week, 4 unit course at Cal State Channel Islands in Camarillo.
He has guest-curated and juried numerous art exhibits at both University and commercial galleries. He knows a lot about art, and he can surely give some great pointers on how to “sell your art.”
For details telephone 310 315 9502 Fee: $15
Taking Back what I said –Yesterday
In the previous blog I complained that local galleries were not giving enough wall space to Los Angeles artists. Well, I have to admit that I was partially wrong since two galleries at Bergamot Station, the Frank Lloyd Gallery and the Greenfield Sachs Gallery, are simultaneously showing works by long-time Venice resident and artist, Ed Moses. The artist, who turned 83 last month, is still turning out fantastic work and has been an important figure on the Los Angeles art scene since the late 1940’s. His abstract works are an inspiration and we hope you find the time to see his latest exhibitions. The galleries at Bergamot Station are always worth visiting on a regular basis as many of the gallery owners there seem to have a flair for finding the next ‘emerging local star’.
It is the perfect time of year for those Plein Air Workshops
Venturing out into the California sunshine with fellow art enthusiasts is always fun and rewarding. Take a look at some of the upcoming workshops and events.
Some May/June 2009 Plein Air Workshops on the California Art Club Website
May 15-17, 2009 - James McGrew (CAC Associate Artist)
Yosemite Twin Valleys Plein Air
Location: Yosemite National Park - Yosemite and Hetch Hetchy Valleys. Also includes evening programs at Yosemite View Lodge, El Portal.
Time: 3 full days plus evening programs……Cost: $300
Register: Call Y-explore Yosemite adventures at 800/886-8009, or visit http://yexplore.com/yosemite.twinvalleys.htm or http://yexplore.com/james.mcgrew.htm
June 5 - 12, 2009 - Judith D'Agostino (CAC Associate Artist Member)
Painting the Landscape of Tuscany
Location: Tuscana Americana Workshops, Cortona, Italy
Time: Daily ……Cost: $2,749 (discounts available)
Register: Email judith@judithdagostino.com or visit http://toscanaamericana.com/dagostinopainting.html
June 8 - 12, 2009 - Instructor: Barry John Raybould (CAC Artist Member)
Plein Air Painting in Tuscany
Location: Chianciano, Tuscany
Time: 8:00 a.m. - 1:00 p.m…….Cost: $2100 /two persons, one artist
Register: Email 2008@bjrgallery.com, or got to www.bjrgallery.com
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Monthly Paint Outs are organized by the Valley Watercolor Society with instruction, tips and feedback from fellow enthusiasts. Check out their website at www.valleywatercolorsociety.com
Plein Air Painter Frank Serrano has classes and weekend excursions planned for throughout the year.Contact him at 310 869 3200 or go to www.pleinairgallery.com
Sept 9-Sept 13, 2009 Check out the American Artists Weekend Masters Workshop. This event will be held at the Colorado Springs Fine Arts Center and there are some excellent instructors giving the master classes. Tel: 646 841 0057 or go to: www.aamastersweekend.com
Jennifer McChristian in Los Feliz, Los Angeles has some upcoming workshops on her website at : www.jennifermcchristian.com or contact her at 213 453 2818.
She is also teaching a 5-day Plein Air Painting Workshop scheduled for September 21st through September 25 2009 in Grants, New Mexico.
Cheer up Artists in Los Angeles – Success is just around the corner.
Last night, loosening my belt and sighing with contentment, as we finished our meal in a nice Chinese Restaurant downtown, I cracked open my fortune cookie and smiled inwardly as I read “Success is just round the corner.”
“What do you think?” I said to the wife.
“Mine’s just as good”, she replied ….”You will bring joy and happiness to those around you.”
So, on those notes of optimism we left the restaurant and went round the corner (literally) looking for success in a Gallery where we intended to pitch an idea to the owner. Unfortunately, the owner was not there to meet us, due to an un-expected personal emergency, so we stayed awhile, anyway, to look at the exhibition. The Gallery, which will remain un-named, has been established in Los Angeles for many years. There are no local artists included in the current exhibition and, on perusal of the catalog of the previous exhibition I could see that none were showing in that either. You’ll get the gist of my opinion of the Art as you read on. Killing two birds with one stone we ventured around the corner again (not the same corner) and visited another Gallery showing work by east coasters. I’m sure that they both DO represent artists from L.A. but it made me wonder why the Galleries hereabouts, are looking so far a-field for artists when there is so much talent right here.
Now, all of us have been to Galleries & Museums, and have experienced that moment when, standing before a work that is, let’s say ‘not to our liking’- we think to ourselves “what c**p!!” On closer inspection of the name and title we discretely look at the price… ‘My God, I wouldn’t give a …… for it’ you almost scream, as the number of zeroes after the dollar sign jump out at you.
Well, Artlanow Members, I had that experience last night and I realized just how much good work we have on our website, AND JUST HOW MANY TALENTED ARTISTS WE HAVE AMONGST OUR ARTLANOW MEMBERS.
For those of you who are already commercially successful, we know that you deserve it. For those of you who are waiting in the wings we tell you; take hope – success is just around the corner. Your work is so good, success will come.’
In order to fulfill both the Chinese prophesies; We hope that this small word of encouragement will bring you a little joy and happiness.
The 5th Annual Incognito Exhibition & Benefit Sale at Santa Monica Museum of Art
Last Saturday evening the vicinity of Bergamot Station was bustling with activity as about 700 art collectors turned up at the doors of the Santa Monica Museum of Art for the 5th Annual Incognito Exhibition & Benefit Sale. More than 650 small artworks were donated by 500 artists,-with some well known names among the donors-, for an event that has quite an exceptional twist to it. The buyers who all paid $300 to receive an artwork, had absolutely no idea whose work they were purchasing until they were given the carefully wrapped packages and the artist’s name was revealed. This novel way of acquiring art, left some of the participants with delightful surprises, others not so lucky, but everyone evidently enjoyed the element of fun. We say: Kudos to the organizers, thanks to the buyers and accolades to the artists who donated their works for a good cause.
New evidence about Van Gogh that’s neither ear nor there.
119 years after his death, Vincent van Gogh, is at the center of a new controversy that concerns not his paintings –but his ear (the one that was cut off.) Two German art historians –Hans Kaufmann & Rita Wildegans- have suggested that the painter did not hack off his own lobe but was attacked by his friend, the French artist Paul Gauguin.
Until now official versions have maintained that the disturbed Dutch painter cut off his own ear with a razor after a dispute with Gauguin in 1888 while they were in Arles. Bleeding profusely from the newly inflicted wound, Vincent made his way to a local brothel where he presented the severed ear to his favorite prostitute (Rachel) before going home to sleep in a bloody bed.
After spending 10 years reviewing the police reports, witness accounts and the artists' letters, the two art historians argue that Gauguin, who was quite adept with a fencing blade, most likely sliced off the ear with his sword during a fight. They postulate that the two artists then agreed to hush up the truth.
The results of their investigation have recently been published in Germany as “Van Gogh’s Ear: Gauguin and the Pact of Silence”. In their work, they argue that the official version of events, based mostly on Gauguin’s account, reveals inconsistencies and that both artists, in letters and documents from the period, hinted that the truth was more complex.
Van Gogh and Gauguin's had a troubled and tempestuous friendship. In 1888, Van Gogh invited him to Arles in the south of France where he had set up a studio in a rented house. They spent the autumn painting together but their friendship began to sour, and they began to argue incessantly. Just before Christmas, things came to a head. Van Gogh, who was prone to attacks due to a metabolic disease, became aggressive and they had a terrible row. Then, in a moment of remorse, was apparently devastated when Gauguin declared that he was leaving and stormed out the house.
The German historians believe that they have put together enough evidence to show that following the argument, the two had a final encounter near the brothel situated 300 meters away. Vincent (whose remorse was short lived) again attacked Gauguin, who drew his sword to defend himself from the ‘madman.’ It is not clear whether in the ensuing fray, the chopped off ‘ear’ was by accident or on purpose.
While curators at the Van Gogh museum in Amsterdam stand by the theory of self-mutilation, the German historians believe that Van Gogh dropped hints, to the contrary, in letters to his brother, Theo, once commenting : "Luckily Gauguin ... is not yet armed with machine guns and other dangerous war weapons."
The whole story reminds me of the some of the ‘revealing the truth’ documentaries on the History Channel. They present all kinds of theories, arguments and evidence to counter the accepted version of historic events only to leave you at the end with the impression that they haven’t really come up with anything new at all.
The Surprises one can find when surfing the Internet
Maintaining the Artlanow Artnews & Blog can be demanding, time consuming and surprisingly rewarding in so many ways. We try to find information that is going to be helpful to our readers and especially the Artists who have joined us at Artlanow. Sometimes, when tracking down useful or interesting tidbits we come across stories that are so weird and wacky that we decide to include them in the Blog just for your amusement.
Doing some research on Los Angeles resident artist Paul McCarthy who teaches video, installation art and performance art at UCLA, I came across an article on the net called “the flying art turd.” Intrigued-as any normal person would be- I clicked in to discover that last July McCarthy set up a floating sculpture of a gigantic dog turd at the respected Paul Klee Center in Berne, Switzerland. On the night of July 31, the inflatable sculpture, entitled “Complex Shit,” was blown loose from its moorings by high winds and flew about 200 meters before tumbling to earth in the grounds of a Children’s Home. Luckily, there was no damage, apart from a broken window, though there is no way to calculate the psychological damage it might have caused, had any of the children in the home looked out of the window into the night to see a gigantic poo falling down from the sky! A safety system, that was supposed to deflate the sculpture during stormy weather, failed to operate, and up it went and away..!
Now, getting back to Paul McCarthy who was the purpose of our research…Well he works mainly in video and sculpture, although he formally trained as a painter. It turns out that he has led a very eventful life as an Artist and has done some pretty bizarre things apart from the dog’s mess. “Messes” of all kinds are part and parcel of his work, one could say, in so far as his interests in everyday activities and the messes created by them
Another McCarthy sculpture, that made the headlines was "Santa Claus with a Buttplug" (2007), a 24 meter high inflatable work displayed at a public park in Antwerp, Belgium. Yes, as the name implies, Santa had something very special ‘behind’ him that you wouldn’t want to find in your Christmas basket.
Some say that Paul McCarthy was influenced by the self-injurious antics of a group of artists known as the Viennese Actionists who were active back in the late 60’s and 70’s. He, however, has minimized their influenced on his artistic activities saying that he sees a clear difference between the self-injurious actions of the Viennese and his own performances: "Vienna is not Los Angeles. My work came out of kids' television in Los Angeles. I didn't go through Catholicism and World War II as a teenager, and I did not live in a European environment. My work is more about being a clown than a shaman.”
In his early works, McCarthy sought new ways of painting by using the body as a paintbrush or even canvas; later, he incorporated bodily fluids or food as substitutes into his works. In a 1974 video, Painting, Wall Whip, he painted with his head and face, smearing his body with paint and then with ketchup, mayonnaise or raw meat and, in one case, feces. Over the years his work evolved from painting to performance art to psychosexual events intended to fly in the face of social convention. In 1976, for a piece called Class Fool, McCarthy threw himself around a ketchup spattered room until he was dazed and injured. He then vomited several times and inserted a Barbie doll into his rectum. The “performance” ended when the audience could no longer stand to watch the spectacle.
For those of you, who wish to know more about fellow L.A. artist Paul McCarthy, I suggest you look him up yourselves on the net –there are many stories online about his strange performances.
One can only admire his ingenuity. Genius comes in all forms.
Some more competition deadlines for May 2009 (See Previous blogs below for more competitons)
NATIONAL ART COMPETITION – Deadline May 27, 2009
The Axis Gallery has a call out to all artists residing in the U.S. for a competition that will put the winners into an exhibition scheduled for August 1st -30th 2009. This year's juror is Janet Bishop curator of Painting and Sculpture at the San Francisco Museum of Modern Art. Accepted Media include paintings, prints, drawings, sculpture, original digital images, and photo processes produced in the last two years. Your entries must arrive in the form of a CD and must be in Jpeg format. For details of the entry fee and terms contact the Axis Gallery at 916-443-9900 or go to:
http://www.axisgallery.org
info@axisgallery.org
CERAMICS: CALL FOR ENTRIES – Deadline: May 29, 2009
This competition is open to all ceramics artists, working in functional, non-functional and sculptural. “A celebration of diversity in clay.” The winners’ exhibition is slated for July 31-September 11, 2009. Awards: One Going Solo or $1,000 and 4-Group 4 Award. The Jurors are Bunny McBride, Department Chair Ceramics, University of Iowa and Professor Bede Clarke, University of Missouri. There is a maximum submission of three entries per artist with a non-refundable fee of $35. One slide/jpeg/ per entry or submit a CD. Use jpeg on PC format only. (Do not use photo shop or other software to submit.)
For more details contact: Foundry Art Centre, 520 North Main Center, St Charles MO 63301
Tel: 636-255-0270
http://www.foundryartcentre.org
showentry@foundryartcentre.org
PHOTOGRAPHY COMPETITION – Deadline: June 1, 2009The Photo Review will reproduce accepted entries in its 2009 competition issue and on its website. According to their blurb, accepted photographs will be seen by thousands of people all across the world and entrants will have a tangible benefit from the competition. The prize-winning photographs will be included in an exhibition at the photography gallery of The University of the Arts, Philadelphia. A major traveling exhibition is in the works for 2010 and will feature entrants from 25 years of The Photo Review Competition. Awards include a $500 purchase prize for The Philadelphia Museum of Art, a copy of SilverFast HDR Studio digital camera RAW conversion software from LaserSoft Imaging ($499), a $270 gift certificate from Lensbabies for a Composer lens or other items on the Lensbaby.com webstore, a $250 gift certificate from Calumet Photographic, a 24"x50' roll of Museo Silver Rag ($240 value), camera bags from Lowepro, and $250 in cash prizes. There is an Entry fee.
For a prospectus send an #10 SASE to: Photo Review, 140 East Richardson Av Suite 301A
Langhorne PA 1904 or telephone 215-891-0214 for details.
http://www.photoreview.org
Artists and their Blogs
Blogs are it. Everyone seems to have one –and they have come a long way since they first began as online personal diaries. Nowadays, they’re used more as a means of self-publishing, and are a very practical way of getting information online to a large number of people. Artists, too, have learned the power of the blog and have taken to writing articles about their own artwork and their artistic visions. There are so many advantages to blogging that if you are an artist –and you don’t have a blog –then I suggest you get to it!
And here are some reasons why……
Internet search engines don’t understand pictures—they only understand words. If your website has only images, the search engines will not find it. Internet search is built on keywords –not images. If you want to sell online, and your website is just a portfolio of images of your work, potential buyers of art are simply not going to find it, unless they have your specific url address. If you spend a few hours each week blogging about your art, using important keywords in the text, people will eventually begin to find your artwork through Google and other search engines.
Once you are in to blogging, you’ll find yourself interacting and learning from other art bloggers in the ever growing online blogging community. When reading other blogs and getting to know other artists bloggers, and you‘ll be exposed to art and opinions that you would not have come across otherwise.
Your own Art Blog will allow art enthusiasts, buyers and collectors to connect with you personally. It helps to build real relationships with potential customers, who like to know the Artist behind the art they buy. Blogging helps you maintain a rapport with previous customers and helps you keep up to date with them about new works.
Blogs are like conversations—and can always generate a good discussion. In your art blog you can talk about your own thoughts and perspectives about your art. Get some of those dark Freudian thoughts out there, or tell the world how your last piece is an expression of your joy. There are no boundaries to what you can write, or even how you should write. Take my blog articles, for example, at Artlanow… I just kind of sit down at the keyboard and go with the flow. What comes out –comes out. I’m not trying to be a real writer. I’m just putting down thoughts.
Writing your own art blog is your opportunity to tell the world how YOU see it –and it’s your chance to let your opinions on art (or anything else for that matter) be given an e-megaphone. With your own blog, you’re in total control, and you can do things like publishing artwork in progress articles or, articles about other artists’ work that you like or dislike. As you paint and progress with a new piece, blogging about your creative process will help you create a record of where you’ve been artistically and where you’re headed in the future.
Blogging allows you to share your talents as an artist and, who knows, your work and your written thoughts, may inspire someone else to take up the paints and palette to become the next wunderkind of art.
As a tip, it is a good idea to link your blog (once you’re up and running) to other art blogs. Linking is a very usual tool on the internet to optimize traffic to your site. It also allows others to send in to you their thoughts about your work. (Be prepared for the good and the bad criticism.)
So, if you haven’t set up you own blog yet –give it a go, and keep it up. It does not really help if you set up a blog page on your website and then throw away your pen after a couple of weeks. We all have something to say in this world – get in your two cents worth now; while you can.
You don’t have to ‘go’ first to make big bucks
It used to be that an Artist had to wait until after the final canvas to make any real money. Of course, for him/her it was too late to spend it. In past times, a dead Artist, unfortunately, was always worth more than a live one. Statistics published about Art Market trends for 2008 show that, at last, some living artists are among the top sellers. Their art is selling in the multi-millions and the good news is that they get to put it in their own pockets.
As the world’s financial markets crumbled in 2008, the global art market was caught in the maelstrom causing auction sale prices to be volatile in every way. The year started with speculative euphoria and nose-dived in to an aggressive contraction.
The annual publication of Art Market Insight (by Artprice) examines art auction prices for the previous year. The report lists among its many statistics, the top 10 artists, the top 100 auction sales, and publishes a list of the top 500 artists by $$$ turnover for the year.
The top 10 Artists in the latest “Fortunart” 500 list are as follows.
Numero uno: Pablo Picasso (1881-1973) $262,366,349 from 1764 lots sold at auction
2: Francis Bacon (1909-1992) $256,208,073 from 100 lots sold
3: Andy Warhol (1928-1987) $236,749,034 from 1164 lots sold
4: *Damien Hirst (1965-) $230,887,159 from 445 lots sold (he knows how to create it, and he knows how to sell it…)
5: Claude Monet (1840-1926) $174,695,716 from 25 lots sold
6; Alberto Giacometti (1901-1966) $132,631,043 from 111 lots sold
7: *Gerhard Richter (1932-) $122,211,095 from 166 lots sold
8: Edgar Degas (1834-1917) $111,835,132 from 81 lots sold
9: Lucio Fontana (1899-1968) $95,589,589 from 227 lots sold
10: Yves Klein (1928-1962) $91,868,098 from 59 lots sold
It is good to know that living Artists (like Hirst, Richter and Koons) can finally make the kind of money that other artists like Rappers, Actors/Actresses and Athletes are used to seeing.
CALL FOR DOCUMENTARY PHOTOGRAPHY – Deadline May 12, 2009
The Center for Fine Art Photography invites photographers, world-wide, working in all media, styles, and schools of thought to submit images for participation in this exhibition. Documentary photography has the power to tell stories, create social change, awaken emotions, and show the intimate and unseen. This exhibition will feature the artistic viewpoint of the documentary photographer.
Eligibility: The exhibition is open to both amateur and professional photographers. Experimental and mixed techniques are welcome. Juror, Ed Kashi is a photojournalist dedicated to documenting the social and political issues that define our times. His images have appeared in National Geographic, the New York Times Magazine, Time, MediaStorm, GEO, Newsweek, and many other domestic and international publications.
For more information contact the Center for Fine Arts Photography or visit the website at:
http://www.c4fap.org
CALL FOR OPTIMISM/TRANSITION THEMED ART – Deadline May 11, 2009 Los Angeles
Phyllis Stein Art in downtown Los Angeles is preparing a juried exhibition to be held from June 10 – July 3, 2009. The title of the exhibition is "We are all in the gutter, but some of us are looking at the stars." The name reflects facets of the current socio-political turmoil, where optimism and personal transition inspire some to overcome the prevailing vicissitudes and confusing contradictions of the times. The participating artworks will address and/or express the artist’s interpretation of this theme. Price Latimer Agah, Annie Wharton and Phyllis Stein will make up the jury. Established and emerging artists are invited to submit up to three artworks related to the exhibition title. There is an entry fee. For detailed information go to:
http://www.phyllissteinart.com/gallery/psasubmissions/subpage.php
OPEN PHOTOGRAPHY COMPETITION – Deadline May 15, 2009 (In Seattle, WA)
The organizers are offering cash Awards of $1000, $500, $250 & $75 gift certificates of Blurb Scrip for each winner. The competition is open to all photographers working in all photographic processes, and in all themes. The juror is looking for work that represents a larger, cohesive body and will select a short series from each photographer who is chosen. There is an entry fee. Foe more detailed information contact: Ann Pallesen Photographic Center Northwest 900 12th Av Seattle WA 98122 (Tel: 206-720 7222 ext 11) (Fax; 206-720 0306) http://www.pcnw.org/gallery/entries.php apallesen@pcnw.org
The Pastel Society of the West Coast "Pastels USA" –Deadline May 8, 2009
The 23rd Annual International Open Juried Exhibition. July 25 - Sept 27, 2009. at The Triton Museum, Santa Clara, California. $1500 for Best of Show, with over $11,500 in cash and merchandise awards. Jury of Selection - Waif Mullins, PSWC Distinguished Pastellist and Past President, Linda Erfle,NWS, whose luscious watercolors are featured in Margot Schulzke’s Design book, and noted oil painterVicki Asp. Juror of Awards - Alan Flattmann PSA Master Pastellist and Hall of Fame Honoree, as well asauthor of several books on pastel, from New Orleans, Louisiana. Digital and Slide Entry. $40/members, $45/nonmembers up to 3 entries. CD or Slide. Download a prospectus at www.pswc.ws or SASE to Gerald Boyd, 686 Cedar Flat Ave. Galt, CA 95632. Pastel Society of the West Coast, PO Box 4518, Stockton, California, 95204
DIGITAL ART - JURIED OPEN: 2009 Deadline May 15 2009
Submissions: Any art piece that has been processed digitally in a creative and significant way, including digital photographs processed in computer graphic programs.
The Juror, Rex Bruce is an Artist, and Curator, Director of the Los Angeles Center for Digital Art. He has curated, or participated in over 60 exhibits, screenings, panels and events since opening LACDA in early 2004.
Awards: 1st Place: $300; 2nd Place: $200; 3rd Place: $100. Merchandise Awards. All art will be showcased by slideshows presented on video screens throughout the Topanga Canyon Gallery!
Entry Procedure: CD-R Only
CD-Rs must contain jpeg images only: 300 dpi - no larger than 1500 pixels on any side; 8 MB file size maximum.(H x W x D) & marked A, B, C or D. CD-Rs: must be labeled with the artist’s information on the CD-R itself.
Fees: $25 for 2 entries; $35 for 3 entries, $40 for 4 entries. All art will be showcased by slideshows on video screens in the gallery throughout the run of the show. Make checks or money orders payable to: Topanga Canyon Gallery
Specifications: All works must be professionally presented - either framed or museum wrapped.
Liability: CDRs/ Artworks will be handled with the utmost care. Neither TCG, its officers, directors, employees, agents, or volunteers will be responsible for loss, theft, breakage, or damages to any slides/ artworks submitted.
Sales: All accepted work must be for sale. The commission to TCG is 25%. Prices quoted on the entry form may not be changed after acceptance into the show.
Notification:The results of the jurying will be mailed to the artist by June 8, 2009.
Delivery: Artists who are notified of acceptance must hand deliver their work(s) on June 20 & 21, 2009 between 11 am & 2 pm to: Topanga Canyon Gallery, 120 N. Topanga Canyon Blvd. #109, Topanga, CA 90290
(Artists who cannot hand-deliver their works should call Co-Curator, Ken Fermoyle, Phone: 818.346.9384.)
Return: Work may not be removed until close of show. After close of show storage fees of $5 daily will apply.
Submissions Checklist 1) $25/ $35/$40 U.S. check or money order payable to TCG 2) 1 - 4 jpegs on labeled CD-R
3) Completed entry & notification card (download) 4) SASE: #10-sized envelope for notification
1st class mail to: Yolanda Klappert TCG Digital Juried Open, Co-Curator 801 S. Grand Ave. #1511 LA, CA 90017
Time Guidelines:
May 15, 2009 Submission Deadline June 8, 2009 Notification
June 20-21, 2009 Hand-deliver work June 19, 2009 Sent work must arrive
June 22, 2009 Show opens June 27, 2009 Reception & Awards
July 19, 2009 Show closes July 19, 2009 Pick up work
"29th Annual Spring Photography Contest" –Deadline May 11, 2009
Photographer's Forum Magazine and Canon announce an open call to all amateur photographers worldwide, no age limit. $100 - $2,000 cash awards, plus camera for 1st and 2nd Place. All finalists published in Best of Photography 2009. Enter online or mail prints or slides. See website for details: http://pfmagazine.com/AS/contest.aspx. Entry Fee: $4.95 per photo by May 11, 2009. Any Questions? Email Julie Simpson, Managing Editor at julie@serbin.com or call 805-963-0439, ext. 240.
"Washburn University Outdoor Sculpture Exhibition" –Deadline May 31, 2009
Washburn University in Topeka, Kansas announces a call to artists for the "Washburn University Outdoor Sculpture Exhibition", August 2009 to July 2010. Awards: $1,000 honoraria per sculpture. Open to all sculptors 18 years of age and older. $25 entry fee. Entry details at www.washburn.edu/sculpture2009. Questions? Please contact Rugena Hall at rugena.hall@washburn.edu or 785-670-1556.
The Economic Downtown Hits the Getty
Under a recently adopted budget for the 2009-2010 fiscal year, the J. Paul Getty Trust will slash its workforce by 205 jobs (a 14 percent cut in employees). An official at the Getty said they will be seeking to lay off ninety-seven current regular employees, with additional reductions coming from positions now vacant or likely to become vacant through normal turnover.
America’s wealthiest Arts institution, depends almost entirely on earnings from its endowment to pay its bills. Due to the recent crash, investments have soured; the trust now has only $4.2 billion on which to manage—down from its $6.4 billion peak in 2007. To give some perspective, the present sum is lower than during the recession year of 2001–2002.
The forthcoming year’s budget for regular operations will be $220 million, down 22.5 percent from the current $284 million. Cuts are to be made across the full range of Getty operations including grants to other arts institutions and institutes dedicated to art research and programs in art conservation.
Some senior executives will be asked to take pay cuts of up to 6% while all other pay structures will remain unchanged (no raises this year boys ‘n girls.) The trust’s top guns make well over a $1 million dollars a year, according to the Getty’s financial statements, so they’ll still have plenty of food on the table.
Other disgruntled Getty employees, however, have been venting their anger and worries anonymously on a blog dedicated to the subject of the budget cuts.
If big spenders like the Getty are obliged to cut spending, then the less fortunate must be really feeling the pinch. Let’s hope that the wheels of fortune turn quickly and that everybody will soon have money in their pockets to buy the good art that is out there.
How we see art…..or do we?
On a recent TV re-run of Boston Legal, one of the lawyers cited an error committed by the Museum of Modern Art in New York to illustrate how we sometimes overlook the obvious even when looking at something specific. I decided to look it up on the internet and discovered that the error, in question, actually occurred back in 1961. The curators of the MOMA hung a painting by Henri Emile Benoit Matisse upside down for 47 days before the mistake was noticed and rectified. During that time 116,000 admirers of art filed through the gallery without anyone noticing that “Le Bateau” by Matisse was belly-up.
Now, on the subject of up-side down paintings, here is a tip that can help when you have a problem with composition. If you feel that something is not quite right with your painting, but you can’t figure out what it is…..try turning it up-side down. Doing this allows your brain to register the shapes without interpreting them as subjects. You’ll be able to see the forms as composition only and have a better feel of what is not working. (If up-side down doesn’t help, take a reverse look at the painting in a mirror. If that doesn’t work – take look at yourself in the mirror.)