artPark

Signing Off

Although it may already be obvious to artPark followers, I am officially signing off.  Like most blogs, this one has run its course.  Please know this has not been an easy decision for me.  Writing about so many talented artists and the product of their talents has been a privilege and a thrill.  However, it simply has become more and more difficult to provide engaging and relevant posts with any consistency.

The primary goal of artPark has always been to discuss and promote the work of artists Laura and I so very much adore.  Along the way, I have also tried my best to expose the mysteries hidden in the backrooms of the of the commercial art scene.  I hope over the past several years artPark has exposed you to art and artists you otherwise would not have been, and that I have partly demystified the often secretive process of buying and selling art.

Before turning out the lights, I would like to say a special thank you to Brian Mallman for encouraging us to start blogging in 2006.  Without his insight and enthusiasm, we would have never launched it.  I also thank the many artists who have been profiled and discussed in the posts here.  They all have provided such rich subject matter.

Finally, I say a huge thank you to my wife, Laura, for designing the blog, writing the first posts, and supporting my many ramblings.

Peace.

 

A few final thoughts from the Juror's Frontline

Having completed my jurying duties for Visual Overture Magazine’s Emerging Artists competition (Summer), I thought it might be useful to share with artists a little of what goes on “behind the scenes” of the review and selection process.  Too often, and artist submits work and months later gets an email saying “Sorry, your work wasn’t chosen.”  That’s it.  This leaves artists feeling a little hollow and wondering if their work was really studied during the review.

For the Visual Overture competition, I can promise you, every portfolio was reviewed in depth.  Why?  Because the review process required that every portfolio was graded in six separate categories.  The entry program was through EntryThingie.com.  I was skeptical of it at first, but once I started looking through the portfolios, I found the software to be excellent.  When the results were finally tallied and announced, all submitting artist could ask for their score.  This opportunity does not happen often.  I hope all the artists took advantage of this.

What EntryThingie allowed for was a grading system for six individual categories for each portfolio.  It then tallied the scores and listed the results in order.  From there, I was able to refine my choices keeping in mind the need for portfolios that would be diverse as a group and would reprint well in the magazine (this was a competition whose results were in print – not hung in a gallery or found in a sculpture park).

As a result, I would like to use the six categories to highlight where some artists excelled and some failed - something for every artist to keep in mind when submitting work to any competition.  Here are the Categories and my thoughts:

1)  Quality of Digital File.  This is a good one to start with.  Virtually every competition requires the submission of work via photographs.  When looking at the portfolios, I considered the following:  Are the photographs professionally presented? Are they clear or blurry? Are they properly cropped to the artwork? Are there noticeable flashes or glares? Basically, can they be presented in a print publication?  Many artists don’t consider these issues.  In fact, I am often shocked at how often a visual artist does not consider the visual presentation of their work.  Seriously??  Come on, guys.  Get good pictures of your work.  I was able to strike many portfolios due to this simple fact.  Yes, it takes effort and a bit of money to get good photos of your work, but do it.  Do it.  Do it.  Do it.  I don’t care how good your work is, if it is presented in a blurry digital image, I’m not going to consider it a winner.

2)   Originality:  This seems like a no brainer for most.  All art is original, right?  Well, not exactly.  I was chosen to be a juror mainly because I have looked at a lot of art in my lifetime.  Far more than most people.  This has given me a huge mental catalog of “original” pieces of art.  At this point in my life, I am rarely surprised by an artist’s originality.  But when it happens… it scores big.  Keep this in mind.  A lovely painting of a tree-lined meadow in the spring can be gorgeous, but it’s been done many times before.  Use your creativity to make it “original.”

3)   Technical Skill/Craftsmanship.  Now this is where I have little tolerance.  Take the same painting of a meadow… It may not be original, but if the technique is flawless and the image is perfectly balanced, it will score well.  I love it when craftsmanship shines through.  I saw a couple of conceptual installation pieces where the walls were stitched together plastic shopping bags.  It was a great conceptual piece of art, but the stitching (although not an integral part of the piece) was clean and perfect.  I loved that.  Sloppiness and poor craftsmanship will always get a poor score no matter how great the idea is.  This is a given throughout the art world. 

4)  Use of Art Elements (i.e. how well has the artist made use of form, line, shape, space, color, texture, value).  I have often made fun of – in a constructive way, of course – when an artist’s statement says they paint “intuitively.”  I hate that.  What I hear in my head is, “I put paint on a canvass with no intention or goal.”  This is not art.  This is Glenda the painting elephant with a paintbrush taped to the end of her trunk.  The first thing every art student learns is the concept of design, line, and space.  Those who do not incorporate these elements are hobbyists or failed students.  It’s very hard to take their work seriously – especially when it is compared to those who do take it seriously.

5)  Coherence of the Individual Pieces (i.e. does each piece seem to intentionally portray a message and make use of aesthetics).  Applying this category to the judging was harder than I thought it would be.  But, when I started looking more closely at the higher scoring portfolios, it turned into a critical element.  Bottom line, I asked myself if the work spoke to me.  Many pieces were lovely and well crafted, but they did not speak to me in a strong voice.  Some of this is due to personal preferences.  For example, I enjoy portraiture.  Many people find it to be dry and a bit boring.  But, I think good portraiture is incredibly expressive.  Fortunately, this competition had a lot of portrait artists.  That made this particular score even more important.

6)  Overall Coherence of Portfolio.  So who thinks it’s a good idea for a photographer to present 4 nice black and white photos and one limestone sculpture?  I don’t.  Why in the world would anyone do that?  I’m sure the sculpture is nice, and the artist is proud of the work; but it should never be part of their photography portfolio.  Simple.

Those are the six categories.  I think it would be a good idea for all artists to keep them in mind when making presentations.  It may not vault your portfolio to the top, but failing to consider them will definitely sink your portfolio to the bottom.

A couple of final notes:

Listing Dimensions.  As the old saying goes, “size matters.”  But I’m not talking about big or small.  I’m simply talking about dimensions.  Every piece of art produced must be properly labeled with its height and width (and depth when appropriate).  Inches or centimeters are standard.  What you should never do is list the dimensions of a piece in pixels or bytes.  Sounds ridiculous doesn’t it?  But I see this often enough to mention it here – especially with photographers.  An image’s dimensions listed as 2745pxl x 3169pxl tells me this image has never been printed, matted or framed.  The actual piece’s dimensions are critical.  A photograph printed 8”x10” is extremely different compared to the same photo printed 30” x 40”.  Do yourself a favor and give accurate dimensions to every piece of art you submit – everywhere, every time.

Titles.  Naming a piece of art is an art in and of itself.  I don’t have much to say about this other than every artist needs to be aware of the effect an artwork’s title has on its viewers.  For example: a portrait of a person holding a gun to his head can be far more powerful when titled “Self-Portrait” instead of “Barry with a gun”.  Titling abstract work can be even far more poignant.  Keep this in mind.  A piece is not finished until it’s been titled.

Etiquette.   Last, but far from least, the manner in which you (the artist) approach the contest administrator (or juror) is also very important.  Avoid at all costs being rude, demanding, or condescending.  This will get you nowhere.  It’s a lot like when you approach a gallery in your quest for representation or an exhibition.  Think of it as a job interview.  Dress well.  Speak well.  Show common courtesy and respect.  You are asking someone to do something for you.  Casualness and off the cuff comments – although often taken for granted – are not the smartest routes to take.

It has always been my goal with this blog to pull back the curtain and expose different parts of the art world that are rarely seen or understood.  I hope this information helps artists as they consider entering their work in various competitions.

Judging completed. Results are out.

I have completed my duties as juror for the Summer edition of Visual Overture’s Emerging Artists competition.  Whew!  What an experience.  I’ve juried many art contests and been on selection panels before, but this one was different… in a good way.

First and foremost, I was the lone juror.  I wasn’t a member of juror panel, and I didn’t have to play politics with a group of jurors to defend and get the pieces I wanted selected (fyi: large juror panels are hell – and usually result in a wash-down selection of art).  I mention this first because it leads to a very important aspect for all entrants to be aware of.  First, to the 148 artists who entered this specific competition:  My personal tastes played a big part in the ultimate “winners”.  There were many great submissions worthy of being finalists.  But, when push comes to shove, I picked the pieces that were both meritorious AND spoke to my particular tastes.  For example, I’m a sucker for good portraits.  When done well, I believe portraiture is one of the most intriguing genres.  Luckily, for me, there were a number of good portraits submitted.

Secondly, the specific jurying process for this competition required a lot of me as I had to grade every portfolio submitted.  Often in competitions like this one, portfolios are given a single 1-10 score simply to cull out the weaker entries and boil down the top contenders.  It is a single score.  But the VO competition has six categories that required a grade.  All 148 portfolios were graded in six different categories.  For you math geeks, that’s 888 individual grades.  It was a lot of work, but the result was worth it.  I was forced to look at every portfolio (3-6 pieces per artist – most artists submitted 6 images), and analyze it 6 different ways.  Bottom line: Everyone got a full examination and equal consideration.  The result made for a far more thoughtful and diverse collection of 7 artists (and three honorable mentions).

My next post will delve deeper into the six graded categories.  Because of the process, I learned a little more about how I “judge” art, and I believe sharing what I experienced can be helpful to all visual artists who ever consider submitting work – to a competition or while seeking representation.  Stay tuned.

Until then, I encourage you to subscribe to Visual Overture.  Not only will you get to see all the results, but you will get a number of informative and helpful articles.

Award Winning Glass

Our good friends and superbly talented glass blowers Jeremy Newman and Allison Ciaciabelli sent this great notice:

Jeremy Newman and Allison Ciancibelli recently won the Award for Excellence in Glass at the Smithsonian Craft Show in Washington DC. The Smithsonian Craft Show is the most prestigious event of its kind in the nation and winning the award is an honor for this young couple.

Jeremy and Allison exhibited their new sculptures created this through this winters studio session. The new tablet assemblies continue to evolve their sculptural creations that invoke peaceful imagery of a relationship with nature.

We have been in love with Jeremy and Allison’s beautiful work for quite a few years now.  I’m so happy they had a productive winter producing new work in their Twisp River, Washington studio.  I am especially thrilled with how they are getting even more detail out of the simple lines and colors they use.  Makes me warm inside.

 

Spend some time at their website (here) and enjoy their work.

Image:  White Birds on a Wire  16" x 22" x 7.5"

Bring on the Contestants

The submission deadline for Visual Overture Magazine’s quarterly “Featured Emerging Artists” competition has passed.  As the Summer 2011 juror, I now have the very large task of reviewing all the submitted work and grading each one of them.  It will be a total immersion sort of thing.  Very rarely, even for an art professional, does anyone get to have so much art poured over them.  Sensory overload is always a fear, but I plan to pace myself and give each image equal time and full attention.

I also predict this, like most open submission art competitions, will be a little like the first few shows of each season’s American Idol.  There will those pieces of art that hurt your eyes like a screeching voice hurts your ears; or those that simply defy logic; those that make you laugh; those that make you cry; and those that make you say “wow.”

Hopefully, by the end, I will be able to share with you a bunch of “wows.”

How Do You Feel (about Art)?

Ouch.  This video is kind of painful to watch (but it’s only 1:50 long).  These are words from New Yorkers, on the spur of the moment, to describe what they think of “Art.”

I’m not sure if it’s the “Ummmmmmm” everyone starts with, the silence, or the lack of confidence they all show when they finally spit a word or two out that bothers me the most.  The only people that display any conviction are those who use the word “hate” or curse.

One reason I pursued a career in the arts is because I believed art is something everyone has a strong feeling about.  Generally, it’s a love/hate thing.  Regardless, of whether you love it or hate it, you feel strongly about it.  It makes you think and, more importantly, feel.  But this video might have me giving a second thought to that premise.

[Thanks to the mega-talented and super-insightful artist, Tod Pardon, for introducing this video to me.]

How Do You Feel (About Art)? from svanes on Vimeo.

Ai Weiwei

After a succinct lesson on the art of Chinese contemporary artist Ai Weiwei. I aspire to one day be referred to as Ai Robrob.

 

 

Life's little messages

Every day, we encounter many messages.  Some are clear.  Others are less clear.  Today, I ran across this one.  However, I don’t know if it is a declaration, hopeful, or an overstatement.  Or... maybe... it's not meant for me at all, and a guy named Art needs to turn left.

 

Leo Steinberg has died

Very sad news.  Anyone who has studied art in the past 40+ years has been touched by Mr. Steinberg.

As reported on ArtInfo.com :

NEW YORK— Leo Steinberg, the Russian-born art historian and Renaissance scholar whose work had a heroic impact on the understanding and reception of postwar American art, particularly Pop and postmodern art, passed away in New York on Sunday at the age of 90. His death was reported in an email circulated by Utrecht-based art historian Gary Schwartz, and confirmed by University of Pennsylvania art history department chair Professor Holly Pittman.

A writer and thinker of immense erudition, Steinberg is considered alongside art critics Clement Greenberg and Harold Rosenberg as one of the most influential voices in shaping the way art was discussed and looked at in 20th century America. Writing and teaching in an era when the reception of new art was still largely codified by university departments, Steinberg electrified the art world in 1972 with his classic book "Other Criteria," which introduced the notion of the "flatbed picture plane" — a potent entry point for grasping the dimension-annihilating flatness of work by Jackson Pollock and Jasper Johns — through essays on those two artists as well as Picasso, Philip Guston, Robert Rauschenberg, and Willem de Kooning.

An art historian whose career began with a lively lecture series at the 92nd Street Y titled "An Introduction to Art and Practical Esthetics," Steinberg taught over the years at universities including Penn, Columbia, and Harvard. In addition to his work on postwar art, he is highly regarded for such seminal works of classical art history as "The Sexuality of Christ in Renaissance Art and in Modern Oblivion," and his critical Picasso touchstone "The Philosophical Brothel" about "Les Demoiselles d' Avignon." Unusual among art historians of his traditional background, Steinberg favored writing in an accessibly jargon-free first-person style replete with anecdotes and a humane subjectivity.

Fun with data

Below are 28 Vincent van Gogh paintings visualized as pie charts featuring the five most common colors as a percentage in each.  Can you pick out the individual paintings by its corresponding pie chart?  Thanks to FlowingData for this bit of fun.

 

Everyone knows Van Gogh was heavily into earthy tones.  But I have always thought he hit his stride when he broke out the more acrid hues.

What do you think?

Not your usual Call for Entries

Art themed blogs like this often post "Calls for Entries" to get the word out. I’m going to do that now. But this is not your normal Call for Entries. This one is special to me. Why? Because I’m the juror.

Visual Overture Magazine, a publication that promotes emerging artists, has begun the entry process for its Summer 2011 Featured Emerging Artists competition. Seven artists (any medium) are selected (by me) and featured in the magazine. Selected artists are presented on a two-page spread with images of their work, interview questions, artist statement, and contact details.

Entries are only $17 per artist – a very reasonable price since artists only need to submit digital files electronically (which all artists should already have for every piece in their portfolio – hint, hint). Just complete the entry form and drop three images to VO by April 18, 2011.

Visual Overture has been publishing quarterly since the summer of 2009. Ever since I got the premier issue, I have sung the praises of the work Arlissa Vaughn has been doing with the magazine.

Artists displayed in Visual Overture Magazine benefit from its highly targeted distribution list consisting of 1000+ readers including over 200 identified fine art galleries, curators, collectors, and a growing subscription readership. In addition, each selected artist receives 3 complimentary copies of the issue in which they are featured.

I encourage artists to enter. I’m excited to see what entries come in. In fact, as the process unfolds, I plan on doing some reporting as it goes along. Fear not… all entries are anonymous. But I would like to give a juror’s perspective to how these competitions work. You know… List a few dos and don’ts.

Stay tuned. This should be fun and quite interesting.

Using Shoe Leather to Up Local Arts Funding

The following is an article from this week's C-ville Weekly.  It discusses the grassroots work that the Piedmont Council for the Arts is doing to get the City of Charlottesville to pay attention to the value the arts has on this little community.  Of course the only way for city officials to listen is to talk in terms of dollars and cents.

        PCA aims to find out how much local arts are worth
        by Andrew Cedermark

        If you’re leaving a concert this year, and some stranger walks up to you to ask what you had for dinner, or where you’re sleeping that night, do not—I repeat—do not be alarmed. It’s only a study, spearheaded by the Piedmont Council for the Arts, which aims to determine just how great an impact spending by arts organizations and their audiences has on the local economy.

        It seems like a no-brainer. You can’t spit in this town without hitting an art gallery, music venue or theater. But what local officials don’t know is the effect that their investment in the arts can have on the broad economic picture, a question that’s particularly relevant during a recession, when there is the tendency to place funding for the arts below other essential services. When the results are released in 2012, business owners, artists and officials will gain an essential tool in deciding how, exactly, our community should value the arts.

         “What we’re up against is the idea that the arts are a luxury,” says PCA Executive Director Maggie Guggenheimer. “What a study like this helps relay is that arts spending is not just for art’s sake.” Indeed, Americans for the Arts—which administers the study on the national scale—claims that every dollar invested in the arts yields seven more in economic activity. The message? Even in a time of lack, the arts are a good investment because they get people spending. (Nationally, the organization found in 2005 that the nonprofit arts and culture industry generated $166.2 billion in economic activity annually.)

        PCA released results from a more informal study in 2003, which found that the arts sector had an economic impact of more than $29 million in a 50 mile radius of Charlottesville—the equivalent of 357 full-time jobs. Though that study was conducted before the recession, PCA expects that the economic footprint of the arts should be much larger this time, with the launch of the John Paul Jones Arena (which opened in 2006) and mid-level venues like the Jefferson Theater (reopened 2009) and Charlottesville Pavilion (2005)—all of which draw thousands from out of town for tunes, grub and lodging. (City spokesman Ric Barrick echoed that sentiment in an e-mail.)

Read the entire article here.

It's Official - Jeff Koons is a Clown

As reported at ArtInfo.com, Jeff Koons Claims Exclusive Right to Sell Balloon Dogs...

San Francisco gallery Park Life received a present from superstar artist Jeff Koons this Christmas: a cease-and-desist letter. The missive from Koons's lawyers ordered the space's art shop to stop selling and advertising a set of balloon-dog-themed bookends sold there, claiming that they violated the intellectual property of the artist's iconic sculpture "Balloon Dog."

Some, it is fair to say, have found this turn of events somewhat risible. "Wait, I'm confused, isn't his ENTIRE FUCKING CAREER based on co-opting other peoples work/objects?", reads a post on the gallery's blog from December 21. "So going forward, just so you know; Jeff Koons owns all likenesses of balloon dogs."

Co-owner Jamie Alexander had the bookends removed from Park Life's store to avoid a confrontation with the artist over the holidays. However, as of today, the site has an entry for the bookends in its "New in Stock" section, declaring "Back in Stock Soon. Much to the Dismay of Jeff Koons Lawyers. Call Us."

Read the entire article here.

Worldwide Art Market Trends

I was asked by The Art Market Poll Center to participate in this year's art market survey – sponsored by Artfinding.  The results of the poll estimate worldwide buying intentions according to specialties, expertise levels, country of origin, genders, and age of the markets’ protagonists.

The 2010 results show that collecting of Contemporary European and American art is tops.  At the bottom is the collecting of weapons, coins and stamps (I didn't know anyone still actively collected stamps).  I am pleased to see that Contemporary Sculpture comes in third.   But I'm disappointed to see Contemporary Ceramics and Glassware stuck in the middle of the pack.

Take a look at the complete results here.

Airport Art

During this season of traveling, I thought this was a relevant bit of art news - airport art.  I'm not talking about the art of airports (i.e. the architectural wonders of airports like Washington Dulles or Raleigh Durham's new Terminal 2), rather the art in airports.  CNN dropped this little article highlighting 5 airports across the country that have remarkable art collections for the weary traveler's pleasure.  In order, we have:

1. Denver International Airport
2. Sacramento International Airport
3. Miami International Airport
4. Hartsfield-Jackson Atlanta International Airport
5. Philadelphia International Airport

MSN.com/Travel created a similar list.  Check it out here.

From my travels, I would also like to add the Detroit Metropolitan Airport.  It may not be the best art, but the unexpected delight of seeing something interesting while whizzing through Detroit of all places ranks it high in my opinion.

What are some of your favorite airports with art?  Or notable pieces of art in airports?

[Images:  Top, Impulse by Ralph Helmich and Stuart Schechter in Philadelphia Intl Airport (temporary); Bottom, Animated Water Fountain in Detroit Metro Airport.]

The Studio Visit

‘Tis the season for giving, right?  Well, I just got a nice gift from my friend Stacey Evans.  She introduced me to an artist website called The Studio Visit.  Now I get to re-gift it to you.

Started in 2008 as a virtual public access forum by Isabel Manalo, The Studio Visit (TSV) introduces professional artists at work in their studios speaking directly to their work through a dialogue with the writer. This intimate first-person view into artistic process cultivates familiarity and appreciation of the intellectual and technical processes of contemporary art making.

Bottom line: I have always been intrigued by the many ways an artist thinks.  Sometimes it's linear (like me), and sometimes it is terribly abstract.  Other times it cannot be defined.  Regardless, the best way to experience an artist work is to hear about it straight from the artist.  That's what makes, TSV such a gem...  It goes straight to the artist.  We don't have to read a curator's long winded description of the work.

I'm a little biased, but one of my favorite “visits” is with Virginia artist, Ashley Williams.  We had the good fortune to show some of Ashley's work at Migration while she was still an undergraduate at University of Virginia.  She has since moved to Colorado to get her MFA.

Read Ashley’s interview with Deborah McCleod here.  Learn more about Ashley’s hyperborean fauna and beasts.  See what stimulates her imagination.  In the video (below), we get a glimpse of the marginally real worlds Ashley has created in her imagination and the beasts that inhabit them.  No one can describe it better than the artist herself.

[Image:  Mother and Child, oil on mylar, 70"x92"]

Focusing on the big picture

Yesterday, I reported on the censorship mess at the Smithsonian's National Portrait Gallery.  Throughout the day, the story grew.  Naturally, those who called for the exclusion of David Wojnaroicz's video titled "A Fire In My Belly" (due to an 11 second segment that showed ants crawling on a crucifix) said things that made them look much more foolish than they did just a day earlier. And, the scholars who actually know a thing or two about the artwork itself, said things that were intelligent and made perfect sense.

The conservatives (Catholic League, John Boehner, Eric Cantor, etc.) who claim to be offended by the imagery simply can not see the forrest for the trees.  They are not even trying to put things into context (most likely because none of them have been to the exhibit or even seen the video in its entirety).  This is why it's important to rely on the scholarly knowledge of the curators who selected and designed the exhibit.

One of the best quotes I have read comes from Wendy Olsoff, owner of P.P.O.W. Gallery in NY which represents the estate of Wojnarowicz:

"David puts ants over coins, dollar bills, toy guns, toy soldiers, eyes - he used ants and animal imagery all the time... David believed the imagery of ants' society was a parallel to human society.  He was trying to change our mythologies about capitalism and institutionalized religion. and trying to make a comparison to animals.  It was not about Christ.  it was just about institutionalized religion."

Politicians really should think (or at least listen) before they talk.

In the meantime...  The staff of the National Portrait Gallery has been working on filling the Wojnarowicz void left in the exhibit, Hide/Seek (an exploration of gender identity), by installing a video piece that I'm sure Rep. Boehner will find much more to his liking:  a seven minute cut from "Pink Narcissus," aboutthe fantasies of a young male prostitute, directed in 1971 by James Bidgood.

Score: 
  Crazy Conservative Politicians = 0
  Curators = 1

Hide/Seek. Boo/Hiss

Once again, I have been amazed how ignorant and misplaced certain people’s “outrage” can be.

If you haven’t heard, The Smithsonian’s National Portrait Gallery (one of my don’t-miss-when-you-are-in-DC museums) has bowed to the “outcry” from the Catholic League and Republican congressman John Boehner’s office over a short segment of a video installation by the deceased artist David Wojnarowicz (he died of AIDS at 37 in 1992) in its newest exhibit, Hide/Seek: Difference and Desire in American Portraiture.  In the video, for a total of 11 seconds, a small wooden crucifix is shown with ants crawling on it.  These 11 seconds have been deemed “hate speech” by a handful of vociferous morons.

Hide/Seek is the first survey at a national museum to examine same-sex portraits and intimacy. Artists represented include contemporary names such as Andy Warhol and Annie Leibovitz as well as works from 19th-century artists including Thomas Eakins.

Announced yesterday, Smithsonian Director, Martin E. Sullivan, pulled Wojnarowicz’s entire piece from the exhibit and reasoned his decision by saying, "The decision wasn't caving in. We don't want to shy away from anything that is controversial, but we want to focus on the museum's and this show's strengths."  Seriously, Mr. Sullivan?  Succumbing to the call for censorship is caving in.

In this situation, I am as disgusted by the shortsightedness and ignorance of the ultra-conservatives behind the demand for censorship as much as I am disgusted by the spineless response of Sullivan.  Museums are one of the last bastions of intellectual experimentation.  If a smattering of offensive material initiates debate, I’m all for it.  Without it, museum doors should be closed, locked and the collections never changed.

What I find entirely ironic is that the Catholic League and Boehner isolated an 11 second segment of a video that was part of an exhibit focused on same-sex portraits and intimacy.  If I understand the Catholic League’s and Boehner supporter’s position regarding homosexuality correctly, I would think there would be an greater outcry over the exhibit in its entirety.  Instead, they focus on an 11 second segment of a 4 minute video where a crucifix is shown covered in ants.

And… I thought we were beyond the “waste of tax payer’s money” argument.  The reality is, Hide/Seek is funded by individual donors and foundations.  The public funds used by the Smithsonian are for operational expenses, not the funding of specific exhibits.  Boehner should know this; and I find it hard to believe Boehner can even keep a straight face when discussing the misuse of tax payer’s money.

Oh… by the way…. Hide/Seek has been open to the public since October 30.  Did it really take some dimwit a month to become outraged?  Com-on, man!  Let’s get real.

To my personal amusement, what is resulting is a greater exposure of the intolerance of certain people and the weakness of others.  I believe the real winner in this mess is the exhibit itself.  Thanks to the censorship of the depiction of a crucifix, an intelligent examination and acceptance of same-sex relationships and sexual identity is brought to the forefront.

The Art Economist

I'm not so sure this is a good thing...

A new magazine titled The Art Economist will launch in January 2011 (the first public exposure event will be at Art Basel Miami Beach on December 1 – go figure). The Art Economist is advertised as a publication that "celebrates and beautifully documents the major creative and financial achievements of the world's leading living artists, examines the economics of contemporary art as a commodity and investment opportunity by listing the top 300 earning living artists and recommends new artists to watch for their predicted, eventual success."

Something tells me this isn't right.  Contemporary art as a commodity and investment opportunity?  I guess it can be for a very select few out there – i.e. people with more money than sense.  But I have always preached that art should be bought for its inherent beauty and the emotions it evokes (in the eye of the beholder).  If a collection is thoughtfully amassed over a lifetime, then, maybe, it can be seen as an economic investment.  But a high quality collection of art should be measured on an economic scale.  If it is, it will not be a collection of any noteworthy importance or substance.

That's the beauty of art:  It is not a commodity.  And those who tell you it is, should probably stick with the stock market and not the art market.

A Nice Honor

I've been invited to be the juror for the Summer 2011 selection of artists for Visual Overture Magazine.  I'm flattered.

Visual Overture is a quarterly art magazine that aims to introduce exceptional international emerging artists to galleries, curators and art collectors worldwide.  This is done through the juried quarterly competition with the results showcased in the exhibition-in-print publication.

I'll keep you posted prior to the Summer 2011 issue.  Until then, take a look at the current issue and let me know what you think.