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.

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.”

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.

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 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.

Summer Siesta

Traditionally, throughout the hot summer months, no matter how hard artists and galleries work, the "art scene" always seems to be quiet.  I have never figured out why.  But this, year, I'm not going to fight it and follow suit.  So, if it hasn't already been apparent, I am in full siesta mode.  I'm guessing my batteries will be recharged by the time the weather begins to cool and the leaves turn colors.

In the meantime, I highly recommend these two summer art activities:

#1 is for your summer reading list.  From one blogger to another, I recommend you hop on over to "Fins and Paddles" and give it a read.  Please excuse my bias... but this is my wife's blog - Laura Jones.  She has focused her immense talents and creativity on becoming an author.  "Fins and Paddles" is a compilation of her journey as a writer and samplings of her work.  The best part is she likes getting feedback.  Give it a read and let her know what you think.

#2 might require a road trip (always a good summer activity).  On the grounds of Nashville's Cheek Estate, glass master, Dale Chihuly and his team, have installed another glass wonderland in the Cheekwood Botanical Gardens.  Chihuly & Co. have done this in other cities - Atlanta, Phoenix, Pittsburgh, Grand Rapids - and received well deserved rave reviews.  Simply put, Chihuly is taking glass off the pedestals and out of the galleries and creating visually stunning scenes and settings.  Unparalleled work.  So... gas up the car, road trip it to Nashville and catch this unique installation. The show will end on October 31.

In the meantime, I'll be pulling my sombrero low and catching a few more ZZZZs for the rest of the summer.  I'll be back when the Fall gallery fairs and exhibitions roll around.

More recognition for artPark

artPark has received another "top Art blog" award and is now listed by The Daily Reviewer as one of the top art blogs in the world. Yowza! I'm honored.

The Daily Reviewer selects only the world's top blogs (and RSS feeds). We sift through thousands of blogs daily to present you the world's best writers. The blogs that we include are authoritative on their respective niche topics and are widely read. To be included in The Daily Reviewer is a mark of excellence.

Thank you Daily Reviewer.

artPark

Top art blogs

The importance of art eduction

Although I live in Charlottesville, Virginia, I have absolutely no affinity for the University of Virginia athletic teams. Seeing the swim teams, lacrosse teams, baseball team and rowing team succeed is nice, but I couldn't give a rat's rear about the Cavalier football or basketball teams. So, in general, I don't follow them, and I don't generally bother reading any news articles about either of them. But this one caught my eye... and made me grin:

For those who don't know, the UVa men's basketball team really sucks this year... worse than usual... last in the ACC. There was some renewed hope early in the season with a new coach and a small win streak. But the end of the regular season saw them string together an impressive series of consecutive losses. So, desperate for a win, it was particularly odd to hear that the coach suspended the team's star player, Sylven Landesberg, prior to the final game for "academic reasons". (FYI: UVa lost that game.)

Stick with me, the art part is coming, I promise.

Turns out, the academic reason for the suspension was that Landesberg was skipping his art class. And by "skip", I mean, he never went! Read the news article here. Apparently, he went to his other classes, but not to art. Bad decision. I'm guessing Landesberg, like many of the shallow thinkers out there, believes art is a skipable class and carries no repercussions for doing so.

I tip my hat to Coach Tony Bennett for taking a stand. I'm sure he would do the same thing if Landesberg skipped his math class. But, in this situation, we all get to see the importance of art in every student's education, even student-athlete's.

Will advances in technology help find the stolen art?

I'm a junky for news about the 1990 Isabella Stewart Gardner Museum heist (a theft of 13 pieces of art which included three Rembrandts and a Vermeer and remains the world's largest art theft in dollar value). So, as we approach the 20 anniversary of that fateful night, I'm thrilled to see the investigation continues in full force. New leads from the examination of forensic evidence may result in finding the whereabouts of the stolen art... not to mention who did it.

As reported in the Boston Globe:

Because of advances in DNA analysis since the 1990 robbery, the lead agent in the case, Geoffrey Kelly, decided to send evidence to the FBI's scientific laboratory in Quantico, Va., a spokeswoman in the FBI’s Boston office said.

Kelly said he could not disclose the type of evidence to be reviewed, but others familiar with the case said it would probably include long strips of duct tape used to tie up the museum's two night watchmen, whom the thieves overpowered to get access to the artwork.

Read the whole BG article here.

And for those of you who might have any information... The Gardner Museum has offered a $5 million reward for the return of the paintings in good condition, and the US attorney's office has stated that it will not bring charges of possession of stolen property against anyone who returns the artwork. The statute of limitations for participation in the actual theft expired five years after the crime.

Photo above: A security guard stood outside the Dutch Room of the Gardner Museum a few days after artwork was stolen. (Associated Press File 1990)

The 1:50 Gallery

Irish artist (living in London), David Anthony Hall, photographs large format panoramic landscapes. His work often measures up to nine feet in width and is hung in large-scale public spaces. In an attempt to showcase his work in a more traditional and human scale, David has launched his own gallery. The 1:50 Gallery (as in One to Fifty) is the result. It has the unique and enviable advantage of being visited and enjoyed by anyone anywhere through their own computer screen. Go here for a look.

Possibly the world smallest gallery at less than two cubic feet in size, David's "solo show" examines the relationship between the internet and large-scale art; in particular, how to show 9' prints on a 17" screen.

For me, it gives new meaning to the term "White Cube".

 

   

For more on the making of the 1:50 Gallery and David's artwork, take a look at this video (it's less than 2 minutes):

Opportunity for Artists

On February 5, 2010, a group of painters, sculptors, architects, writers, film makers, photographers, and musicians will hold an exhibition in a currently vacant building at 1017 West Main Street in Charlottesville, Virginia. Soon afterward, the building will be demolished.

This multi-media show/exhibition is brought to you by The Center for the Study of the End of Things. A Migration fav, Ashley Williams, is one of the group’s organizers. Ashley has already brought together an excellent collection of visual artists to add to the event.

The exhibit's curatorial goal is to assemble a coherent body of work that revolves around themes of obsolescence, weathering, and decay, as well as meditations on growth, rebirth, and the utility of discarded materials.

Drawings, paintings, architectural models, maps, diagrams, photographs, audio or video recordings, writing, sculpture, or other work that relates to the theme will be considered for inclusion.

Submissions will be accepted until January 25, 2010. See the detailed info here.

Is it signage or urban art?

When is a sign art? When is art a sign? Not much of a question until censorship is involved. This is the issue at Las Vegas’ Erotic Heritage Museum newest outdoor mural.

The exposed nipples on portraits of women in the Ho-Down Mural Project violated a county sign code that bans (among other things) the showing of the areola of female breasts, the county says.

Museum curator Laura Henkel covered the nipples with pasties, but argues that the murals are urban art, not signs.

Read more here.

The issue of censorship is always a hot topic. But, what interests me is the fact there is both an "Erotic Heritage Museum" and a "Ho-Down Mural Project". Only in Vegas, some might say. For more on both, go here and here.

The decade in review

From Jeff Koons to Damien Hirst. From art auction houses to Art Basel Miami Beach. From the new MoMA to collector’s vanity museums. From the fall of Thomas Krens to the rise of contemporary Chinese art... the last ten years were a fun filled, roller coaster ride of a decade for the visual arts.

For a little detail of the highlights, see ArtInfo's review of the decade. Here's their beginning:

Say what you will, purists: the story of the aughts was the art market. When it wasn't all we could talk about, we were talking about why it was all we could talk about. After the Russian and Asian markets took a dive in the late '90s and tech stocks plummeted, and in the wake of the September 11 terrorist attacks in New York, the art market sagged a bit, breaking the stride it had slipped into in the mid-'90s, when it began to recover from the last recession. But that was a short dip, and by 2003 it was moving into uncharted territory. Soon we were looking at tens of millions of dollars for works of contemporary art; new buyers from Russia, Asia, and Latin America; and the rise of our robber barons, the vaunted "hedge fund guys." In 2008, the crash of the global economy brought the art market back to earth, but that was quite a run.

Go here for the rest of the article.

And a happy new year to all.

Fun in the Miami sun

As the annual American art orgy known as Art Basel Miami Beach kicked off last night, the lion share of news is not about the economy, the art, or the galleries. Instead, the big news item is how twelve US Marshals and police officers approached the booth of Swiss gallery Galerie Gmurzynska and promptly seized approximately $7 million worth of art by Yves Klein, Joan Miro, Edgar Degas and Fernand Leger. Read more here.

Imagine going through the preparation and expense of exhibiting at a gallery fair and suddenly having a majority of your available artwork confiscated. Tough way to start one of the biggest international fairs of the year.

Alas… all is not lost for Gmurzynska. Fortunately, the gallery is also exhibiting the work of action hero turned painter, Sylvester Stallone. Yes, you read that right. Sly, best known for his roll as Rocky, has been creating art and is now exhibiting at Art Basel Miami. Excuse me for clearing my throat –- tough to get that one out. His work has been selling for $40,000 and $50,000. Seriously?? Dare I say, is this yet another sign that the apocalypse is upon us? I guess others see it differently.

As one decidedly slanted broker states: "Collectors are doing their best to obtain Sylvester Stallone autographed art. The rarity of the art along with the driving force behind it will assure that the artwork will grow in value in the years to come. There is also the fact that Sylvester Stallone's artwork is actually very pleasant to look upon. His use of color, shapes, and designs is truly something to behold. Many collectors are eager to obtain paintings from Sylvester Stallone. Even more collectors are eager to obtain Sylvester Stallone autographed art of any type."

"Art of any type." That says it all to me.

On the CBS Evening News

For those of you who missed it last night, you can play your own encore of Charlottesville's CBS news report regarding artPark as one of the top three "Wired-In Businesses." Click here to go to the video. And go here for the web article – make a comment and let people know what you think of artPark.

And here is the transcript of the report:

How do you stay in touch with your customers and colleagues throughout the day? One key to surviving in this economy is staying ahead of the technology curve.

CBS19's Bianca Spinosa profiles a list of three local business leaders who are "wired-in." They use all the high-tech tools to communicate and keep their businesses prospering.

From cyber space to work space, these three local business people know how to make the most of their passions.

Real estate agent Jim Duncan just moved into his new office this summer. Back in May, it was completely empty. Duncan's blog, Real Central VA, is an online mecca for locals wanting expert real estate analysis with a personal touch.

"I am more cognizant of my readership now. Frequently I'll write stories for my readers, whereas in the beginning it was purely for me," explains Duncan of Nest Realty.

Thousands of people read Duncan's blog every day. "I'm passionate about real estate, about my clients, and about learning," says Duncan via a You Tube video on his site.

"One can be passionate about a lot of things they blog about, but when you're passionate about saving lives, I think that comes through so much," says Laura Jones with the Charlottesville-Albemarle SPCA.

At the CASPCA, saving our four-legged friends is their passion and their business. Laura Jones tells stories of recovery, and shows pictures of every animal on the SPCA blog.

"People don't know the time and work it took to get it there. This enables us to do that," says Susanne Kogut with the CASPCA.

Little Mo is a dog that came to the shelter scared of people. He left with a happy home. Through the blog, Kogut can find out how Mo is doing with his new family, and the thousands of facebook followers can too. Now, Kogut is hoping to adopt out Mo's sister.

Two on our list are married. Laura Jones with the CASPCA is married to Rob Jones, the founder of Charlottesville art blog, artPark. The couple founded an art gallery named Migration, which had to close its doors last January because of the economy. They shifted focus to the blog.

"One of my goals is to demystify the creation of art, the exhibition of art, and the acquisition of art. Pull back the curtain, so to speak," says Rob Jones with Charlottesville artPark.

Jones promotes local artists and critiques local works. What Jones learns traveling the country, he shares here.

They deal in very different fields: real estate, animal rescue, and visual arts, yet each knows how to use the web to enhance their visions.

artPark chosen as Most Wired-In Business

Our local CBS affiliate (WCAV) has chosen artPark as one of this area's three "Most Wired-In Businesses." A feature story will run on tonight's 6 o'clock news. Yes... I'll be on TV tonight!  Tune in.

As part of Sweeps Month, our CBS station (channel 16) is airing a series called "Making a List" which rates the area's top three in various categories. The series is being used to boost viewership. Inclusion is a very nice honor. I thank Bianca Spinosa for selecting artPark.

 
Initially, I was approached and told artPark would be a "Best Blog". This morphed into "Most Wired-In Business." Either way, I'm flattered. About the business: artPark is used as a cyber tool to promote the artists represented by Migration: A Gallery. In my opinion, blogging is essential for virtually every business – and something every artist should consider doing. At artPark, I also spice things up by talk about various other art, artists and events that I see and know about. And, of course, I share my astute opinions and vast experiences (it is a blog after all).

Click here for the CBS write-up. You’ll have to tune in at 6 tonight to see the actual interviews. Tomorrow, I'll post a link to the video (for all you out-of-towners). Oh... There is an interesting twist to the story that was entirely unintentional. See if you can figure it out.

Things I learned from the Internet

There's a reason why we find it easier to "get" modern art than avant-garde music, and it's not just about our natural conservatism and love of Mozart. >>>

Are Liberals smarter than Conservatives? An interesting discussion. >>>

In what is perhaps the first project of its kind, the Van Gogh Museum in Amsterdam has put English-language translations of 902 of Vincent van Gogh's personal letters on line. >>>

Damien Hirst, arguably the richest and most powerful artist in history, has received the critical pasting of his life, but there's a sense that our whole perception of what art is, or should be, may have subtly – or not so subtly – shifted. >>> and >>>

The secret behind Mona Lisa's enigmatic smile has been explained by scientists who believe it changes depending on which part of the eye sees it first. >>>

Women are often the cruelest critics of other female writers. Where does this anger come from, and at what expense? >>>

The 40th anniversary DVD of "Sesame Street" contains a warning label about early episodes. >>>

From the art auction front

In September 2008, we posted about the sale of a particularly nice Alan Dehmer photograph ("Low Country", pictured right) that we made to Michael Danoff. Mr. Danoff was the curator and buyer for the famed Neuberger Berman-Lehman Brothers Collection. This story focused on the fact that Lehman Brothers had declared bankruptcy and we were watching what was going to happen to the Company's extensive art collection (which Alan's piece was now a part of). Through contacts and news sources, we were assured the collection would remain intact.

Subsequently, we have seen the Lehman Brothers Collection dismantled and individual pieces sold at auction as part of the liquidation of assets.

On November 1, Freeman's Auctioneers held an auction of Modern & Contemporary Works of Art: Works from the Lehman Brothers Collection. Alan Dehmer's "Low Country" was Lot #261 in Sunday's auction. Of the total 401 lots offered, 397 were sold for a total of $2,557,595. I am happy to report that "Low Country" sold for more than its top estimated price (not many lots did).

Sad to see the Lehman Brothers Collection be sold off, but its nice to see that Alan's work has found a new home... and his prices are appreciating.

Pre-selling Art

Here is an interesting way for an artist to pre-sell his work prior to a major exhibit:

Tim Tate (a Migration favorite artist) is exhibiting again this year at SOFA Chicago (a Migration favorite fair). During the week leading up to the November 5 Preview Opening of SOFA, Tim has taken a piece scheduled to be shown at SOFA and listed it on ebay. The piece, titled "Summer of Love", will be priced at $12,000 in Chicago, but bids on ebay start at $9,500. See the listing here.

Tim is a well known and highly recognized artist. If anyone can make this strategy succeed, it will be him. Potential bidders/buyers can bid on "Summer of Love" with confidence (not always the case for most internet art sales). Tim has traditionally done well at SOFA selling virtually all his work on display. So, odds are, "Summer of Love" will sell in Chicago – for the full retail price. This ebay listing is an excellent opportunity for savvy bidders to get a beautiful Tim Tate piece for an excellent price... and a great story.

Tim is not the first artist to list his work on ebay, but this is a particularly unique preview opportunity to a major exhibition. Will this be a trend in retail art? Will it be a successful trend?

Success in the art world is often dependant on creating a buzz. Tim is a master of buzz. But, above all, he is a master of contemporary glass art.

The fall Art Fairs are upon us

October, November and December mark the height of the art fair year. It all starts in London at the Frieze Art Fair and culminates with December’s art-fair-orgy in Miami, Florida (featuring over 20 art fairs in just one week). Needless to say, every gallery’s bean counter has their eyes focused on Frieze. Last year, galleries exhibiting at Frieze (through clinched teeth smiles and drippy mascara) wept doom and gloom and endless talk of the global recession affect on the art market. This year, the reports have been quite positive. Participating galleries reported clear evidence of renewed confidence in the contemporary art market as well as an enjoyable and positive atmosphere (not sure if this translates into big profits or not, but it is upbeat nonetheless). Below is a video tour of Frieze. If you have never been to a gallery fair before, this pretty much captures what it is like inside [add your own comments below].

Next up is one of my favorites, SOFA Chicago. Opening night preview is November 5. This year, in addition to the exhibition of the finest contemporary sculptural objects in the world, the SOFA organizers have added some very special VIP events, exhibits and lectures. For those of you going to Chicago, keep your eyes on two of my favorites: Michael Janis and Tim Tate at the Maurine Littleton Gallery. Have your checkbook at the ready, because their work promises to go fast.

As usual, Miami in December will be as over-the-top as ever. I never know how any single person can take it all in. Even if you are not shopping for contemporary art, the trip to South Florida is still worth it – an "event" like no other.

Optimism is high – it always is. Hopefully, the reports will continue to be good, and we can all stop wringing our hands over the piss poor art market and get 2009 behind us.

Ruth Duckworth, 1919-2009

I'm sad to report the passing of modernist sculptor Ruth Duckworth at age 90. Ms. Duckworth is best known for her abstract (and not so abstract) ceramic sculptures. Her career spanned over six decades. She worked daily, and her reputation as one of the foremost sculptors in the world never waned.

Laura and I were fortunate to see her retrospective exhibit at the Smithsonian's Renwick Gallery a few years ago. I can safely say that show changed the way I look at abstract sculpture. Every piece was distinctive, gorgeous and rich.

The art world will miss her.

Here is a nice CBS report on Ms. Duckworth filmed in December 2006.

Watch CBS News Videos Online

There's a new blog in town

Attention art readers: There's a new art blog in town. Second Street Gallery, Charlottesville's 36 year old not-for-profit art space has launched a blog. They call it Second Look.  Read it here. As an art space that is dedicated to bringing contemporary art to the community, I say... It's about time!

Hopefully, SSG will use its blog to consistently give the public some sneak peeks and behind the scene news (even to non-members). More importantly, the blog should provide its featured artists a much wider exposure.

I look forward to reading.

Looking back 25 years

Is a 25 year old observation still relevant? Or is it stale? You decide.

What are the arguments about right now? There are arguments about whether it is still OK to paint, to make painted images. There are arguments about the possibility of feeling. There are arguments about what images mean... There are arguments about what artists do, about what relationship they have to the works they make... Arguing about art – you hear it, read it – it is very of the moment. To decide if certain art is of the moment – or if a certain show is of the moment – decide if it is worth arguing about.

- From "Your Show of Shows,"
Gerald Marzoratti, Sept 1984

UVa Art Museum Renovation

Who can tell me what collection of art the University of Virginia Art Museum is best known for?  What area of art highlights their collections?  You know... The Williams College Museum of Art is best known for it collection of modern American art (Hopper, Homer, Prendergast, Warhol); The Block Museum of Art at Northwestern University is dedicated to reproducible art forms such as prints and photography; The Blanton Museum of Art at the University of Texas at Austin has one of the top collections of modern and contemporary Latin American and American art; University of California, Berkley's Art Museum and Pacific Film Archive is the premier home for multimedia art such as cinema and film; The Michael C. Carlos Museum at Emory University has its crowd pleasing mummies; Harvard's Fogg Museum has more than its fair share of Impressionist masterpieces (Degas, Degas, Degas); and The Rose Art Museum at Brandeis University houses a premier collection of modern and contemporary art (de Kooning, Johns, Warhol, Lichtenstein, Oldenburg).  But what does UVa have that can be considered its signature collection?  And no one can answer "Thomas Jefferson."

 

Did anyone say Aboriginal Art?  I doubt it.  In fact, I bet very few people know UVa's  Kluge-Ruhe Aboriginal Art Collection is one of the largest and highest quality collections of Australian Aboriginal art in the world outside of Australia.  This, of course, might be because the collection is housed in a building approximately 5 miles from the UVa campus.

Well, maybe things will change...  Over the summer, the University of Virginia Art Museum closed its doors and spent the quiet summer months and about $2.5 million on renovating its building.  The Museum reopened to the public this past weekend.  As a past critic of the state of the Museum, I was excited to see firsthand what $2.5 million bought.

 

For starters, all the noticeable renovations are in the inside of the building.  The red brick and white columns are the same (don't expect a new, swishy, glass and steel structure).  Also, much of the money went into updating the climate control systems and lighting (not very sexy, but critical in the care of the art).  Knowing this beforehand, I can't say I expected a huge change, but I had my fingers crossed something would excite me when I opened the front door.

 

First and foremost, the entrance lobby/gallery has improved greatly.  Instead of the former awkwardly boxed-in area which was dark and uncomfortable, walls were removed and the space opened up – much more flexible for the exhibition of art.  With the bigger space, four large aboriginal pieces from the Kluge-Ruhe collection were featured in the lobby.  Finally, we have a clue to what the real focus of the Museum's collections is (writer's note:  I would change the organization of the hanging and make it more cohesive).  Good to see that placed in the forefront.  This is what can put the UVa Museum on the map.

 

But... Beyond the removal of walls and "modernization" of the lobby, I couldn't see too much had changed in the other galleries:  Some of art has been moved around, and the fresh paint spruced things up (long overdue); The collective climate control helps by allowing for the removal of some awkward glass doors – another big help; And, I'm certain the storage and care for the collections is greatly improved (albeit out of public view).  So, in my eyes, not much has been done to truly enhance the visitor's experience.  I'm not sure the casual visitor will notice the kind of difference that will make them want to keep coming back.  The kind of experience the public now expects from a museum visit.

 

Hopefully, time will prove me wrong.  With the improved climate control and more flexible exhibition space, maybe bigger and better exhibits will be coming to Charlottesville.  I'll hold my breath.

Regarding the broader picture, could this be a sign of an increased commitment to the Museum by the University?  Will the casual visitor to the Museum ever be able to say, "What a great space and collection of Aboriginal art."?  Maybe another $2.5 million pumped into the Museum will actually bring the building out of the Jeffersonian era and into the 21st century.

 

[Image: detail from Limpi Putungka Tjapangati, Untitled, 1980]

Art After Dark at the Ackland Art Museum

This Friday, September 11, the Ackland Art Museum - on the campus of the Univesrity of North Carolina at Chapel Hill - is hosting a talk by photographer (and Migration favorite) Alan Dehmer as part of its Out of the Studio program - the Ackland's ongoing intiative to make connections between the musuem and the rich tradition of talented artists from the Chapel Hill community.

Alan will talk about his gum bichromate photographic printing process - a process developed in the 19th century.  Leave your digital cameras and computers at home for this one.

This special programing is also part of the Ackland's successful Art After Dark extended hours.  Alan will speak from 6:00 and 7:00 pm.  The museum will be open until 9:00 pm.  And there will be a cash bar, light refreshments and a DJ to spice up the evening.

[Image above: Low Country by Alan Dehmer]

Taking a look back

From "Do One-Night Stands Lead to Permanent Relationships?" by Richard W. Walker (Summer 1984):

Before the museum directors took the podium, Bess Myerson, New York City’s commissioner of cultural affairs, opened the conference with a report on the impact of the arts on the city's economy and a rousing call for greater business support of arts organizations. After 20 years of unprecedented growth in the arts in the United States, she said, "we are at a plateau, entering a generation of consolidation, of reaffirming commitment and reexamining goals." In New York City, said Myerson, "... more must do more" if the city is to maintain its cultural leadership. "Darwinism is abhorrently inappropriate when applied to the arts," she stated. "There is no reason to suppose that the fittest will survive. Indeed, without adequate, nurturing support, it is dangerous to assume that any cultural institution will survive."

It's a 25 year old observation that is as accurate now as it was then.

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My kid could draw that

The Independent reports that forgeries of Russian Avant-Garde paintings and drawings are on the rise. More and more fakes are appearing on the auction blocks, and unsuspecting (i.e. uninformed, nouveau riche) are spending millions on them.

After reading the article, my first reaction was to stick it in the "My kid could draw that" file. But after a little thought, I think it belongs in my "Caveat Emptor" file.

I am a monstrous fan of the Russian Avant-Garde. It was an era (albeit brief) when paintings were created in the crucible of social turmoil. Their sharp blocks of color and abstract geometric forms signified a bold new direction in art and society. Unfortunately, a large amount of the value of their work is in the underlying manifesto. As the interest in these paintings grows, so do the number of forgeries (geometric forms + primary colors = easy to copy).

As reported:

For years, their artists – who believed that art should have a social, rather than purely decorative purpose – have been largely forgotten. Now Russia's new rich have rediscovered the Russian avant-garde, and have turned it into one of the most lucrative art markets in the world.

But William MacDougall, of the specialist London Russian auctioneers MacDougall's, said that more than half of the works submitted to his auction house are fakes. "It's a particular problem with Russian art," he said. "There are wealthy people who have made great mistakes. Your typical Rembrandt collector would have started at a young age with etchings, then moved on to lithographs and would have 25 years' experience before buying an oil painting. A Russian collector has a £100m fortune, aged 35, and starts buying a great deal at once. The prices are huge, big enough to motivate dishonest people."

He added: "There are more fakes around than genuine works. Half of the work we receive we reject on grounds of authenticity. The most difficult period to authenticate is the avant-garde art of the 1920s."

[Image above: Kazimir Malevich, Composition No. 56 (1936)]

Dog gone Charlottesville

Although I live in Charlottesville, Virginia, I have never intended for this blog to be about the Charlottesville art scene. My general goal has been to give exposure – through my eyes - to the art (and art related issues) from around the country. However, I do live in Charlottesville, and I often talk about what is going on in the central Virginia region. The result has been a number of followers (from far and wide) mentioning how they have enjoyed learning about our lovely little hamlet through artPark. With that in mind, I’d like to go ahead dish out a nice resource for everyone to get a full taste of what Charlottesville has to offer.

Each year, the local arts & entertainment weekly newspaper, C-ville, publishes a list of the "Best of C-ville." In short, it’s a list of the readers’ choice for their favorite things like restaurant, music venue, coffee shop, auto mechanic, shoe store, etc. Go here for the online version. In addition to the local art tidbits I write about on this blog, "Best of C-ville" should paint you a pretty good picture of all that Charlottesville has to offer.

Now, I have to admit, this post is a bit self-serving. Yes, I’m happy to share info about my home town, but in this issue of C-ville, the theme was Top Dog. For each "Best of" category (Food & Drink, Retail, Recreation & Fitness, Entertainment, and Services) there was a dog themed photo shoot. Here’s the self-serving part… Laura’s and my newest dog, Blue, was selected to pose for the Food & Drink set. Here he is (on the left) dining with his blind-date Charlotte.

 

Self-serving reason #2: All the dogs selected for the various photo shoots are former shelter dogs. As a supporter of the SPCA (see left sidebar), I thought the dog theme was a great idea. Model dogs don’t all have to be purebred and pedigreed. The infinite variety of mix-breeds found at shelters around the country make some of the very best pets… and top models. Hopefully, the playful pictures will inspire more people to choose their next pet from the SPCA rather than from a breeder. Here are the other pictures:

  

  

To stay up-to-date on what’s going on at the Charlottesville Albemarle SPCA, follow their blog. You’ll get great introductions to some of the dogs and cats available for adoption.

A special shout out goes to Karen Quillen of All Things Pawssible for pulling together this terrific group of dogs. In addition to Blue, the other models were Charlotte, Trina, Poke, Astro, Grady, Dana and Sage. All of them are worthy of their splashy magazine spreads.

And many thanks to photographer Ashley Twiggs for her patience in dealing with these not quite professional models… and for her talents in capturing each of their "good sides".

EXCLUSIVE: Arturo Mallmann’s painting technique

This is a rare treat for all of us... Arturo Mallmann has cracked the door to his studio and given us a glimpse at his mystical painting technique.

Migration has been proud to represent Arturo and his work on the east coast for over three years. His paintings stop people in their tracks and cause them to spend unaccounted for time just staring into their depth. Indeed, they convey his personal beliefs about light and darkness and their part in any journey and the human condition. Meditative, to say the least.

Regardless of what the paintings "say" to the viewer, I can't think of another artist's work we show that gets the question "how does he do that?" more often. Although much attention is on the perfection of his epoxy resin glazing, it's the creation of the actual image that is most fascinating. And, simply saying he builds up the image through layers of paint just doesn't cut it. This video should fill in some of the blanks. (By the way: I can't think of too many artists who have the guts to shoot their paintings with water from a garden hose. Can you?).

Before you ask: Yes, many artists tend to be protective of their technique secrets. Arturo, however knows that his style and technique may be copied, but the results will never be duplicated. And, he tells me, what is on the video is only one of his little "secrets."

Without mixing words, Arturo’s paintings are the most sought after artwork we represent at Migration. Luckily for us, he is a prolific painter. If, after these last few years, you have finally decided to pull the trigger and buy one his pieces, please contact me. I’ll help set you up with a piece perfect for you and your needs.

[Image: Running Against The Wind]

Damien Hirst rolls in Paris

In a beautiful marketing scheme to promote the Lance Armstrong Foundation’s recent art bikes exhibition called STAGES (hosted by Galerie Emmanuel Perrotin in Paris), Lance Armstrong pedaled a Damien Hirst decorated bike (one of the exhibit's entries) down the Champs Elysees during the final stage of this year's Tour de France. Pretty cool.

 

But wouldn't it have been even cooler if Lance rode the entry by Dzine – a low rider bike inspired by 1970's Mexican-American vernacular art (pictured below left)? Or maybe Tom Sach's Tequilla Bike (pictured below right)? Maybe in 2010.

 

Confession time

Not that Catholic kind.  Just a little truth telling:

 

Please don't think less of me… but I confess… I enjoy some reality tv.  Not the crappy ones like Survivor, The Bachelorette, Real Housewives, Big Brother, Real World, and Wipeout (although, in small doses, it's hilarious).  I enjoy the artsie fartsie ones like So You Think You Can Dance, American Idol, Project Runway, and IronChef.

 

Bravo has recently announced the latest submission to the reality genre:  Untitled Art Project (tentatively titled) - a competion among aspiring visual artists.  The show will be produced by Sex in the City star Sarah Jessica Parker. 

 

I'm of two minds on this one.  Although there isn't much info about the show, this could really be a disaster and ultimately give the visual arts a black eye.  Or it could give some super exposure to the creative process visual artists go through.  No more "my kid could do that" after seeing just how much work goes into creating a purely expressionist painting.  Here's the the show's press promo:

 

Magical Elves (the firm responsible for Peabody Award-winning Project Runway and Emmy Award-winning Top Chef) and Sarah Jessica Parker (Golden Globe- and Emmy Award-winner) and her production company, Pretty Matches, are teaming up for an hour-long creative competition series among aspiring contemporary artists who will create and compete to conquer the art world!

 

Casting calls have been made in various cities.  Should be an interesting show.  I'll tune in.  My guess is that some individual egos will cause this to more like Wipeout than American Idol.

NY Artist Dash Snow dead from drug overdose

Albeit sad news, thanks goes to Jill Weiskopf (Communications Coordinator for New York magazine), for getting this news out quickly:

Today, hard-living, police-dodging artist, photographer, and graffiti writer Dash Snow has passed away at 27.

In 2007, New York contributing editor Ariel Levy wrote a feature on the downtown legend and the myth around him…

"I guess I get obsessed with people, and I really became fascinated by Dash," says [photographer] McGinley, who shares a Chinatown loft a few blocks away from Snow’s apartment with Dan Colen, whom McGinley has known since they were teenage skateboarders in New Jersey. The apartment used to be a brothel; for a long time, Chinese men would come to the door and be disappointed when McGinley or Colen answered it. McGinley shows me his photos of Snow over the years, dozens and dozens of them. Snow with cornrows, with a shaved head, with a black eye. There is one photo called Dash Bombing [pictured below] that was in the Whitney show: a shadowy shot of Snow out on a ledge, tagging a building in the night sky, Manhattan spread out below him. It’s an image of anarchic freedom, one that seems anachronistic and almost magical in this city of hermetically sealed glass-cocoon condo towers. It’s as if Snow were an animal—prevalent in the seventies, now thought to be extinct—that was spotted high over the city.

Read more about Snow and his short but extraordinary career here.

Art Bikes for the Lance Armstrong Foundation

During these long, hot July nights with slim pickings on tv, I’ve been tuned into the Tour de France. Thanks goodness I like to cycle and have a general appreciation for what these guys are going through. Not to mention the sheer beauty of both the landscape and the peloton. Gorgeous. Plus, the drama of the competition is hard to match. Better than watching crappy sit-com reruns and mindless reality shows.

In that spirit, I am excited to share this collaboration between art and cycling:

Lance Armstrong and Nike® have united to launch the STAGES Project, a global art exhibition to raise funds and awareness for the fight against cancer.

Over twenty renowned artists have donated their time and creativity to express the LIVESTRONG message and raise funds for the Lance Armstrong Foundation, which is committed to inspiring and empowering people affected by cancer.

The exhibition opens at the Galerie Emmanuel Perrotin in Paris on July 17 before traveling to the US this fall (I believe it will go to Miami). All work is available for purchase with proceeds directly benefiting the Lance Armstrong Foundation.

Pictured below is a preview of what Damien Hirst has compiled for STAGES. The U.K. artist has contributed work that features butterflies on the frame and wheels making for a really interesting addition to what is in store.

   

Also contributing to the project are famed artists (and artPark favs) Yoshimoto Nara, Marc Newson, Andreas Gursky and Aaron Young. Without even seeing it, I know I will covet the Yoshimoto Nara bike. I can only imagine what the reactions would be if I rolled up to the start of my next triathlon on that one.