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************************************************************ e-J #3 studioNOTES e-Journal a project of studioNOTES ************************************************************ Welcome to the third issue of the studioNOTES e-Journal. The e-J is published irregularly because it is not time specific. So that all mail programs and computers can handle it, it is in plain text. Your comments are welcomed. The general layout and contents for this issue are: * RESOURCES: CAREER (Information to help you get support for your work or make it easier or more pleasant) * Uninsured Venues * Slide Labeling * Scam Alert * Visual Aid Programs * Artists' Organizations * OneLook Dictionary * Finding Appropriate Galleries and Competitions * Used Art Books Cheap * RESOURCES: TECHNICAL (Information on artmaking techniques and materials, art history and related, promotional materials) * Digital Aids to Painting * Email to Cell: New Medium? * The Future of Film Photography * JPEG Making and Handling * ART IN GENERAL (Art to look at and think about) * Seminal Web Art * Budget Gallery * Signs of Men At Work * Artists' Interiors * Persephone Project * Iranian Cartoons * Political Cartoons Around the World * IN HOUSE (News about studioNOTES and AOM, Opinions and Observations) Publisher's Corner * Art Opportunities Book Out Now. * Free AOM Sample * Subscribers of the Moment: Beth Yarnelle Edwards, Deborah Harris, Ellen Jantzen * Subscriber of the Moment Notes * ASK STUDIONOTES: (Questions from readers) Send in your questions * THIS AND THAT (Stuff that doesn't necessarily fit into the other categories) Censorship in the Arts Healthy says Pat Boone * Why Art in the Schools is Wrong * The Purpose of Public Art * Name Those Artists Game * Kinkies: If Artists Had Product Lines * READERS RECOMMEND (Books, art materials, etc.) * QUOTES ||__________________ NOTICE ________________________________ || If you are not a member of the free studioNOTES email || discussion list but would like to be, send a BLANK email to || studionotes-L-subscribe@topica.com (the letter "L") || Discussion topics include everything and anything about || art, from the technical to the sublime. ||__________________________________________________________ ************************* Begin Contents ************* RESOURCES: CAREER * Uninsured Venues If someone lends you a book, it is understood that you will give it back, normally at an agreed time. If you lose the book or someone steals it from you or it gets damaged in some way, you know that you still have to replace it or pay for its replacement or repair. It's simply the way things are done in a civilized society, and common law everywhere in the modern world and for a long time has reflected this. Basically, when one person or organization gives custody of an object (virtually any property) to another, that party has every right to expect it to be returned at its full value (less normal but not excessive wear, say, in the case of a dwelling). When you lend a work of art to a commercial or non-commercial gallery, shop, or other place for the purposes of display or sale or both, the principle still stands. Yet, some galleries, particularly at non-profit art centers, are claiming that because they have let their insurance lapse or cannot afford insurance, they have no responsibility for damage, theft or loss. What's worse many artists are falling for it. That fact that a venue doesn't have insurance is irrelevant. Insurance is simply a way to, well, insure that there is money available to cover an incident. Not having insurance does not relieve an organization of its responsibilities. You may take pity on a place that is struggling financially more than you are and thus relieve them having to pay for the repair or loss of your work. But before you do, make sure that what you are doing is what you want to. And don't be fooled by being asked to sign a statement that the organization is not responsible. In most cases, and in most states, you can't sign away your rights. If you have questions about this, see your local Lawyers for the Arts group. Speaking of which, Caroll Michels, the author of "How to Survive & Prosper as An Artist: Selling Your Art Without Selling Your Soul," writes: "Was reading over the most recent issue of studioNOTES. Wanted to let you know that the Artist Help Network maintains an up-to-date list of Volunteer Lawyers for the Arts Agencies. Here is the link: <http://www.artisthelpnetwork.com/LEAOmap.asp>." Artists' Help Network is a good site all around. * Slide Labeling Everybody knows this but not everyone remembers to do it all the time:*Before sending out your slides or photos, be sure your name (and other identification) is on them.* While preparing to select images for the soon-to-be-published "Art Opportunities: Finding, Entering and Winning," we discovered two slides and one photo (from three different artists) with absolutely no identification on them. While we were able to match them with the artists, it was time consuming and irritating and might not have been accomplished at all had we been a busy gallery or competition with a number of people handling hundreds or thousands of slides. * Scam Alert According to the May/June "State of the Arts," the newsletter of the Montana Arts Council (one of the best state arts council news publications around) a new scam aimed at artists has surfaced. Basically, it is some variation of this: A woman calls an artist late at night about a painting she saw published on the Internet or elsewhere. She says she has to leave for England in the morning but she's really excited about the work and wants to send a cashier's check to buy it and have it shipped immediately to some far-away location for her daughter's birthday, or as a wedding present, or some other particular thing that is just days away. Because the woman just loves the work so much, she orders another painting shipped to some other country, as well. Because it is a rush-job, she offers extra money for the expedited shipping. Shortly after the cashier's check is deposited, the woman calls back to say some specific family tragedy unfortunately requires her to request a refund. She is really sorry, she says, but what can she do? The artist, feeling friendly towards the caller because of her previous enthusiasm and feeling sympathetic to her plight, sends the refund. A few days later the artist gets a call or a letter from the bank. The cashier's check, it turns out, was counterfeit. The painting or paintings have already been shipped and they are gone, along with the "buyer," who can't be found. * Visual Aid Programs Visual Aid exists to encourage artists with life-threatening illnesses to continue their creative work. They help produce, present and preserve the work of such professional artists from the nine-county San Francisco Bay Area, providing them with art supplies, exhibitions, career development information and other necessities. They also present lectures and workshops that are also open to students and the general public. Subjects have included: the influence of graffiti, making mixed media assemblages and shooting professional-quality slides. For more information, call 415-777-8242 or email Julie Blankenship, Executive Director, at visaid@visualaid.org. Other sources of useful to people with life-threatening illnesses include Visual Aids (NYC) and Art and Understanding (America's AIDS Magazine) * Artists' Organizations Do you have a membership in an artist's organization, either a local group or national or international one? If so, please send in name, etc., to info@studionotoes.org for possible listing in AOM, the New AO Book, or on the AOM website. See current list on the Book site * OneLook Dictionary Searching for the meaning of that art term you just came across? Trying to come up with a more descriptive word for your artist's statement? OneLook Dictionary Search, <http://www.onelook.com/>, has indexed 5,998,569 words in 964 dictionaries. If it ain't there, you've invented it. But if your spelling is simply off, your search results will show words that are nearly the same, the correctly spelled word probably among them. You can also enter wild cards, so that "red*" would find everything from "red-back spider"to "reddle," -- 1000 matches, the limit. There is also a reverse dictionary feature: you enter a concept, it finds related words. * Tip: Finding Appropriate Galleries and Competitions When you see work that you like, on the Web or elsewhere, note the galleries that represent the artist and the recent juried shows, grants, residencies and such on his or her resume. If the work is similar to yours in its sensibilities or approach -- say, huge sculpture or tiny prints or color-field painting -- but probably not in exact imagery, in those venues are worth researching further. * Used Art Books Cheap According to a survey by Book Hunter Press, more used books are now being sold on line than through storefronts. And no wonder. You can search the Web for the very best deal, something that would take too much time and money by any other method. The place to start -- and probably end -- such a search is Abebooks. They publish current price and availability from 1000's of independent bookstores worldwide in an easy-to-search database. For instance, if you wanted a copy of Dr. Peter Selz's "New Images of Man," you could find and order one for only $3.00 from a bookstore in Pennsylvania -- or you could get the same title from a bookstore in Paris for $110. This catalog for the groundbreaking 1959 MOMA show is probably a collector's item and has reproductions, some in color, of work by Nathan Oliveira, Francis Bacon, de Kooning, Dubuffet Giacometti, Diebenkorn, Jackson Pollack and other luminaries. There are hundreds of other books that you might now be able to afford. And to make it easy for you, AOM is now an affiliate. Simply go to Art Opportunities Monthly, scroll nearly to the bottom and click on the Abebooks banner. RESOURCES: TECHNICAL * Tip: Digital Aids to Painting To solve color or composition problems in a painting or other 2-D work, take a digital image of it, then use imaging software such as Irfanview, Photoshop Elements, The Gimp, etc., to change colors, values or other elements. Irfanview is both simple and robust and it's free but available only for Windows platforms. The Gimp, <http://www.gimp.org/>, which is generally equal to Photoshop(TM) and probably superior to it for Web work, is also free (and open source). If you are having trouble with the relationships of color intensities, you can convert the image to grayscale and study that. You can print out several versions -- with or without color -- and pin them to your wall to compare them. While the colors and color relationships produced by the average inkjet printer are rarely accurate, you can paint over the prints or paste colored paper on them to get what you want. * Email to Cell Phone: New Medium? Teleflip, <http://www.teleflip.com/teleflip/index.jsp>, is a free service, now in beta testing mode, that lets you email a text message to a cell phone. The site says: "The next time you need someone to email you directions, a recipe, sales information, or maybe just a few sweet nothings... tell them to TELEFLIP(™) it, at: (yourcellphonenumber)@teleflip.com," but of course new media types will also see it as something to do art with. * The Future of Film Photography An article on HP's website called "The Future of Film Photography," <http://h30015.www3.hp.com/hp_dpc/learn/future_film_photography.asp?jumpid=info/hho-ng-the-future-of-film-photography>, says, "Film still has the upper hand where quality is concerned. But for many people who have made the switch to digital, the advantages far outweigh the shortcomings." While film-based photography is still the best by far for shooting reproduction-quality slides of your work, a digital camera is almost _de rigueur_ for recording stages of a work in progress or shooting source material. * JPEG Making and Handling Learn valuable but not widely known information about making and using this important file format. The page, <http://www.agfanet.com/en/cafe/photocourse/digicourse/lesson14/cont_index.php3>, by AGFA, gives a wealth of information about JPEG making and handling, including the basics, compression, lossless compression, and tools and software. The subject is just one of the 20 lessons on digital photography on the site <http://www.agfanet.com/en/cafe/photocourse/digicourse/cont_index.php3>. Others include: digital cameras, using a scanner, the digital darkroom, printing photos and aerial photography without an airplane and movies. The site also has lessons on film-base photography. ART IN GENERAL * Seminal Web Art FORM, <http://www.c3.hu/collection/form/index1.html/>, is by Alexei Shulgin, one of the pioneers in Web art. Here, in a 1997 piece, he has opened up and nearly exhausted the sorts of visual things you can do with HTML form elements -- input buttons, checkboxes, submit buttons, etc. * Budget Gallery Budget Galleryhttp://budgetgallery.org/>, based in San Francisco, is an interesting organization and concept. It offers If you are interested in doing something similar in your area, contact Steve at sl@budgetgallery.org. * Signs of Men At Work Men at Work in Depth, <http://www.elve.net/rmen02.htm/>, is a fascinating collection of pictographic road signs from around the world. Interesting, too, because of the similarities and differences in the simple -- and sometimes not so simple -- silhouettes of road workers, children crossing the street and falling rocks. There is huge variety in the latter and some of them might be quite inspiring to abstract artists. See for instance <http://www.elve.net/rrotpor.htm/> in Portugal or <http://www.elve.net/rrotky.htm/> in Kyrgyzstan. *Artists' Interiors "Artists' Interiors, Creative Spaces, Inspired Living," by Laurie E. Dickson, (Rockport Publishers, 2003) "looks into the lives of artists from all walks of life and the unique ways they color their worlds from the inside out," according to the author, a veteran photographer and editor. She describes it as "more than a book of style," because it "features intimate, rich, photos [175 full page color images] and profiles along with my journal-like story about meeting the artists. It reveals how the artist is deeply connected to their environment and the wild ways they decorate their world." * Persephone Project Persephone Project, <http://www.persephoneproject.org/PersephoneProject.html/>, connects the public to art and to the environment by promoting gardening as a contemporary art medium and by recognizing gardeners as artists. The multi-faceted project includes five program areas: Magic Penny Gardens (community art gardens created by local artists), Art Gardens of Pittsburgh (large-scale outdoor installation gallery where the medium is growing plants), Mayflies and the Paper Garden (cut paper art by PP's founder/director, Stephanie Flom), education and research. * Iranian Cartoons The first information center of Iranian Cartoons on the Web, , hosts the work of Iranian graphic artists producing humorous or political work, shows other cartoonists from around the world and sponsors international contests on various, usually political, subjects. * Political Cartoons Around the World On that note: if your work involves political or social content, or you are simply interested in such things, it's worth a couple hours of poring through the "Slate Magazine" collection, <http://cagle.slate.msn.com/politicalcartoons/>, to see what political cartoonists around the world are thinking. In some cases, the graphic technique is extraordinary, too. Be forewarned, though, that for some reason, many of these artists portray the U. S. president as a liar, a reckless cowboy, a dummy or a combination of all three and they also often depict the U. S. military as brutal, perverted or disrespectful.Some examples: http://cagle.slate.msn.com/politicalcartoons/PCcartoons/schrank.asp> <http://zone.artizans.com/product.htm?pid=285106> <http://cagle.slate.msn.com/politicalcartoons/PCcartoons/boligan.asp> <http://cagle.slate.msn.com/politicalcartoons/PCcartoons/farhad.asp> <http://cagle.slate.msn.com/politicalcartoons/PCcartoons/arcadio.asp> <http://cagle.slate.msn.com/politicalcartoons/PCcartoons/chappatte.asp> <http://cagle.slate.msn.com/politicalcartoons/pccartoons/archives/hasan.asp> IN HOUSE * Publisher's Corner A couple of months ago, I was invited to meet with a class of 12 students at Taking The Leap, <http://www.takingtheleap.com/>, which bills itself as a business school for artists. The students were mostly middle aged and appeared relatively well off (the tuition for the once a week, six-month course is $4800). They were all pleasant and attentive. My job was the same as the dozens of art critics, gallerists, curators and other art world people who had come previously to meet with other classes and the half-dozen or so who would meet with this particular class on subsequent Saturday afternoons: to talk for about an hour and then meet privately with each student for 10 minutes to look at and discuss his or her portfolio. It was all quite interesting. In my opinion, many of the students were taking the class prematurely. To prepare for my session, I had made notes on various subjects, one to a card. The students selected them at random. The first was the question; "If a coin is flipped and comes up heads five times in a row, what are the chances that it will come up heads on the next toss?" Most of the artists, following the lead of one who was a college math instructor, got it right. I think that if you are in a hard business such as trying to market your art, you should understand the basic laws of probability. The second or third card picked was one that read: "If you want to make $20,000 a year from your art, before taxes, before Social Security deductions, before medical insurance payments, and no vacation or sick leave benefits, you have to sell $60,000 to $80,000 worth of art a year. That's one $5000-7000 piece a month or one $1200-$1700 piece a week or one $220-$330 piece every single business day of the week." I quickly explained that if one were making and selling that much art, one needed a dealer or two. There goes half of the gross. And a real studio, and to pay for shipping, overhead, insurance, materials. Reader, you can do the rest of the math, and you should. Doesn't mean you can't make a living from your art, but it does mean that you need to do the numbers. * Art Opportunities Book Out Now T"he Art Opportunities Book: Finding, Entering and Winning" is now available after some delay. The original plan was to clean up and republish two articles on the subject that had previously appeared in studioNOTES. But the book grew and grew and grew and now is a work book with 123 8-1/2x11" pages, including questionnaires to help you find the right venues and worksheets to help you keep track of your entries and acceptances. The direct-from-the-publisher price is $17.95 + $2.95 handling and shipping and $1.32 sales tax if you are in California. For more details and a big free look inside, see <http://www.ArtOpportunitiesBook.com> * Free AOM Sample Do you know someone who would like a free sample of AOM? Send the name and email address to sample@ArtOpportunitiesMonthly.com, or to AOM, Box 502, Benicia CA 94510, along with your name, and we will send one right out. * Subscribers of the Moment: Beth Yarnelle Edwards, Deborah Harris, Ellen Jantzen SUBSCRIBERS OF THE MOMENT Beth Yarnelle Edwards had a solo show of her series, "Rêves de Banlieue (Suburban Dreams)," at Musée de la Photographie à Charleroi, Belgium, last December through February. On the heels of that, she showed at AIPAD: The Photography Show (Robert Klein Gallery) New York City. A year ago she had 54 pieces from the same series in a solo at Chateau d'Eau, Toulouse, France, the oldest photography museum in Europe. During the past six years she has had one-woman shows at more than 15 other places, and she has also participated in over 50 group exhibitions. Her work has appeared in such publications as "The New Yorker," "Harpers," "Adbusters," "Portfolio" and "European Photography." She is a recipient of The Wallace Alexander Gerbode Foundation Visual Arts Award, the Ruttenberg Foundation Award, The Santa Fe Photographic Project Competition, and the grand prix of the Salon International de la Recherche Photographique de Royan, France. Her work is in many collections including SFMOMA, the Oakland Museum of California, the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston. A long-time subscriber to the original studioNOTES and a charter subscriber to Art Opportunities Monthly, Beth was the subject of an interview in sN, No. 27, January 2000. Several of her generous and insightful comments have also been published in other sN articles and books and she remains an important advisor and consultant. On her schedule for the rest of this year are: a four-person show at James Nicholson Gallery (49 Geary 4th Fl, San Francisco; <http://www.nicholsongallery.com/>) beginning June 2 and a show at Photofusion Gallery, London, UK, of work by five of the ten women whose work is in the book,"'Masquerade: Women's Contemporary Portrait Photography" (<www.staffs.ac.uk/ariadne/masquinfo.html>) starting May 28. She'll also have images in "Adbusters," "BIG" and "O, The Oprah Magazine" in the near future. She is represented by the Robert Klein Gallery (38 Newbury St 4th Fl, Boston MA 02116. 617-267-7997; Inquiry@RobertKleinGallery.com; http://www.robertkleingallery.com/>) and may be contacted through them or by e-mailing her directly at Byedwards@aol.com. Deborah Harris, based in Berkeley CA, makes paintings and woodblock prints, often with Spanish titles. In the last couple of years, she has shown at the Berkeley Art Center, The Sebastopol (CA) Center for the Arts and the Nexus Gallery in Berkeley. She says on her site, <http://www.deborah-harris.com/>, that: "The paintings are about the mysterious alchemy which turns pigment into expressive, evocative form." She has been a subscriber to the studioNOTES e-journal since Nov. 2003. Ellen Jantzen, of Valencia CA, produces sculptural organic forms and digital prints. She wants her sculpture to "resonate with nature: seed pod, chrysalis, nest forms," and explains, "I shape these from a pulp made of recycled paper and other natural materials." She often then photographs the forms and uses her computer to turn the images into digitally altered and manipulated limited edition prints. She is the holder of two US Patents for products designed for Mattel Toys and another for the Pursenalizer concept. Her work has been given show awards at Period Gallery, Omaha NE, Chico (CA) Art Center, Galeria Mesa, Mesa AZ and elsewhere and had a recent solo show at the Stretch Gallery in Pineville NC. Her work has been in dozens of group shows in Illinois, New York, Colorado and elsewhere, and is in several commercial galleries. She has been an Art Opportunities Monthly subscriber since July 2002 (see AOM gallery at <http://www.ArtOpportunitiesMonthly.com/jantzen.html>) and an "e-Journal" subscriber since the beginning. Her website is <http://www.etavonni.com/>. * Subscriber of the Moment Notes We'll occasionally post links to sites of e-Journal or AOM subscribers on the studioNOTES Blog, <http://www.studionotes.org/blogger.html>, and then publish them in the e-Journal. There will be a short description of the site and the work on it or about the artist. To enter the pool of candidates, who will be chosen and posted at random, send your URL, the name of the publication(s) you subscribe to and other information to pool@studionotes.org. If you have already sent it in, we're sure to get to you before next issue. ASK STUDIONOTES There are no questions for this issue. Got one on art materials, techniques, marketing or anything else art related? send to ask@studionotes.org We'll present it to our panel of experts and do a bit of research on our own. THIS AND THAT *Censorship in the Arts Healthy says Pat Boone In an April 21, 2004,Washington Times article, , the former crooner and moral guru,"I don't think censorship is a bad word, but it has become a bad word because everybody associates it with some kind of restriction on liberty," said Mr. Boone.if censorship is not ‘some kind of restriction on liberty,' just what the @#$&*!# is it, Mr. Boone? Of course, Pat does say that censorship should be self-imposed. But then it's not really censorship is it, Mr Boone? * Why Art in the Schools is Wrong, Just Wrong In a column in The Andalusia Star <http://www.andalusiastarnews.com/articles/2004/04/29/opinion/opin04302.txt>, Mary Reeves, who is for more art in schools, cited one of the reasons some people are against its being taught: "One person said the art program was dropped because, unlike music, which teaches cooperation, art encourages individuality." * The Purpose of Public Art, or No Nudes in der Garten von Eden, Please Pasco, a town of 40,000 in southeast Washington, USA, used to have a program of showing art in City Hall. In 1996, two pieces were removed from that venue because of alleged complaints about nudity and subject matter, specifically a small sculpture of a human backside and woodcuts of the nude(!) Adam and Eve touring landmarks in Germany.The two artists sued, since the city had no official policy about what could be shown and what could not. After the 9th Circuit Court ruled that the artists' First Amendment rights had been violated by the removal of art, the City appealed to the US Supreme Court, which let the ruling stand.The City responded by pulling the plug on the art program. "Since we lost that suit, we consciously and deliberately avoid any public arts program," said City manager Gary Crutchfield. "Yes, the art was a nice diversion for people paying their water bills," he said, explaining the purpose of having the art in the first place, "but for the city it was a minefield."For details, see: <http://www.sacbee.com/content/politics/local_government/story/7549128p-8490602c.html> and <http://archive.aclu.org/news/2001/n021501b.html> and Hopper v. City of Pasco, 241 F.3d. 1067 (9th Cir. 2001). * Unlikely Collaborators, or Name Those Artists This is something we made up a few years ago and printed in sN when it was still published on paper. It was also aired on "Minds Over Matter, a radio quiz program in the San Francisco area. It's called "Liberty Leading the People Early Sunday Morning." The principle is: what happens if you smush two works of art together? The object of this quiz, if any, is to guess the two artists involved in the above and each of the following combos, but more importantly, to imagine the results: "David In the Parlor at the Rue des Moulins" "Nude Bathers Descending a Staircase" "The Blue Boy Dog Barking at the Moon" "Twittering Machine Walking Man" "Sugaring Off The Four Freedoms" "Love The Kiss" "The Potato Eaters Luncheon on The Grass" Hints: 1) with one exception, all new titles are made by joining one onto the end of the first; 2) they're all famous 3) the two artist in the title clue are Eugene Delacroix and Edward Hopper. First one to get them all right gets a free page in the AOM gallery, <http://www:ArtOpportunitiesMonthly.com/gallery.html>. * Kinkies: If Artists Had Product Lines Two and a half years ago, inspired by Thomas Kinkade's venture expanding his "product line" of painted houses with lights in the windows into real houses with lights in the ceilings, we mused: What if other artists follow suit or had beat TK to it? The products could be based on the famous artist's work or on some facet of his or her being or personality. We posed the question to the sN discussion list and here's some of what they came up with. Names in parentheses are those of the authors. (No name means the editorial we is to blame.) The title "Kinkies" was suggested by E. Marie Robinson. A few: Stuffed Elephants by Chris Olifi Damien Hirst Steak-of-the-Month Club Giacometti's Diet Pills Georgia O'Keefe's Bloom Food (Leah Korican) Andy Warhol Pop Cindy Sherman Barbi Dolls (Christine Luksza) Dali's Hot Clocks (Andrew Werby). Hopper's Diner Barnett Newman Zippers (Linden) Jackson Pollock Spaghetti Sauce Toulouse-Lautrec Shorts Caravaggio's Lighting Service (Leah Jakusovszky ) Richard Wagner's Rings 'n' Things Cornell's House of Boxes (Andrew Werby) Hans Hoffman's Door Signs Picasso Guitar and Unicycle (Andrew Werby) Try your own. READERS RECOMMEND * Artist Tax Book Still Helpful I got the tax audit help book for artists by Jo Hanson ("Artists' Taxes, The Hands-on-Guide: An Alternative to 'Hobby Taxes,'" Vortex Press, 1987, ISBN: 0942213009) and it was a great help. We (only?) had to respond to about 12 questions from the IRS in writing and it came back "No Change." They accepted the return as originally filed. Jo's book help me determine how to take my stand and I was prepared to go the distance fighting for our business status. ---Diana Lynn, Crockett CA [Editors Note: "Artists' Taxes" is very hard to find. Doesn't currently show up in Abebooks, but your nearest Lawyers for the Arts might have a copy and it's in about 20 university and public libraries around the US. While it deals specifically with preparing for and managing a tax audit, another book on taxes is "Art of Deduction (The): Income Tax for Performing, Visual and Literary Artists," published by California Lawyers for the Arts, 1999, Fort Mason Center, Building C Rm 255, SF CA 94123; cla@calawyersforthearts.org; <http://www.calawyersforthearts.org/>.] * Article on Marketing, etc. There is a good article in the February Photo District News, <http://www.pdnonline.com/photodistrictnews/search/search_display.jsp?vnu_content_id=2083686>, about how to approach galleries etc. Especially interesting is the information by Virginia Swanson on portfolio review opportunities. It's become a "spreading " phenomenon since the 1986 Houston Photo Fest: A number of reviewers come from all parts of the world, and the photographer is given the opportunity to show their work in a concentrated arena ( e. g., in Houston, you get four appointments a day.) There really is no equivalent in the art world. ---Jeannie O'Connor, <http://www:jeannieoconnor.com/ > "...Quotes..." The role of the artist is to transcend conventional wisdom, to transcend the word of the establishment, to transcend the orthodoxy, to go beyond and escape what is handed down by the government or what is said in the media. —Howard Zinn, _Artists in times of War_ There are many who maintain a thousand lies, and one is that eminent painters are strange, harsh, and unbearable in their manner, although they are really human and humane. And these fools, and not sensible persons, consider them fantastic and capricious and are loath to tolerate such characteristics in a painter. It is true that for such characteristics to exist the painter must exist; and him you will scarcely find outside of Italy, where things attain their perfection. But idle, unskilled persons are wrong to demand great ceremony from a busy, skillful man, since few persons excel in their work, and certainly none of those who bring such accusations. ---Michelangelo We are too much like Pilate. We are always asking, "What is truth?" and then crucifying the truth that stands before our eyes. ---Thomas Merton, _No Man Is An Island_ [1955] " A sage thing is timely silence, and better than any speech. ---Plutarch ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~ * ~* Edited by Benny Shaboy. The studioNOTES e-Journal is a project of studioNOTES. Copyright 2004. Portions of this publication may be copied ONLY IF full credit is given by including the email journal@studionotes.org and the URL <http://www.studionotes.org/> ======================================================= ### studioNOTES Box 502 Benicia CA 94510 ======================================================= Do you know others who might want to receive this? 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