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* e-J #4 studioNOTES e-Journal
*
* a project of studioNOTES
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Welcome to the fourth issue of the studioNOTES e-Journal. The e-J
is published irregularly because it is generally not time
specific. Because we have so much material for this issue and
don't want to delay it any longer, we are sending it out now and
will send out another in the second week of December.
So that all mail programs and computers can handle it, the sN
e-Journal is in plain text. (** SPAM FILTER TRICK. Put
ben@studionotes.org in your address book to signal your spam
filter that this publication is not spam.**) To go a link shown
between angle brackets <like this>, simply click on it while you
are connected to the Internet, if your mail program and browser
can handle that, as most can. Otherwise, copy and paste it into
your browser.
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)
* A New Pension Fund for Struggling Artists * Free Publication:
On the Needs of Visual Artists * Scam Alert * Used Art Books
Cheap
* RESOURCES: TECHNICAL (Information on artmaking techniques and
materials, art history and related, promotional materials)
* HxWxD * Info about Digital Projectors * Search Engine Finds
Images, Too
* ART IN GENERAL (Art and art related things)
His Art's Too Racy for Retired Teachers' Office * Jessica Phrogus
Goes To Washington * Lambert, Ferlinghetti Receive Grants from
Creative Work Fund
* IN HOUSE (News about studioNOTES and AOM, Opinions and
Observations)
* "The Art Opportunities Book" Now Out * Linking to the Art
Opportunities Book. *Author Available for Talk on Finding and
Winning * Free AOM Sample * Subscribers of the Moment: A. Leo
Nash, Virginia Batson * Subscriber of the Moment Notes
* ASK STUDIONOTES: (Questions from readers)
* How Can You Tell if this Offer is Legit? * Advice about
Galleries, Marketing and a Recommendation for an Artists'
Glossary
* THIS AND THAT (Stuff that doesn't necessarily fit into the
other categories)
War is Good for (Art) Business * Artist Warned by Cops to Draw
'Something Nice' * Artists Reflect on the Us Presidential
Election.
* READERS RECOMMEND (Books, art materials, etc.)
* QUOTES
__________________ NOTICE ________________________________
If you would like to be a member of the free studioNOTES email
discussion list, 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 ****************
The studioNOTES e-journal is internationally circulated, with
readers distributed throughout the US, and in Canada, UK, France,
Japan, Australia, Brazil, Sweden, Gibraltar, Romania and
elsewhere.
RESOURCES: CAREER
* New Pension Fund for Struggling Artists
The Artist Pension Trust is a fascinating idea and a possible
boon for some artists. The organization invites selected emerging
artists to contribute 20 pieces of work to a tax-protected fund
over a 20-year period. The fund's founders calculate that at
least some of the art will appreciate significantly, thus
producing a profit for investors. Each invited artist will share
in the profits, even if his or her own work doesn't increase in
value. Interesting combination of capitalism and collectivism.
More at <http://www.artistpensiontrust.org>.
* Free Publication: On the Needs of Visual Artists
"On the Needs of Visual Artists: A Roundtable 2001" is a record
of artists' conversations, thoughts, and suggestions that reveals
a portrait of the state of mind of artists across the country.
On March 19, 2001, The Marie Walsh Sharpe Art Foundation
and The Judith Rothschild Foundation co-sponsored the discussion
"On the Needs of Visual Artists: A Roundtable 2001," hosted by
Artists Space in New York City. The Marie Walsh Sharpe Art
Foundation Artists Advisory Committee consisting of Cynthia
Carlson, Chuck Close, Janet Fish, Philip Pearlstein, Irving
Sandler, Harriet Shorr, Robert Storr, and Lorna Simpson, planned
the discussion, which was facilitated by Irving Sandler and
Robert Storr, and involved a diverse group of 33 artists from
around the country in a conversation on artists' needs.
This publication is available nationally at no cost to
foundations, art organizations, artists, and other interested
parties. To order a copy, please call (719) 635-3220. For
additional information about The Marie Walsh Sharpe Art
Foundation <http://www.sharpeartfdn.org>.
**Scam Watch
Among the scams currently being used to separate artists from
their money is one that begins with an email from someone
claiming to be a dealer interested in buying a certain painting.
Below is an actual example. (The name and email address of the
artist and the title of the piece have been changed to protect
privacy but the email is copied and pasted exactly as received
otherwise.)
- - - - - - -
From: Han Hastrop <han_hastrop@yahoo.com>
Date: Sat, 13 Nov 2004 08:09:29 -0800 (PST)
To: <kimslew@earthlink.net>
Subject: ORDER
Dear Kim Slettiw,
we are international dealers in all types of artworks (paintings)
We are presently in need of styles in our showroom when a
colleague abroad gave us yaour store mail and we would like to
patronise you. Kindly tell us the styles you have in stock. But
the we ones we want are listed below: Mixed Media: Nude Ascending
a Stairway get back to us with the quotation and shipment cost of
the items so that we can give you our card to charge.
Reply soonest
Regards
Han Hastrop
for:hastrop Arts
- - - - -
What will happen next, though, is that there will be a "problem"
with the card number and the scammer will offer to make a direct
transfer of funds to the artist's bank and ask for bank details
that could comprise the security of the account. Or there will be
a request for money to facilitate the work getting though
customs. Or there will be a request for a high-resolution image,
ostensibly for the buyer to examine, but in reality to be used to
make copies of the work and sell them. Or the "dealer" will offer
to pay by international money order but will later will call
announcing a terrible tragedy and ask for a refund. Then the
artist will discover after he or she makes the refund that the
money order was forged or counterfeit.
Tip offs: A legitimate dealer or other businessman will
normally not use a Hotmail or Yahoo or other "throwaway" email
address. Do a Google search for the person who signed his or her
name to the email. One for "Han Hastrop," above, produced only
the page of a site warning about the scam. A search for "hastrop
Arts" produced nothing. A real dealer will have a record and
usually a web site. A Google search will have him or her showing
up at least in the resume's of other artists (whom you can
contact if you have questions about the offer or its legitimacy).
* Art Books Cheap
Abebooks publishes current price and availability from 1000's of
independent bookstores worldwide in an easy-to-search database.
Virtually every art book you might need can be found. And to make
it easy for you, AOM is an affiliate. Simply go to
<http://www.ArtOpportunitiesMonthly.com/>, scroll to the bottom
and click on the Abebooks.com banner.
RESOURCES: TECHNICAL
* HxWxD
You probably know this, but it's easy to forget; whether on a
label, a slide list or in a publication, the height of a work is
given first, then the width. If the piece is not flatwork, the
depth is then given. Height x Width x Depth. General practice is
to give the dimensions in inches (rather than feet and inches) or
centimeters.
* Info about Digital Projectors
A reader asked: "Can you suggest a resource for artist wanting to
replace their 35 mm slide projectors with a digital projector
that has equal focus and detail?" Photographer and web designer
E. Marie Robertson reports: "loads of comparative and technical
info on CNET along with price comparisons" at
<http://tinyurl.com/5s8zr> and more reviews at PCWorld,
<http://www.pcworld.com/reviews/article/0,aid,116288,00.asp>.
There are also projector buying tips from BusinessWeek:
<http://businessweek.buyerzone.com/computers/lcd_projectors/index.html>
Robertson continues, "With digital projectors, 'cheap' is
relative. At least to my knowledge, there is no such thing as a
digital projector in the same price range as a standard slide
projector. Low end new seems to be around $800. She also points
out that, "while focus and detail of the projection won't be an
issue no matter what kind of projector one buys, it's very
important to pay attention to the resolution of the source
material. A 72-dpi image ripped from the web simply will not have
the same resolution as a high-quality scan of a 35mm slide,
negative, or other high-res image. This isn't an issue if you're
projecting small (for an intimate gathering, for example) but if
making a presentation in an auditorium or even your average-sized
classroom, lower res images will 'pixelate' and not have the
quality you probably want."
* Search Engine Finds Images, Too
A new search engine, A9.com <http://a9.com/>, claims to provide
"a unique set of powerful features to find information, organize
it, and remember it -- all in one place." It uses web search and
image search results enhanced by Google, Search Inside the
Book(r) results from Amazon.com, reference results from GuruNet,
movies results from IMDb, and more.
The Amazon.com-owned engine allows you to make and keep
notes about any web page and search them. The developers say, "it
is a new way to store and organize your bookmarks; it even
recommends new sites and favorite old sites specifically for you
to visit." It will also allow you to install a toolbar that saves
your entire browsing history, which you can edit.
Perhaps the most interesting feature for artists is that
it retrieves images and shows them along with the text. For
instance, a search for "mezzotint," retrieves not only The
International Mezzotint Society
<http://www.math.ufl.edu/~glover/mezzotint.html>, but 4300 images
which are or have to do with the process.
ART IN GENERAL
*His Art's Too Racy for Walls at CalSTRS
Although they involved no nudity, violence or overt political
messages, four of Kenny Mechner's paintings were removed last
Spring from an exhibit at the California State Teachers'
Retirement System office in Sacramento CA one day after they were
hung.
CalSTRS spokeswoman Kirsten Macintyre said in a
statement: "We have a zero-tolerance policy for harassment in the
workplace; if the art is making our employees uncomfortable,
we're not going to keep it up." More at <a
href://www.kenney-mencher.com/catalog/sac_bee.htm>.
Next issue: the aftermath.
* Jessica Phrogus Goes To Washington
A Report from the Artist, June 2004
Washington DC was mind blowingly wonderful. Here I was walking to
the very center of our country's heart. It was such a honor for
me. After a day to get there on a plane, with a time change and
plane change, metro was 3 blocks from the hostel, but I took a
cab anyways and got in room at 11 pm. I went on a fun trolley
around the area and got off at the Memorial sites for Washington,
Lincoln and all the soldiers. It was muggy and I couldn't walk
much, but did see that and just rode around town -- that took all
day. Then went to the hostel and slept till 2 AM when some girls
came in room, then I woke up and was wide awake, so just went
down to the common room and read the paper. The clerk at the
hostel carried my bag up since I was on the 6th floor and the
elevator was out, then he put me next to the air conditioner. A
really nice guy. I worked on slides and leisurely got ready, took
a shower and all. I was nervous and excited.
I felt I didn't really deserve it, but the government has
made other worse mistakes. We went into the White House and I was
able to walk there from my youth hostel (3 blocks away). I
immediately met a really nice man who was a director of this
museum and he encouraged me to socialize and give out my cards. I
didn't go into my egotistical shell (for once) and met some
really wonderful folks. Half of them were artists and half were
all the folks supporting the Art in Embassies Program. There was
a 4- or 5- string band in uniform playing and docents in each of
the rooms and a huge spread of food and drink. I started rapping
with this a man who was an upper muckety-muck about how my art
<http://aiep.state.gov/exhibits/index.cfm?fa=object&objectid=15391>
caused a lot of controversy with it being about freedom of speech
and drug out a copy of the letter and reply from one of the
consulates. This was a good conversational piece.
Everyone was so gracious and lively and happy. Then Ms.
Bush gave a speech and she really looked great, better in person
than in photos. I got lots of cards, but can't find them now. One
artist and I talked and ended up walking out together. It turns
out she works in DC and knows the consulates in Caracas [where
two of my pieces are] and is now talking with them about me
coming there. God, I feel like I am in heaven: there is nothing
else I want and more wonderful stuff keeps happening. We (Cynthia
and I) are emailing now. My computer was down for a month with
some weirdo virus.
Anyways, after the morning do at the White House I went
home and laid down for a while and tried to get my head to quit
spinning from the feeling of Cinderella at the Ball.
Okay, now it is the morning of the second day. I took a
city bus to the State Dept Bldg. and we had a big panel
discussion in the room where they have all these meetings. It was
ok, but understandably guided along a
certain path or track. Then we went up to the top floor and there
were more of the uniformed musicians and another huge spread of
food and alcohol. I had met a caterer on the bus, so I felt more
comfortable at the event. Colin Powell, his wife and many others
shook hands in a reception line. Powell then gave a warm speech
to the group of probably 150 people and we all talked. The rooms
were like the White House, early American antiques everywhere. I
spent most of the time out on the balcony as I like big views. .
. . People were very friendly; maybe my odd colored red hair
signaled someone who might be interesting to check out, I don't
know.
Then I went home to the hostel and slept 14 hours. The
next day I took my bag and checked out and went to the Women's
Museum and had a fancy lunch and pretended all my friends were
there and drank tea to all of us. Could you feel it? I gave my
slides to some people there and rolled around in a wheelchair.
Then I went to airport and spent about a million hours to get
home 'cause the airplane schedules were messed up.
* * * *
[Jessica Phrogus <http://www.phrogus.com> is a painter,
printmaker and ceramic tile artist based in Oakland California.
She was invited to the White House because one of her works is in
The Art in Embassies Program <http://aiep.state.gov>, which was
celebrating 40 years of existence. The program has shown works by
Louise Bourgeois, Dale Patrick Chihuly, Nancy Fried, Felix
Gonzalez-Torres, Joseph Havel, Bryan Hunt, Jesus Moroles, Bruce
Nauman, Isamu Noguchi, Claes Oldenburg and Coosje van Bruggen,
John Ruppert, George Rickey, Joel Shapiro, Judith Shea, Cindy
Sherman, Kiki Smith, Doug and Mike Starn, Therman Statom, James
Surls, William Tucker, and Robert Wilson.]
* Steve Lambert, Lawrence Ferlinghetti Receive Grants from
Creative Work Fund
The Creative Work Fund
<http://creativeworkfund.org/release_2004.htm> has recently given
grants to Steve Lambert
<http://www.budgetgallery.org/slambert/main.html>, a long-time
studioNOTES subscriber, and Lawrence Ferlinghetti, the poet/
painter/publisher/proprietor, who has contributed a statement to
studioNOTES and who was the subject of an interview therein
<http://www.studionotes.org/26/ferlinghetti.html> a few years
ago. The paragraphs below are from the Creative Work Fund press
release about the awards:
Artist Steve Lambert and the San Francisco Print
Collective are collaborating to create the "Anti-Advertising
Agency," an interdisciplinary, collaborative public art project
that examines the role of advertising and public art in the Bay
Area. Through constructive parody and gentle humor, the artists
ask passersby to critically consider the role and strategies of
today's marketing media and point at alternatives for the public
arena. Among other topics, the project will examine ways
political candidates are groomed, packaged, and sold to the
public.
San Francisco's first poet laureate, Lawrence
Ferlinghetti, will collaborate with Bay Area Radio Drama and
Earwax Productions to produce a series of three original
hour-long audio compositions. In these programs, Ferlinghetti
will juxtapose autobiography, commentary, and poetry in a highly
personal acoustic exploration of what he terms "the current state
of American consciousness." The pieces will be broadcast on
public radio nationally and internationally, and available
through the Internet.
IN HOUSE NEWS
* "The Art Opportunities Book" Now Out
The 123-page wire-bound "The Art Opportunities Book (Finding,
Entering and Winning) has now been published. It has been well
received, with comments such as "There is a lot of info, in
simple language, for beginners, but there is a lot of meat in it
for the experienced artist as well. Every artist should have it,"
from artist and art professor Verity Dierauf and "The book is
great! I have shown it to some friends and they show interest to
buy it," from Canadian artist/teacher Yeqiang Wang.
The book has its own website,
<http://www.artopportunitiesbook.com/>. You can order directly
from there or send a check or money order ($17.95+$2.95 S&H; add
$1 more for priority mail) directly to: AOB, Box 502, Benicia CA
94510-0510. Makes a useful and sure-to-be appreciated gift, too,
for that artist on your list.
* Linking to "The Art Opportunities Book."
The website for the book includes substantial excerpts -- More
Tips on Slides, Inside the Jury's Mind, Membership Organizations,
and more -- so it contains useful information. Several sites,
such as Artist Career Training
<http://www.artistcareertraining.com/>, San Jose Public Art
<http://www.sanjoseculture.org/pub_art/artists_resources.htm>,
Art Heals, <http://artheals.org/artist_support/resourcebooks.php>
and Calaveras Arts <www.calaverasarts.org/competitions.htm> have
already linked to the book. We would appreciate a link from yours
and will include a reciprocal link to yours.
* Available to Speak to Art Groups
Benny Shaboy, author of "The Art Opportunities Book," is
available to speak to groups of artists about Finding, Entering
and Winning Art Opportunities. He will discuss: How to Determine
Which Opportunities Are Right for You, Finding the Opportunities
That Are Right for You, How to Spot the Scams, the Great
No-insurance Fraud, Methods of Increasing Your Chances, Avoiding
the Six Mistakes That Will Get You Rejected, How to Turn Showing
into Sales and Grants You Can Get, followed by a Q&A and book
signing. Preference is to artists's groups and bookstores (book
signings) in the SF Bay Area, but other arrangements are
possible. Please email talk@ArtOpportunitiesBook.com for details.
* Free AOM Sample
Do you know someone who would like a free sample of AOM? Please
have him or her send name and email address to
sample@ArtOpportunitiesMonthly.com, or to AOM, Box 502, Benicia
CA 94510-*0502.
* Subscriber of the Moment
A. Leo Nash, based in Oakland CA, has been making photographs of
alternative gatherings such as Burning Man for the last dozen or
so years, along with other subjects. He has a degree in
Photography from the Rochester Institute of Technology, 1989, and
an MFA in Photography from Southern Illinois U., Carbondale. His
work is included in several public and private collections, such
as BillBoard Liberation Front, the Philadelphia Museum of Art,
and the San Francisco Art Institute. It has been published in
"The Boston Globe," "FOTO," "New Art Examiner," "Photo Metro,"
"The Village Voice," and more than a dozen other periodicals and
books.
He has been exhibiting for more than 15 years. During
2004, he showed at FOTOFEST 2004: Discoveries of the Meeting
Place, selected by Kate Menconeri, and the Center for Photography
at Woodstock; Erie City Ironworks, Houston TX; The Ansel Adams
Gallery @ Mumm Cuvee<http://tinyurl.com/6noje>, Rutherford CA;
Center for Fine Art Photography at The Museum of Contemporary
Art, Fort Collins CO. He currently has a solo exhibit at the SRO
Photo Gallery, Texas Tech, through Dec 18
<http://www.art.ttu.edu/artdept/LANDMARK/SRO/04nash/nash.html>.
His website is <http://www.aleonash.ws>
* Subscriber of the Moment
Virginia Batson makes installations, prints, artists' books,
paintings, drawings and sculpture in Philadelphia. She received
her MFA from The University of the Arts there and her BFA from
Tulane. She says: "My work exists on an edge between performance
and participation. Physical activity and the involvement of the
body, both my body and that of the viewer/participant, are
crucial to my process and completed work. My background in
writing and in many forms of dance, especially solo and contact
improvisation, greatly informs my approach, coupled with my
direct sensory experiences of my materials." She has shown in
Charleston SC, Philadelphia, Natik MA, San Luis Obispo CA, Irving
TX, Cambridge MA and elsewhere. Her work is in the Columbia
University Rare Book and Manuscript Library, NY NY; Temple
University Libraries, Special Collections, Philadelphia PA;
Swarthmore College Library, Swarthmore PA and other collections.
Her website is <http://www.virginiabatson.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
but have not yet been chosen, please send it in again.
ASK STUDIONOTES
Q. Is there any way to tell if an online competition is legit? I
received an email from Info@artaddiction.net related to this
competition online. medial 1. art biennial Have you heard
anything about their legitimacy? I'm forwarding their prospectus.
---M. H., via the Internet
A: There are really two issues here: legit and worthwhile.
Something may be legit but not worthwhile. If it's not
worthwhile, you don't need to go any further. You can be
determine that by weighing what you have to put in (usually
money, time and effort ) against what you might get out of it
(prize, sales, exposure, prestige, contacts) moderated by your
chances. Paying a dollar for a one-in-a-hundred chance to win
$1000 is worth it. Paying $10 for-a -one-in-two-thousand chance
to win $1000 is not -- unless you want to support the cause, get
practice in entering things, or for some other peripheral reason.
The website for this "competition" makes it clear that
the company's main activity is organizing online exhibitions.
Given this, it doesn't seem that it would be worthwhile to enter.
The site appears to be merely another online "gallery," although
it claims to have been the first. For starters, the competition
has a $50 entrance fee, just to look at email images. That in
itself is exorbitant. In any case, all the jurors, whatever their
other titles may be (one is "art student"), are all associated
with a magazine, with which I am not familiar. The magazine, it
turns out, is simply a publication touting the online commercial
gallery.
It is perfectly legitimate for a commercial magazine to
run a contest in an attempt to increase circulation, as long as
it doesn't include an entry fee. It's also perfectly legit for a
commercial gallery -- online or physical -- to put out a call for
artists or run a contest in an attempt to find new artists, but
if such a gallery charges a fee, the odds are overwhelming that
you are wasting your money. The gallery is really telling you
that they can make more profit overall from artists' fees than
from commissions, that they don't think enough work will sell.
selling the work. It is, in effect, asking artists to be
investors in its business, except that if the gallery decides
they don't like an artists's work, the artist has lost his or her
entire stake (the entrance fee).
Which seems to be what these guys are doing. Basically,
they are saying that if you give them $50 they'll look at your
digital images (not even slides) and then, if they like, they'll
put one or more of them on a web site. And if you are a
prizewinner, you don't get any money: you get a page in their
magazine or space on their site. Unless they can convince you
that being on their site is a tremendous opportunity for sales or
career advancement, there doesn't seem much point.
To get back to legitimate vs. worthwhile: what may be
worthwhile for one person, may not be for another. Things that
are not legit, however, are only worthwhile for the people
running them.
Q: Do you have some good advice about working with galleries, art
consultants, etc? How to market yourself more effectively? A
glossary of terms for artists.
We have published much of this information in _studioNOTES_ over
the years, some of it gathered in "The studioNOTES Treasury"
(available from the publisher for $15). There are several books
on the subject. Two of the most comprehensive are "How to Survive
and Prosper as an Artist," by Caroll Michels (see
"Recommendations," below), and "Taking the Leap," by Cay Lang
(Chronicle Books, April, 1998, ISBN: 0811818152)
As to a glossary, probably the best on the Web is
<http://www.artlex.com>, which we've mentioned before, but it is
probably time to do so again.
THIS AND THAT
* War is Good for (Art) Business
"Business was better during the Iraq war," according to Harvey
Martin, owner of a Thomas Kinkade gallery in Santa Rosa, CA.
"People were looking for homespun values and the comfort they get
from Kinkade's work."
Mr. Martin, quoted in David Lazurus's August 1 column in
the San Francisco Chronicle, presumably was not talking about
people in Iraq. The column recounts the current state -- and
previous financial difficulties -- of the Kinkade empire, which
is doing better since it had to lay off a number of people, close
several galleries and lower the price of its Kinkade-"inspired"
houses by $100,000 in order to "move product," as the sales
director of the housing development put it.
* Artist Sketches Billboard, Warned by Cops to Draw 'Something
Nice' Instead
Ken Avidor, a comic book artist, was sketching and photographing
a public billboard in Minneapolis when a private security guard
told him he was not allowed. Avidor said that he was. Guard
called the cops. Cops said, sure he was allowed, but he would
looked less "suspicious" if he didn't draw something "ugly" like
the billboard but instead drew "something nice like the IDS
building." Ken's site is <http://www.avidorstudios.com>
* Artists Reflect on The Us Presidential Election.
We asked readers: "How does the recent US Presidential election
affect you as an artist. Do you plan to change your art or your
life as an artist because of it?" Some of the responses we've
received are printed below, in no special order, sometimes edited
for space or clarity. We will also be publishing them on
<http:www.studionotes.org/election.html> in the near future. If
your response is not published below, we'll probably publish in
the next edition of the e-Journal, which will be out in the
middle of December. If you haven't yet responded, please send
your comments to election@studionotes.org. Your name will be used
unless you ask us not to. If you would also like your URL and/or
email address listed, let us know.
Art effects/Art affects --I like that double entendre! I was
obviously very upset over the results. But after a few days, when
things settled a bit more, my resolve to make art became even
stronger. I may not make radical changes in the content (although
I do work with political/gender issues), but the results of the
election added fuel and determination to do my best to make art
with the soul of a non violent guerrilla fighter -- for that is
what we liberals have to become. Not to say we have to make
political art, but just that we artists carry on the torch from
histories past, and it is our responsibility to never let the
flame go out . . . so that it may be passed on to succeeding
generations of artists/humans. ---Benjamin Junta,
<http://www.benjunta.com>
My work started changing after 9.1. Before that I had been
working on a series of paintings called shoe-portraits
<http://www.shoeportraits.com>, which were about individual
personalities. But after that tragedy I felt compelled to focus
on world issues, so my work took a major shift. The work I am
doing now is a prayer for peace, and this election outcome has
only reinforced my need to work with that intention. ---Lisa
Greenstein, Richmond CA
The recent election has pushed me to consider more radical and
politicized art to express my outrage at the continuing push to
suppress and censor any pluralism, populist thought, economic
equality, or concern for dying middle class in this increasingly
right-wing country we used to call the "land of the free."
---Louise Caulfield, Nevada City CA
Unfortunately, the recent election took time away from my
art-making efforts. For two years now I've been very active (for
the first time in my life) in both the peace movement and the
presidential election. The political climate in America eclipsed
my previous subject matter (female body image and beauty),
rendering it moot; at least it feels that way. Even though I
wasn't so thrilled with Mr. Kerry (I originally supported Howard
Dean's campaign) I worked to get him into office. I was hoping
he'd win, not only to slow down the degradation of our
government, environment, and standing in the world, but also so I
could get back to my art. Alas, I now need to find a way to
permanently integrate my political activism into my life as an
artist and to bring art-making back into my daily life. It's very
difficult to balance these two passions. The political needs are
so great but the work burns me out. The silver lining is that my
political activism has inspired some new art ideas. Recently I've
started some new pieces using political subject matter and
materials. I'm not sure if the work is any good, but it feels
more relevant than my previous work did. I suppose time will
tell. ---Emily Duffy, <http:www.braball.com>,
<http://www.artcarfest.com>
I'm happy that the Republicans won...means more money in our
pockets usually when Republicans are in office. As small business
people that's very important. . . .Will it change my art? I don't
really think so. ---Becky Breshears, Eagle ID,
<http://www.picturetrail.com/beckybresh>
I believe the Presidential election confirmed what most artists
already know: the majority of people are really, really ignorant
and can be bought and sold on just about anything if it is
slickly packaged and a ton of money is thrown behind it. I did
not say that we have to like this fact -- it is absolutely
sickening. I think that the worlds' madness is a major reason why
we create art. It is the hope that just maybe there are other
folks out there that still have fully functioning brains. I plan
to move to California in August -- you know one of the few blue
states left and git out of Republicansville /Texas.
Please, God, someone has to help us stop Arnold from
becoming the next asshole in the White House. I hope Hillary
kicks all their asses. ---Leslie Pierce, Austin TX
Yes, my art will change because I am fearful of the environmental
degradation that President Bush is famous for. I plan to work
harder with organizations like the Sierra Club and Wild Life
Federation and provide ART that addresses the concerns of the
earth. ---Catherine Ruane, <http://www.cruane.com>
I am still picking myself up off the floor, and when I am able to
stand upright again, I plan to help people express themselves
through art. I teach children and seniors who need hope and joy
and a voice now more than ever. We must stay involved and keep
speaking out. ---Linda, San Diego
Not really ready to discuss politics or how it might influence me
or my work, except to say that I've only done my work when I'm in
a good positive mood, or when a deadline looms. I don't have any
deep messages or causes that I use in my printmaking. Yes, I will
continue to meet with my art groups and talk about conditions,
directions. ---Kathy Dybeck, SF CA
Knowing the possibility of a bush re-election I made a new
financial plan so that we could live through his
recession/depression. It includes broadening the types of work
and investing I'll do to get us through.
My response upon re-election?
NOOOOOOOOOOOOOOOOOOOOOOOO !
As an environmental artist I feel this type of work is
more important than ever. The Republican agenda seems to be to
leave no tree standing or any other natural resource untapped, no
matter where it is.
As an activist I feel know that there is no way to rest,
that we must remain ever vigilant to protect our rights, the
lives of all and the viability of the natural world. ---Andrea
Pellicani, Santa Rosa CA, abartl@sonic.net
I think Bush is an awful man, but I try hard not to let that damp
down my enthusiasm for life, for nature, for people, and for
continuing making the best art I can. If anything, the society
needs genuine creativity more than ever. Real vision will never
come from the corporate sickness that places a higher value on
corporate profits than on human needs- clean air and water,
decent health care, full employment, and great schools with
excellent art programs in them.
The election was a disaster, but hardly unexpected. It
was a contest between an incumbent oil millionaire, Yale
educated, Skull and Bones secret society member who thinks the
U.S. has a right to an oil empire running against a challenger
billionaire, Yale educated, Skull and Bones Society member who
completely agreed the U.S. government has a right to kill 100,
000 people to set up another oil colony. With little to
distinguish the two, it is no wonder millions of voters saw no
important difference and stayed home. Artists need to stick to
their guns making important art in the studio, but also educate
themselves and others about alternatives. And certainly we all
should take time out from our studios to go peace demonstrations
where we carry signs saying loud and clear "Bring the Troops Home
Now!" I will be there greeting W. at the Inauguration Day
protests this Jan. 20 with my sign. And I would have been just as
sure to be there if it had been Mr. Kerry moving into the White
House. ---Name withheld by request
RECOMMENDATIONS
(Artist-to-artist recommendations from readers about materials,
supplies, books and other things that they have found useful. If
you have already sent in your recommendation, it will be
published next issue. If you have not sent something in, but
would like to, please do: info@studionotes.org. While we welcome
recommendations for things with local appeal, please remember
that the e-Journal is internationally circulated, so include in
your recommendation the geographic area it serves if there is
one.
Art materials
Lyra Aquacolor crayons -- great watercolor backgrounds on canvas
or paper. I love the way they blend and aren't oily! ---Becky
Breshears, Eagle Idaho, <http://www.picturetrail.com/beckybresh>
Art supplies in the San Francisco Bay area:
I will suggest Amsterdam Art on University Ave in Berkeley for
art supplies, Utrecht Art for great gesso (has stores around the
country as well as online and catalog sales:
<http://www.utrecht.com>) ---Neila Mezynski, Campbell CA
Book
"The Creative Habit: Learn It and Use It for Life," by Twyla
Tharp. ( Simon & Schuster 2003, Hardcover: 256 pages # ISBN:
0743235266, $25.00) It's a fast read, inspiring, and gets one to
think about important themes in creative work. ---Lisa
Greenstein, shoepainter@mindspring.com.
Book
A wonderful book every artist should have on Milton Resnick:"Out
of the Picture: Milton Resnick and the New York School," by
Geoffrey Dorfman ( Midmarch Arts Press, March, 2003,ISBN:
1877675474). It's mainly Milton's thoughts and lectures -- hard
reading but "pearls"! ---Neila Mezynski, Campbell CA
Career help
I would like to recommend Caroll Michel's classic book, "How to
Survive & Prosper as an Artist. Selling Yourself without Selling
your Soul." Publisher: Owl Books; 5th Rev edition (December,
2001). ISBN: 0805068007. A wealth of information about marketing
your artwork. ---Elizabeth Hack <http://www.elizabethhack.com>
Documentary
For artists in any discipline: Andy Goldsworthy's "Rivers and
Tides" (Thomas Riedelsheimer, Dir; Oct 2004, 90 min, Region 1
[U.S. and Canada only]),is out on DVD and available at Amazon.com
-- an inspirational artist at work on his site specific ephemeral
sculptures in nature. The filmmaker is an artist as well, adding
even more dimension to the work. ---Alice Schoenfeld, via the
Internet
Expert assistance
Don't be afraid to call or e-mail the experts at your local
university, especially if it is a state university. When I was
unsure how to start photographing my own work, I called the art
department and asked the departmental secretary who could best
help me. The advice I received saved me hours of research and was
up-to-date. ---Virginia A. Spiegel,
<http://www.VirginiaSpiegel.com>
Painting accessory
I bought a paint tube wringer from one of those art supply
warehouse places about a year ago. To say it is great is to damn
it with faint praise. It is absolutely fabulous. You save a LOT
of money getting quite a bit of extra pigment out of each tube.
But the really cool thing is it is fun to use and leaves these
neat ripple patterns in the tube. It is surprisingly sensuous to
use. Not to be missed. ---Philip Koch, Baltimore MD
<http://www.artline.com/galleries/haslem/koch/list.html>
Painting/drawing necessity
The other truly great piece of equipment I bought is an old
fashioned reducing glass or reducing lens. It is like nothing
else to help one see the painting in progress. ---Philip Koch,
Baltimore MD
Paints
I love Gamblin oil paints and mediums <www.gamblincolors.com>.
---Leslie Pierce, Austin TX
Printmaking studio, studio use, classes, SF Bay Area
Fogbelt studios <http://www.fogbeltstudio.com> has classes, which
are winding down (sessions June through December), but studio use
is year round and most people who take advantage of it are
artists who don't have their own space for larger work or the
necessary equipment for other mediums. The studio has a manual
Griffin etching press (32x48" bed), large white walls and easels,
large table model Logan mat cutters, darkroom (equipped with two
enlargers -- Bessler and Omega, and exposure unit, 48x12"). $5
per person per hour, plus wholesale cost for supplies used.
Private teachers can also arrange to use the studio for their
students at group rates. ---Kathy Dybeck, SF CA
Recommendation for success
Work, work, work and then some more ! ---Neila Mezynski,
Campbell CA
Slide photographer, SF Bay area:
Great photographer of ones work: James Dewrance
(jimmydblues@sbcglobal.net) ---Neila Mezynski, Campbell CA
Slides from digital images
I had a wonderful experience using Shutterbug
<http://color-imaging.com/slides.html> for getting slides from my
digital images. The first slide from each image is $1.75, and
additional ones (they are all originals!) of the same image are
$1.00 each. Of course, there's shipping to pay. ---Beth Hartmann
<www.fiberdimensions.com/hartmann/hartmanthumbs.htm>
Slides of work, etc.
JEMgraphics Media Center in San Rafael CA,
<http://www.jemgraphics.com> is a fabulous resource for slides,
digitals, and photos of artwork. Although a bit pricey for just
one or two pieces because of the flat set-up fee, the quality of
work is well worth the extra dollars. ---Sandi Miot, Novato CA,
<http://www.SandiMiot.com>
"...Quotes..."
It is change, continuing change, inevitable change that is the
dominant factor in society today. -- Isaac Asimov
It is not the strongest of the species that survive, nor the most
intelligent, but the ones most responsive to change. -- Charles
Darwin
Our inherently imperfect understanding helps shape the reality in
which we live. --George Soros
~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~ * ~*
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/>
###
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