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************************************************************ e-J #5 studioNOTES e-Journal a project of studioNOTES ************************************************************ Welcome to the fifth issue of the studioNOTES e-Journal. The e-J is published irregularly because it is generally not time specific. So that all mail programs and computers can handle it, the sN e-Journal is in plain text. 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) Scam Watch, Part II * Bulk Email Caution * Copyright Brush up * New York Galleries Directory * Art Books Cheap * RESOURCES: TECHNICAL (Information on artmaking techniques and materials, art history and related, promotional materials) * Health Insurance * Image Titles * Art and Science * Information for Jewelers, Metalworkers and Artists * ART IN GENERAL (Art and art related things) His Art's Too Racy, Part II * Public Art on Campus * Leonardo Electronic Almanac * Election or Art? * Think Tank for Intersection of Computer Gaming, Cultural Studies and Gender Study * IN HOUSE (News about studioNOTES and AOM, Opinions and Observations) * "The Art Opportunities Book" Bulk Orders * Author Gives Talk on Finding and Winning * Free AOM Sample * Subscribers of the Moment: Don Gray, Amparo Jelsma, Ione * Subscriber of the Moment Notes * ASK STUDIONOTES: (Questions from readers) *Firenze Internazionale *Right of First Refusal *Signing the Back of Canvases *Emergency Funding * THIS AND THAT (Stuff that doesn't necessarily fit into the other categories) * Artists Reflect on the Us Presidential Election, Part II * Artists and Privacy * DUNS Numbers * Background Check on Artists * READERS RECOMMEND (Books, art materials, etc.) * QUOTES NOTE: 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 * Scam Watch, Part II Since last issue, more scams have been forwarded to us. Andrew Werby <http://www.unitedartworks.com> told of one he received in which the sender "posed as an art dealer with a client interested in my work. They took it slow, expressing interest in specific pieces, and asking for high-res images and pricing information. Only after I'd provided all this was I informed that the price was no problem, but payment would be in the form of a 'Certified Check' for five thousand dollars more than the cost of the art, the balance of which I was supposed to 'refund' (except that their check would be bogus, while my wire transfer would be good)." Werby ended his report by saying: "This is a common feature of this sort of scam, where the value of the items in question isn't the main object. Instead, they are used as a lever to get one to issue a check or wire transfer to the scammers. Apparently, these operators have tuned into the prevailing desperation among artists hoping to sell their work online, and are combing through even relatively obscure artist websites like mine in search of prospective victims. So be careful out there!" Another alert, forwarded by Fain Hancock <http://fainhancock.com> from Craig's List <http://www.craigslist.org>, warns about Nigerian 419 scams, named after the relevant section of the Criminal Code of Nigeria. These often claim to be from an art dealer (or collector or hotel chain) in a foreign country, usually but not always Nigeria. The subject line is something like "Your Art Request." The email asks about a specific work or for a price list of work between $800 - $1000 or more. In many cases, the author will state he or she wants to purchase the entire collection. While the first email offers to pay by check, subsequent ones, should you respond, will offer wire transfer (through which someone can obtain your account information) or some version of the over-invoicing mentioned by Andrew Werby, above. More information on Nigerian 419 scams is at <http://www.secretservice.gov/alert419.shtml> and <http://home.rica.net/alphae/419coal> Your first line of protection against scams is a suspicious nature, followed by Googling the name of the alleged dealer or buyer. Search the Web and News Groups. You may find that someone else has already reported suspicious email or outright fraud from that person. Or you may find that the sender is a reputable dealer or collector. Also search with some distinct phrases from the email you received., (Surround them with quote marks -- "like this.") You may find that others have gotten similar messages. On the other hand, if you find no matches for either the name of the sender or the gallery, proceed with extreme caution. A legitimate dealer normally will have some presence on the Web, although an individual buyer may not. In any case, if you are not convinced that the email is a scam, write in a back friendly way asking where the sender saw your work, if he or she has ever seen it in person and who else he or she collects or represents. Your tone should sound like you don't have suspicions but your content should be such to elicit more information so that you can make an informed decision. A legitimate buyer or dealer will not be scared off by this. Don't ever accept a deal where the potential purchaser offers to pay an amount over the asking price and have that amount refunded. (This will often be accompanied by a tale about customs or taxes.) Don't do things in a rush. Accept payment only in ways you know to be secure. If you have the slightest doubt about a method the potential buyer is suggesting, call your bank or accountant to find out how legit and reliable it is. For more information, see <http://www.scambusters.org/NigerianFee.html>, <http://www.fraud.org> and <http://www.britisharts.co.uk/artistsbeware.htm> * Bulk email caution Never respond to bulk email solicitations that you are not interested in, whether about art or anything else. Responding simply ensures that the party on the other end (usually a computer or person collecting email addresses to sell) can count yours as live. * 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. * Copyright Brush up Beginners and laypersons often do not realize that when a work of art is sold, the buyer gets to own *only* the physical item, not the image itself. That means, unless the artist has specifically sold reproduction rights, the buyer cannot make copies or use the image on a book jacket, in a brochure or advertisement, or for any other reason, except for certain specific purposes, as in a review. If you discover that someone has reproduced your work without permission, it's usually best to treat that person as though he or she did it out of ignorance, unless evidence to the contrary is overwhelming. Contact the person (a letter is usually best) and explain the law in simple terms, as above, and state your policy and price for permission to reproduce the image. You should have a policy -- the occasion can prompt you to formulate one -- and it should cover the limits of the use, such as one-time only on a book jacket, etc. If you handle things diplomatically and professionally, not only will you get paid, but you may have gained a collector for life. If you handle it too brusquely, you may alienate the person and decrease your chances of getting paid. If you wimp entirely, though, or make a half hearted effort (like sending an invoice without a polite explanation first), you will mark yourself as unprofessional and as someone who can be stepped on again. You will also have perpetuated the myth that artists don't need to be paid for their work. If your polite and reasonable approach fails, however, you may want to call in a lawyer. Make sure you get one familiar with such issues -- not all are; your local Lawyers for the Arts Program may have someone on tap. (See list on Artists Help Network <http://tinyurl.com/528vl> or the Volunteer Lawyers for the Arts National Directory <http://www.vlany.org/res_dir.html>.) * New York Galleries Directory The new, revised and expanded 6th Edition of The Complete Guide to New York Art Galleries is the only comprehensive resource on the subject, claims the publisher. It contains more than 1,000 detailed profiles of commercial galleries, non-profit alternative spaces, museums and private dealers including information about when they review new artists' materials and how to approach them. Published by Manhattan Arts International, 200 East 72 Street, Suite 26L, New York, NY 10021; 212-472-1660; info@manhattanarts.com; <http://www.Manhattanarts.com> RESOURCES: TECHNICAL * Health Insurance Artists' Health Insurance Resource Center <http://www.actorsfund.org/ahirc> has a database of companies and programs that provide health insurance and other services for artists. * Image Titles The standard layout is Artist's Name, Title (in italics), date (YYYY), medium, dimensions (HxWxD, in inches or centimeters). Example: George Braque, _Music,_ 1914, oil, sand and charcoal on canvas, 36 1/8 x 23 1/2". In the case of sculpture, sometimes only the height is given. * Art and Science The Daniel Langlois Foundation <http://www.fondation-langlois.org> works "to further artistic and scientific knowledge by fostering the meeting of art and science in the field of technologies," according to their website. "The Centre for Research and Documentation (CR+D) seeks to document history, artworks and practices associated with electronic and digital media arts and to make this information available to researchers in an innovative manner through data communications. 3530, St. Laurent Blvd. #402, Montreal (QC) H2X 2V1 Canada; 514-987-7177; fax:-7492 ; info@fondation-langlois.org. * Information for Jewelers, Metalworkers and Artists Brain Press <http://www.brainpress.com>publishes the results of Charles Lewton-Brain's research in the form of books and videos, usually on metalworking and goldsmithing as well as workshop safety and jewelry photography.In addition to these materials, which are for sale, Charles has more than 600 pages of free information, at <http://www.brainpress.com/Ganoksin.html#Articles> ART IN GENERAL * His Art's Too Racy, Part II Kenney Mencher <http://www.kenney-mencher.com> (see SEJ#4) reports on the aftermath of the publicity about his show at a California State office being taken down because of an employee complaint: "One gallery in Sacramento that had originally solicited me told me that they didn't want to work with me until the brouhaha had settled down." In a letter, the gallery owner wrote: "I think your work is fine. There should be a cooling off period around here, because the [Sacramento] Bee, unfortunately, can be nasty and what would happen at our gallery is that lots of people would come, but buyers would be wary because someone has interpreted your paintings beyond what I believe you would want them to be seen. . . . The problem is really reactions of a few people, namely women." The letter continued, "You have to know that when you cross the line in what you paint and what it can be interpreted by the public in a negative way, can be a problem. I don't think you are at all done with your subject, but you might have to look at the soul of your paintings and decide what is best for you and your career as a public painter, including galleries that you apply to." The letter also cautioned Mencher to tell his students "how harsh the world is when it comes to the everyday critic of art on the wall. A nude, male or female, can be beautiful, but it says something else, when it is in context as a narrative. You can not be defensive about what is said anywhere, you just have to keep painting and see where it takes you." Mencher also wrote that the "the article also generated a ton of new sales for me both out of the studio and also out of a gallery (The EF Gallery in Sacramento) run by Elliott Fouts. Elliott actually contacted me as a result of the newspaper article and offered me a one person show with a catalog in May 2005. . . . The Granite Bay Press ran a follow up article at about it and so did the Oakland Tribune. One of my patrons forwarded some of my images to a couple of on-line poetry groups and created a poetry challenge which also turned into a debate on the merits of my work. Boy I got slammed a couple of times on that one. I made a "mirror" of the discussions that is available at the top of the following page: <http://www.kenney-mencher.com/paintings.htm> A lawyer I had contacted, Svetlana Mintcheva, Ph.D., the director of the Arts Program at the National Coalition Against Censorship <http://www.ncac.org>, contacted me . . .I was given a one person show at the college where I teach. It was called, "Dress Code, Recent and Censored Paintings by Kenney Mencher," at the Louie-Meager Art Gallery at the Gary Soren Smith Center for the Fine and Performing Arts at Ohlone College. The panel discussion the night of the reception was about censorship in the arts and that went really well. The last thing that happened was I was contacted by the City of Mountain View and I will have solo exhibit from January 4 through February 28, 2005 in the Mountain View Center for the Performing Arts lobby. * Public Art on Campus Iowa State University boast the largest collection of campus public art in the US, over 2000 pieces <http://www.museums.iastate.edu/Tests/AOCTEST.htm>. * Art & Science Publication Leonardo Electronic Almanac <http://lea.mit.edu> is the oldest and most prestigious journal of the blend of art science and technology. You can receive a free subscription at <http://mitpress.mit.edu/lea/e-mail>. * Election or Art? Harry Shearer turned satellite feeds into found objects in a show at Conner Contemporary Art called Face Time. (From Slate Magazine <http://slate.msn.com/id/2108216/>). He showed raw feeds -- the useless video stream bounced off satellites before and after the "real" video stream appears on live programming -- of players in the presidential race without sound. * Think Tank Tiltfactor <http://www.tiltfactor.org/> is a think tank-research group specializing in cutting edge humanistic, artistic, and scientific approaches to the intersection of computer gaming, cultural studies, and gender study. The group has affiliations with artists, scientists, and other laboratories in the UK, Hong Kong, Taiwan, Canada, and across the United States. Current collaborations include working with NYU, SUNY Buffalo, and independent researchers and artists. IN HOUSE NEWS * The Art Opportunities Book Available directly from <http://www.ArtOpportunitiesBook.com/>. If you want to subscribe to Art Opportunities Monthly <http://www.ArtOpportunitiesMonthly.com> at the same time, you can get a $5 discount for the combination. This means you can get AOM by *email* PLUS a copy of The Book for only $27.95 + $2.95 S & H. You can use this secure link to order directly with PayPal: <http://xrl.us/COMBOE> For the combination of AOM by *ground mail* PLUS The Book, it's only $37.95 + $2.95 S & H and you can use this secure PayPal link: <http://xrl.us/COMBOG>. These are especially good deals now because the cost of a subscription goes up in April. * Bulk Orders Can Be Profitable for Your Art Group Did you know you can buy The Art Opportunities Book in bulk quantities for your art group or school (or yourself)? This also means that you or your group can earn money by reselling it. You can get a standard booksellers discount. See <http://www.artopportunitiesbook.com/bulk.html> or write book@www.artopportunitiesbook.com or AOB, Box 502, Benicia CA 94510-0502. Discounts are also available for bulk quantities of AOM. Inquire as above. * Linking to "The Art Opportunities Book." We would appreciate a link from yours and will include a reciprocal link to yours. * Talk for Sunset Artists Society On a rainy January evening, the author of The Art Opportunities Book spoke to the Sunset Artists Society about Finding and Winning Art Opportunities. The subjects included: How to Determine Which Opportunities Are Right for You, Finding Them, 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. This was followed by a wide ranging Q&A and then a book signing. If your group is interested in a presentation, 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 Don Gray <http://www.dongraystudio.com> reports, "I'm currently re-exploring my roots in traditional realist painting, but the site also has examples of my contemporary work." He has been painting professionally for more than 30 years and has also illustrated more than 20 books. He has exhibited throughout the US -- more than a dozen solo shows and several dozen group shows -- and his work is in the collections of University of Washington Medical Center, State of Oregon, Bank of America and Microsoft Corporation, to name a few. In his artist's statement, he writes "I don't require that my paintings makes 'sense" any more than I'd require a tree or a sunset to make 'sense.' I've grown comfortable with ambiguity. My paintings are like little rhetorical questions . . ." He is also a muralist <http://www.dongraymurals.com> whose public works are in more than 16 locations from Pennsylvania to Washington state * Subscriber of the Moment Amparo Jelsma <www.studioamparo.com> is a photographer based in Playa del Rey, CA. She has a BFA in photography from CSU, Fullerton and has exhibited at the Irvine Fine Arts Center and elsewhere in California. Her work has also been seen is such publications as JPG Magazine Subscriber of the Moment Ione (Citrin) <http://www.artbyione.com> explains on her site that she does "diverse oil and watercolor paintings, bronze sculptures, found object collages and mixed media assemblages" and that "When I paint, I dip my brush in my soul..." She is extremely active as an exhibitor, having shown her work in more than 40 venues in the last three years, mostly in California, but also Philadelphia and New York. * 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 * Show in Florence Italy Q: I got an email from the Biennale Internazionale dell'Arte Contemporanea Citta di Firenze - Italia. They claimed to have seen my work on my website and wanted me to send my groundmail address so I could participate. Do you think this is a scam? I wonder that being selected from the Internet (and their having my email address, which is not the one on my website) is too good to be true. Is it just a way to get applicant fees? --E. G., NY NY A: Reviews are mixed about the organization, but this seems to be just a version of the old junk mail pitch "You have been selected by computer. . .", which simply meant that one's name was on a database in a computer. The group has been around for about five years. It seems to be essentially a vanity gallery: anyone who pays the money gets in. And the price they charge is way out of line for an event of this sort. They also strongly suggest that you allow them to handle the shipping, but artists who show regularly in Europe know shipping can be done much cheaper. So if you do decide to do it, you probably don't want to put it on your resume, because real dealers and curators know what it is, although it may impress people not in the art world. On the other hand, if you have the budget it and want to visit the city and meet like minded people, it may be worth doing. Someone mentioned that even though the entrance fee was extremely high, and there were the other problems, one could deduct the expense of the trip from income for tax purposes. I'm no expert on that sort of thing, but there may be something to that. One report said attendance was actually only about five percent of what the organizers claimed, but I have not way of knowing if that's true. In any case, it is a general rule that an organization that charges artist a lot to show is usually expecting to make their profit directly from the artists, not from sales of artwork or attendees. In his defense, the director, John T. Pike, claims that a huge percentage of the fee is for Italian taxes and that they have big expenses. Whether someone really looked at your website before sending your the email, I don't know. But you'll notice that it is addressed to "Dear Artist" rather than to you, which should tell you something. I know of a number of other artists who have gotten the same email. You might want to read questions and answers posted by some of them, such as those at: <http://www.annbaldwin.com/forum_one_msg/825.htm> or <http://tinyurl.com/4smfu> As to your email address, that is easily obtainable through an automatic trace of your domain name or other web searches. * Right of First Refusal Q: Some information sent to me by Studio Direct Art, has a condition listed that I don't completely understand: "All of our works are on consignment from the artist. We have short-term, renewable, non-exclusive contracts with many of our artists. Though our contracts are not exclusive, we do request right-of-first refusal from our artists, so that we can offer our customers what we believe to be the artist's best work." What is right of first refusal? --Jean Hearst, Berkeley CA A: It means that before you can sell any piece of your work to someone else, you have to offer it to Studio Direct Art. If they don't want it, then you can sell it to/through someone else. * Signing Back of the Canvas Q: After all my years as a painter, I recently had my new gallery owner complain about the BACK of my paintings. I do a painted signature including my initials and name on the front, and on the back, using a "sharpie", repeat the signature and add some other information -- text or poetry that I have written or that has inspired the work, and my address, phone#, website and email. I have found this useful particularly since my work is in various places, occasionally for long periods of time and it is comforting to think if a painting is misplaced or lost it can find its way home. Also, since I am in the process of creating a body of work (not just a series of "one-shots") I find it helpful as reference for myself and my clients to know when and where, etc., a work was created. This gallery owner, however, said this is very unprofessional and wants the backs of my paintings to remain blank. --A. B. Fairview NC Benny Shaboy answers: I think that the gallery owner should treat you as an artist not as a manufacturer of items, but maybe that is his esthetic. What you are doing is perfectly reasonable and has a long tradition in the art world. My only caveat would be about the "sharpie." Most of these have ink that could bleed through to the front of the canvas over time Evan Lindquist answers: That's an important question. You are right for all the reasons you listed, but the gallery owner's opinion carries weight also. If the gallery considers the backs of the paintings to be so important, the gallery may be promoting the inventory as slick decorator items; but you have a different opinion of your own work. Your interests and the gallery's interests are divergent. Look around in that gallery and see if you really feel comfortable there. Fain Hancock adds: The folks at my gallery advise signing on the back on the painting, the canvas part, with an a non-sharpie, light colored archival ink pen, available at any good art store. They say a Sharpie could potentially cause damage over time. Also if a painting is sold and restretched later, a buyer would want the signature to go with the painting and not left on the stretcher bars. For reference I write in Sharpie on the stretcher bars the dimensions and title of the piece. *Emergency Funding Q: I'm subscriber to Artists Opportunities Monthly and have found it very important part of my life as an artist. I'm writing you to see if you are aware of any emergency funding sources for professional artists in dire need. I'm facing the possibility of eviction at the end of this month. . . . I'm a single parent with a daughter for four days out of the week. I am working part-time in Oakland, two days of the week and that is pretty much all of my current income. I do have two projects lined up, but the first one doesn't really start 'til late January (got it thru AOM!) --E. M. Berkeley CA A: Sorry to hear of your problem. There are few foundations/organizations that provide emergency assistance which might fit your circumstances, below. I don't have detailed information about them, but the list is a good place to start. Best wishes and good luck, Adolph and Esther Gottlieb Foundation Emergency Assistance Program. Grant for artists with at least 10 years of mature work and who are victims of catastrophic incident such as fire, flood, or medical emergency. Open to artists internationally (380 West Broadway, NY NY 10012; 212-226-0581; <http://www.gottliebfoundation.org>.) Artists' Fellowship's Emergency Funding Grant Program. Assists professional visual artists (painting, sculpture, graphic arts only) and their families in times of emergency, disability, and/or bereavement. Open only to artists in US or Indian nation. ( 47 Fifth Av, NY NY 10003, 646-230-9833; <http://www.artistsfellowship.com>.) Herbert and Irene Wheeler Foundation. Emergency Grants to Artists of Color (for housing, medical, fires, floods). 718-951-0581. Change, Inc. One-time-only grants for artists anywhere in US. 212-473-3742. Craft Emergency Relief Fund. Emergency grants, loans and services for craftspeople anywhere in US. 802- 229-2306; <http://www.craftemergency.org>. For more information on this subject, see <http://tinyurl.com/5fcy2>. THIS AND THAT * Artists Reflect on The Us Presidential Election, Part II 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?" We published several answers last issue. Here are more, most of which were written in November or December 2004: I am a "Senior" now, and in the 60's and 70's I did theater works in political protest and commentary quite often. Now my work in abstract painting has developed into more "transcendental" themes, that point to spirit as the healing force in which deep change may occur. So, this is still the direction of my major work, but some of my other work, lively and broad-reaching in its way, has certainly been affected, since I can put this out everywhere, without thought of "selling." This is the MAIL ART world, in which I actively participate through online art groups. I do Artistamps and Artist Trading cards, sending them all over this continent and abroad through swaps, and I receive a great number of these in return, with strong expressions of political and humanitarian opinion from all. --Jenny Hunter Groat, <http://portfolios.com/jennyhuntergroat> I don't yet know how to get what I feel about our recent election into my work but I'm sure to find ways. I am deeply concerned about our future and as Bush's "future" becomes our reality I'm certain to feel pain which can't help but need expression. --Lucy Gray, lucygray@earthlink.net I have never been federally funded so it won't directly affect me financially. The main effect will be the war's influence on my mind thus in my paintings. It's hard to ignore the fact that people are dying for no good reason. --Lois G. Roberts, SF CA My concern is that if the Administration pursues ideologically pure domestic and foreign policies the perfect economic storm may be created. Unilateralism, indifference to the growing budget deficit and rash domestic policies may cause the international community to lose confidence in the integrity of our political and economic institutions. . . . I have no interest in incorporating my misgivings into my work. Bitterness, I have found, does little for creativity. Don't get angry. Get smart. Practically speaking, well written letters to my senators and congressman might be the sensible things to do. Presently, I am working on a series of narrative paintings. The series is a story board of ideas I would like to use as a diagram for a short story I have wanted to write for years. The paintings are going well. They are dark, comic, absurd, and full of inside jokes. My concerns for the next four years will probably show up once or twice removed in the tone of the works. --L.G., via the Internet No, I will not be changing my life because of the election. I believe evolution and the evolution of our culture and societies, in nature, is fundamentally indifferent to the paths we adopt as a human species; this is the language of my work. I see nothing different about what we are and the actions we take. --Matt Weir, Louisville, KY, weirworks@hotmail.com Thanks for this opportunity to comment on the unfortunate election outcome. It certainly was a stunner, negatively speaking -- a serious wakeup call for me. It's incredible how so many people can be so gullible. Up to now the flavor of my art work has been primarily abstract, and has been void of social or political comment, at least overtly. It's time to change, to jump into the fray. Whether or not there is a verifiable category of "political art" to connect with is immaterial. The various visual art genres can provide social and political commentaries as strong as the written word if not stronger. However, they do not suddenly appear by themselves; hands and minds of practitioners are needed. Perhaps a wakeup call like this is needed to stimulate action, at least for me. --David N. Carlson, landscape architect, painter, sculptor, Peoria IL We are still a very sick society, just like we were before the election, and just like we are after the election. I can most readily communicate the sickness by focusing on consumerism: the crazy emphasis on sports, . . .the consuming of "entertainment" . . . .the zombie grasping to consume material . . . So would Kerry's election have changed that? Wishful thinking at best. I think the artist's passion is both his greatest power and greatest poison. My job as an individual artist is still about the same: To feel the passion, create the passion, bring intellect to passion, live the passion of creation, the passion of creating human meaning, and still stay sane! And the big trick is in those last three words . . . still stay sane. --James Bzura <http://www.TeaCupArt.com> While I don't expect anything about my day-to-day flow to be immediately impacted by this nation's failure to think beyond their overstuffed opinion about affairs not their own (like, whose @#$%$# is up whose butt, which is what really won the election), I do anticipate being dangerously furious about what is sure to come in the days ahead. For example, Gonzalez as Ashcroft's replacement means we'll be a more barbarous nation than we ever were in our already bloody history since he apparently designs the rhetoric, methods, and changes in policies by which we will be able to circumvent any restrictions against TORTURING others; we'll be slashing away with the best of them, creating a new persona on the world stage for ourselves as a nation, and for that, I anticipate many of us rising up, once again, to throw down against it - and many other turns of the worm. As our credibility and status is further eroded due to the Neanderthals in office, we will be having, once again, to make noise enough to balance the growing dysfunction; I expect to keep my mind VERY alert to the eventualities of the draft to be visiting my home and precautions I may have to take. And finally: there's no way this horror show WON'T affect me and others who are maybe a bit more sensitive to issues around human/civil rights, all about to go down the drain, make no mistake. "We are. each of us, guilty of the evil we have failed to prevent." --Martha Glinski, NYC That fundamentalist Christianity has won, for the moment. I do not know how time allocates itself; maybe time's possible outcome will wait in the background. However, I am extremely worried that the atom or neutron bomb (or even worse) will visit our culture; it's been 50 years. My web site:< http://www.gardenofatomandeve.com> is about just this possibility. We took up the Atomic Bomb, and now it may perhaps greet us. We must learn to express individual and group dynamics so that discussion not conflict is the result! --Morgan Thomas, Napa CA * Artists and Privacy Artists tend to be particularly sensitive to issues of privacy, especially if they or their friends have lifestyles or political beliefs that are outside the mainstream. In addition, as Victor Navasky said, "Artists are almost always the first targets in times of trouble." Because of this, readers might want to know about the ACLU's Pizza program <http://www.aclu.org/pizza/>, suggests Brooklyn artist and designer Carol A. Durham. The site says: "The government and corporations are aggressively collecting information about your personal life and your habits. They want to track your purchases, your medical records, and even your relationships. The Bush Administration's policies, coupled with invasive new technologies, could eliminate your right to privacy completely. Please help us protect our privacy rights and prevent the Total Surveillance Society." * DUNS Numbers The effort of the Americans for the Arts <http://tinyurl.com/5pjrn> to try to get "all the nation's artists to secure a DUNS number"appears to play into this quest for the categorization and tracking of everyone. DUNS stands for "data universal numbering system." These numbers are maintained by Dun and Bradstreet (D&B), a company that provides business information for credit, marketing, and purchasing decisions. The unique 9-digit numbers are used by businesses and the federal government to keep track of more than 70 million businesses and individuals world-wide. Americans for the Arts claims, "there are two reasons that it is important for all of the nation's artists to secure a DUNS number. First, the federal government (including the National Endowment for the Arts) has recently adopted a new policy that requires organizations to provide a DUNS number as part of their grant applications and proposals, and many state and local arts agencies are already doing the same. Second, Americans for the Arts has developed a powerful geo-political advocacy tool -- the Creative Industries project -- that uses the DUNS number to identify each for-profit and nonprofit arts-related business and artist in the country. The more accurate the information is, the more successful our combined efforts to increase public awareness of the scope of the U.S. arts industry will be." The studioNOTES e-Journal believes that it makes some sense for non-profit organizations to have DUN numbers, but little sense for individual artists unless they operate mainly as businesses, such as studios engaged full time in public art commissions. As to the idea that it would help identify each artist in the country for purposes of geo-political advocacy, that seems an impossible goal which is likely to result in an "official" number of artists -- the ones who have DUNS numbers -- that would be far less than the actual number of artists. Unless it were made mandatory, of course, which would involve some sort of enforcement mechanism like your not being able to sell or exhibit work unless you had a DUNS number. Which means art cops to check on such things and issue citations or make arrests, all of which seems unlikely. And of course, in any case, the government would want and gain access to this database. In case it is of interest, there several thousand categories in D&B's list of arts-related businesses, your category would probably be: 89990102, Artist's studio. This is in addition to your DUNS number. * Background check on Artists Dutch Alley Artists' Co-op in New Orleans is seeking new members but warns: "Upon acceptance, new artists may be required to pay a $20.00 non-refundable fee for background check." It seemed a curious requirement so the e-Journal asked for an explanation. In response, Anne Timmons-Harris, the corresponding secretary, replied: "We are still discussing whether to run background checks on new members. Fully vetted members of the co-op have access to the safe and keys. Also, some of our jewelers have rare and valuable items. It is a means of protecting the gallery and ourselves." READERS RECOMMEND Artist-to-artist recommendations from readers about materials, supplies, books and other things they have found useful. 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 with your recommendation the geographic area it serves if there is one. Art Career I have found creative coaches to be a huge help in moving me forward in my work. I have used Eric Maisel at www.ericmaisel.com and Alyson B. Stanfield at <http:www.artbizcoach.com.> Also, e-newsletters by Robert Genn at www.painterskey.com and both Eric's and Alyson's newsletters, as well. --Kate Bradley, <http://www.katebradley.com> Book "M: The Man Who Became Caravaggio,* by Peter Robb. I I'm just reading this great book (a former national bestseller) about the painter Caravaggio. I took lots of art history, but placing his life and work in the context of the Counter Reformation in Rome is new. No one told me they burned a noted philosopher for heresy in the square outside Carvaggio's studio. . . . So, it makes me think about how horrifying it would be to be an artist in a place and time of religious stranglehold. The Inquisition and fundamentalist Islam equally horrific. Also, I never tire of reading about how painters work and live. --Anne Popperwell Book To improve the quality of slides, "Photographing Your Artwork" (Amherst Media; 2nd edition, July 1, 2000), by Russell Hart is a helpful resource. -L. G., via the Internet Books My absolute reading list for artists: Anne Truitt's "Daybook," Anne Lamott's "Bird by Bird," Anna Held's "The Blank Canvas: Inviting the Muse," and Annie Dillard's "The Writing Life." (Kind of makes you want to change your name to Ann. . . .) --Jean Wetta, Island Heights NJ Browser, FireFox is the fastest, cleanest browser on the market. And the price is: free. In its short life 25 million people have already switched to it from the bug-ridden, insecure Microsoft IE and other browsers. One of its best features is that it is fully customizable via the use of "extensions." It's simple to download and install and preserves your bookmarks and favorites for your old browser. See <http://www.mozilla.org/products/firefox/> for details and to download. Camera, Modified Medium Format Toy Holga cameras: very primitive, plastic images, medium format 42mm, fabulous prints: <http://www.holgamods.com/pinholga/pinholga.html> Among the models is a pinhole camera <http://www.holgamods.com/pinholga/pinholga.html>. You can invert to the negative image and print that. --Morgan Thomas, <www.pouting-room.net> Canvases For those who like gallery-wrap canvases (1-1/2" deep), Contempo out of Texas has good prices. I think you need to buy by the case (6), though you can mix sizes if they're not too disparate. These are not the highest-end pre-stretched canvases you can get, but they're a good value for the dollar and don't need to be framed. 800-333-8412, or fax 903-297-8103. Sunbelt Mfg. Co., 103 Nikki Dr, Longview TX 75604. --Patricia Blau <pblau@sonic.net> Digital Printing, SF Bay Area Jon Zax of LotusColor in Oakland does really great archival fine art digital printing. His contact info is <http://www.lotuscolor.net/>, Lotuscolor, 654 Oakland Av, Oakland, CA 94611; 510- 601.7971; lotus@ionix.net --Marianne Thomas, <http://www.mariannethomas.com> Gallery Information One of the most helpful things I have found on the Internet is the list "Use Protection! 70 Questions To Ask Your Gallery " <http://tinyurl.com/665hy> from the book "Presentation Power Tools For Fine Artists," by Renee Phillips "The Artrepreneur Coach(TM)." --Anne Bevan <http://www.annebevan.com> Paint I like to use a lot of paint. A great source of oil paints (and fantastic metallics of all kinds) is Classic Artist Oils, Triangle Coatings <http://artistoils.com/htmls/default.asp>, 1930 Fairway Dr., San Leandro, CA 94577. You can also email at artistoils@tricoat.com -- they're very helpful. Here's what I love: they deliver good-quality oil paints in caulking tubes! So with a caulking gun, you "shoot" paint onto your palette. No need to feel that there's any scarcity of paint. --Patricia Blau <pblau@sonic.net> Pastels, Oil Pastels Sennelier pastels and oil pastels cover photographic image <http://www.sennelier.fr>. --Morgan Thomas, <www.pouting-room.net> Quill Pens Neglected Tools: Two of the classic drawing tools used by artists such as Van Gogh, Rembrandt and others have been a pen carved from a goose or turkey quill. You can see the beautiful, running gesture in these, since they glide over the page without snagging, and they give a wide variation in thick-thin line, just from altering the pressure of the pen .I've used these for years, and they are wonderful. To learn how to cut them, the best way would be to locate a local calligraphy group such as The Friends of Calligraphy ( co/ Susie Taylor, PO Box 425194, SF CA 94142-5194. Or you can try: Lily Stevenson at 510-524-8329.You might be able to get them to send a list of various calligraphy groups across the US. --Jenny Hunter Groat, <http://portfolios.com/jennyhuntergroat> School for Business of Art I am taking the class titled "Taking the Leap" <http://www.takingtheleap.com>, which is about the business end of being an artist. Six months long, once a week. First Thursdays, a trip to LA, most things a seasoned artist knows but a good shove in the back., expensive but can be budgeted out. --Biganess Livingstone <http://www.biganess.com> Shipping and Packing Supplies I have found Uline <http://www.uline.com> to have an excellent range of shipping supplies at very reasonable prices. They have offices in the major metropolitan areas so that delivery can be extraordinarily swift when they use local services. I ordered some sealing labels and bags online on a Monday at about 5 PM and they were delivered the next day at 10:30 AM. --Benny Shaboy Slides from Digital Files A good place to have high quality slides made from digital files is iPrintfromHome.com <http://www.iprintfromhome.com>. They make prints as well. Check it out. --Edith Hillinger <ehillinger@earthlink.net> Storage and Preservation Light Impressions (800-828-6216) <http://www.LightImpressionsDirect.com > for photography and preserving fine art. Among many other things they have Mylar(r) tape to mask off slides --Kim Scavo, Des Moines IA "...Quotes..." There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist's relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle. --Adrienne Rich We should have a Department of Art. Having the government the advocate of the mediocre in art, the employer in art, would be a good thing. We would know where to locate the enemy. --John Sloan, Gist of Art, 1939 Man begins by generating a symbol to represent reality, and then clings (often fatally) to the symbol long after the reality has altered, become corrupted, or even vanished. --Sidney Harris, Pieces of Eight Advice is seldom welcome, and those who need it the most, like it the least. --Lord Chesterfield ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~* ~ * ~* Edited by Benny Shaboy. The studioNOTES e-Journal is a project of studioNOTES. Copyright 2005. 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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