Just Hangin’ with the Dogs
It’s beginning to look a lot like gift giving season!
I’ve been falling behind in my self-designed schedule to post interesting news in the art world due to the fact that I’m too busy making some damn art! A problem I will gladly suffer thru. And when I say suffer, I have the calloused and pricked fingers to prove it.
Artprize 2015 Review: Focus on Rumsey Street
After much debate, Rick and I ran up to Grand Rapids to catch Artprize 7’s last 48 hours.
Literally on our feet for 8 hours looking at art, we ended the day at SiTE:LAB’s installation “The Rumsey Street Project”. Perhaps it was exhaustion. Perhaps it was the magic of the lighting at dusk. But we suddenly slowed down to inhale every inch of this project. Mostly in silence we finally sat on the church pew benches they had assembled on a concrete square to process our impressions and, appropriately, sit in reverence at our surroundings.
This blog post will act as a memory for me as much as a way to share an experience I’d like everyone to have.
First, what is SiTE:LAB:
“SiTE:LAB creates temporary site-specific art projects aimed at facilitating dynamic collaborations between the art, design, education, business and cultural communities of Grand Rapids.”
My art went to Artprize and all I got was this lousy T-Shirt
Artprize 2015 is well under way and if I could put all of you in a bus and take you to Grand Rapids, I would.
Artprize is the art show for people who don’t like art. My husband, who grudgingly accompanies to far too many art events, had a ball as there is literally something for everyone. But it’s also a place to see extraordinary works of skill and concept.
When it started seven years ago it seemed like the worlds biggest outdoor fair, full of art created for the masses by the masses.
But after years of crowd pleasing religious icons and cute animals winning the grand prize last year this installation won:
Doesn’t This Look Fun?
Tate Modern highlights pop art by women ignored by sexist establishment.
Work by female artists from the 1960s and 70s that was marginalised and ignored by a sexist art establishment is finally getting recognition in a major pop art show at Tate Modern.
“It’s never too late,” said Jessica Morgan, curator of the “World Goes Pop”, explaining how she and her fellow curators spent five years uncovering the hidden stories from an art movement largely remembered as Anglo-American and male.
And now for something completely different…
When I started making textile art 5 years ago I never intended to stop painting forever. In fact, the only reason I began to embroider my work was because the series I was developing was strengthened greatly by the use of the medium.
Once I was deep into embroidery, however, I came to feel the medium was extremely conducive to expressing what I wanted to say with my art.
I never stopped wanting to paint again though. I only wondered if I could.
3 days ago I trashed my family room and set up a painting studio again. The set up is cramped. The lighting sucks. And my acrylic paints are mostly dried up. Don’t even get me started on the condition of my brushes. It was daunting and I wondered if it was worth trying at all. But I don’t have the resources to go out and buy myself a lot of new materials and renting a studio is out of the question. So it was this or nothing.
And get this, we’re trying to sell our house! That’s right, we spent most of the past 6 months cleaning the house up, de-cluttering and moving stuff to a storage space and in 3 short hours I’ve trashed the family room.
Ovation’s Reality Show on Art Advisors Looks Horrible says artnet
Miller Gaffney and Carol Lee Brosseau.
I know the art world often needs help appealing to the masses, but did we really need to go this low?
New show on Ovation! Behind the scenes look at how art is REALLY sold 😉
Reposted from artnet news. Original Post here.
Get ready for Art Breaker$, Ovation’s new reality television show, focusing on two New York art advisors. Miller Gaffney and Carol Lee Brosseau are making a pretty hard sell in a promo video, in which they introduce themselves and together proclaim, “We’re the top art advisors in the country!”
“We travel the world in search of the chic-est galleries and the hottest artists,” they chirp.
Today’s Exercise in Frustration
Vulture was kind enough to post the “32 Must-See Art Exhibits Opening This Fall” and of course, what they really mean is the 32 Must-See Art Exhibits Opening in NYC the Fall. Which is fine. If you live in NYC. I do not. Therefore, I’m left with a sense of ennui blended with melancholy and agitation at the futility of reading this article knowing that I’ll never see these shows I really want to see.
But heh, maybe you can see them for me! If so, I’d like you to go, in my place, to:
This Uber driver sells his handmade jewelry out of his car, and made a quarter million dollars last year (VIDEO)
Artists, we need to start driving UBER with our artwork!
Gavin Escolar has designed jewelry pieces worth over a hundred thousand dollars. He’s also an Uber driver.
He started driving for the ride share platform a few years ago. At first, it was a way for him to make extra money as a struggling artist living in San Francisco, one of the most expensive cities in the world. But it didn’t take long for Escolar to discover the potential of having a 15-minute, exclusive audience with potential buyers for his jewelry.
“What better way to me to go around the most expensive and richest city in the country, showing them my expensive jewelry. If you can afford an Uber, you can afford a $100 piece of Gavin Escolar.”
How do you solve a problem like a Banksy with its legs cut off? And other challenges of modern art restoration.
Never thought about modern art needing repair, but this article from the London Guardian is fascinating in describing all the crazy and unfortunate events that can occur in the life of a non-traditional piece of art.
In a large, light-filled studio in east London, conservator Julia Nagle and I are bent over a canvas. The picture, by the minimalist Italian artist Turi Simeti, is utterly and hypnotically black, a few feet wide; in the centre of the frame, the surface swells gently, as if a creature from another dimension is attempting to break through.
Nagle’s little finger is hovering over the top right of the image. Squinting, I can just about make out what she’s pointing at: a light scuffing of the surface. “See?” she says triumphantly. “Once you’ve seen it, you can’t look at anything else.”