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As an artist, you're constantly in the line of being criticized by others. You steel yourself to be prepared for the worst - it's simply part of the activity of what you do - taking the hit when it comes, but marching on regardless.But what happens when it's you who becomes the critic? Isn't criticism a question of honesty, clarity, and courage? If so, how come there's so little of it here at ap?
Frequently we come across a barbed comment that not everyone here is an artist, that many are just profiting by the free site (even though it's admittedly not of the best quality), and they're uploading their stuff to muscle in on the online presence.
Yet no specific examples of this are ever mentioned. How come? Are we afraid to voice our opinions in public? As artists, aren't we bound to seek truth, and to speak our minds exactly for this purpose, even though it might put us individually in the spotlight, and risk the ridicule of all?
In this context, I have to voice my respect for Hanjo Schmidt who in the past has risked being controversial, has bared himself to be the brunt of other artist's scorn, who has pinpointed artwork he is in disagreement with, and put himself out there to be the possible archetypal object of the antagonism of all.
In my mind, ap is about that. It's not of showcasing high-dimension images (as previously mentioned other sites do that better). It's simply about people who say they're artists facing up to each other. In order to raise the quality we have to challenge each other, and anyone who is serious about the job will readily (if not willingly at first) respond to that challenge.
Personally, I would like ap to mean "The Artist Challenged". I would love that an artist thinks twice before uploading her/his work on the site - for fear of the *quality* of opinions in response. But in order to achieve that, we need many Hanjo's who are willing (and able to back their statements with their own work) to come out and tell others their *real* opinion - what's really on their mind.
It's too simple to ask the site administrator to remove the work of those other guys who aren't serious artists - I would respond with why don't you challenge those guys yourself directly? What are you afraid of? If you want to be part of a site of art of quality, it's not up to the site admin, but up to you artist participants yourselves.
Artprocess is yours for the making. If there's a possibility that it becomes different and more meaningful than the other better quality artsites out there, it's up to you to realize that with basic, clear, bold, honest speaking.
After all, that's why you're artists in the first place.
01 Dec 09 19:53
I don’t think anyone asked for anyone to be removed. That would be asking for the administrator to play the judge and the need for a judge was not thought of at any time. My point was that if there were a place where studio images are mainly shown and discussion on the process of each artist’s project were carried out, among people who are interested in it, those who I call “Sunday painters” or people who are not artists and just have nothing to do all day but to play about with the internet, would be discouraged to enter. Here of course, you are right in saying that it is us who will make this place of interaction real. And yes, there should be more talk on what we do not like as well. Actually I think that some of the silences we have had here are also because of people being tired of the same old compliments and politeness some of us have pointed the finger at in the past. Maybe time has shown that Hillel was right in his outburst on [LINK] and I was wrong.
But no, I, for one, will not go out there and tell tens of others I think that what they have uploaded has no place in an artist’s site, for the simple reason that I don’t have time to waste. And I don’t care to inform them of what I think of them (many don’t ever even answer), because I have more important things to say to the people that interest me here and hardly enough time to do so.
However, and since you made a good point here, I promise to get to work and challenge at least the people who are serious about it. Of course I expect to be challenged as well because the hope of something good coming out of mutual pushing and pocking has been the reason for being here for the past three years.
02 Dec 09 11:21
It should be noted and Maria is quite right to say that nobody (that's me "nobody")said or asked for anybody to be be kicked off the site based on their qualities or lack of qualities and I'm sorry for my "dilettante" remark, it's just a word I've always wanted to use. Now that I've looked it up I'm not aware of anyone here it would apply to but then again I'm not too familiar with a lot of the work anymore, there's too much stuff to look at and I'm tired of looking and ferreting out images on all these sites.My point was that by limiting the portfolios and just stressing the SLOGS (I know what it means now) there would be a certain amount of attrition. In the beginning I started loading up everything I could, thinking AP could be useful as a personal web address. Now as I said before there are better sites for that purpose You JP once gave me some technical explanation about keeping the site streamlined so it wouldn't take too long to load in countries without broadband, I'm not sure if that still holds true. But that was the reason I suggested limiting the size of the portfolios if it would help facilitate a more interactive studio log section. Saatchi's Your Gallery only allows an upload of nine images.
As far as criticism goes, I certainly don't mind receiving it but would be very wary of dishing it out when there are so many divergent sensibilities and approaches. The so called group of four were only comfortable enough to voice come critical comments because beyond apparent differences there was some thread of commonality but mainly there were some mutual pats on the back and as Maria says that too becomes tiresome.
You would think that just by virtue of being artists there would be some underlying commonality no matter the differences in sensibility but it's simply not the case and people are only interested for the most part in work that touches upon something they're dealing with or aspiring to.
JP, I know you have your idea for an alternate site which you can be sure I am very patiently waiting for. And one last but very important point you made that I strongly agree with is about Maria's tremendous artistic progress as shown in her SLOG.
04 Dec 09 04:55
Voicing an opinion,hmmmmmNaively in the past when I truly believed that there was something helpful I could say to younger people usually I did and the criticism was not well recieved.When I asked friends -artists for their truthful opinion they looked as if I had just landed from Mars.
In my other life as a teacher I often very carefully tried to warn parents of dangers concerning their kids,and it was my agony that drove me to dare do that,but faced stone walls.
In our lives how often and to whom do we express our true thoughts?
Maybe to do so we need ,at least I need ,some sort of steady groung to stand or land on before I speak my mind.
Silence and indifference of course can be as harsh as words can.And as far as work which in my opinion is not interesting as Maria said ,it is better to be left without comment.
Just one person in my life has been brutally honest about my work ,to the point of pain,and he has been the one who has helped me move along .Although I have suffered many migraines after our sessions I will always appreciate and love him for what he did for me.
04 Dec 09 08:33
I have a person like that too, Fotini. They are precious. It took great balls to show him work a second time. But I owe him and his sincere critisism a great deal. Now, after I survived the first blow, I enjoy calling him every time I feel I have done something worth showing and I know that if I get possitive reaction it is for real.
05 Dec 09 20:42
Don't be ridiculous! You all know the truth, but just afraid to admit it. To be entirely honest - Art is no more.
Even Malevich said, that He had finished the development of art with his "Black Square". And in the 20 century art completely exhausted itself.
John-Paul, Maria, Hillel, Fotini, Hanjo Schmidt and Others! you, I presume, all know the history of 20th century art. Try to peer at your artworks as if they were made by anybody unknown to you. In the past, even in recent past you'll find the same art but much better.
Nothing new in style, nothing new conceptually, no new personal feelings. There are energy, professional qualities in your art.. But the substance of your art is some sort of game in rebus (Guess what is depicted), some sort of art about nothing, some sort of indifferent unspiritual Entertainment
Of course, I do not demand that everyone must be a brilliant revolutionary in art as Pablo Picasso and K. Malevich.
But GOD no longer speaks with artists. There is no longer the artist as a mission!
At present there is HANDICRAFT insteade of art, there is professionals insteade of artists.
I hope you do not take it for insult. I just try to talk over more intresting subjects than asking for anyone to be removed from this site.
And mostly my hope is to encounter someone having unconventional brains.
20 Mar 10 00:49
I think that you write like a critic, not like an artist. First you say “ you all know the truth,..”…hmm, what truth? , Your truth? What is the truth of someone who works on something he himself believes is dead? It has no sense or value for me. If I were you, I would dedicate myself to computers for example, certainly not to paint little Russian villages in a pseudo-early- Kandinsky’s way. How can you say “ The substance of your art is some sort of game in rebus (guess what is depicted),some sort of art about nothing?????, some sort of indifferent unspiritual entertainment”, “indifferent unspiritual entertainment” man , measure your words, if you really understand what you are writing. Not few of the people that paint, and show their work here, have dedicated their life and efforts, to something that from the start promised to have no economical reward. And even so, they continued doing it, paying the consequences all their lives. Believing in it, pouring themselves in it, and fighting for it.
So to start with , it is not an “indifferent unspiritual entertainment” if this is what your art means to you, don’t extend your feelings to others.
I never admit truths that others want to impose upon me, let alone art critics, or superficial know-it-alls, and many artists had this same attitude in their time when their contemporaries, critics and art-gurus stated without a doubt what was art, and what wasn’t and thanks to this opposition to “imposed criteria and truths” the art kept on moving. The critics proved to be wrong, or let’s say, time and history proved they were wrong.
“Newness” isn’t a value for itself. Not everything that is new is worth even looking at, let alone being considered art. And luckily what Malevich wrote is history, and after him we have had all kinds of great painters.
I believe in dedicating time, and experiences (ours and those of previous painters) and inner feelings on our art, whatever the way one paints abstract, figurative, whatever the market asks for, hope that what one tries to express has some kind of substance, and not only the style or newness we are constantly asked for.
Look at it with optimism, you can write in magazines and art journals, be another Greenberg and create or destroy artists you like or dislike, wouldn’t that be fun ! don’t waste more time with something that is “ not new in style, is not new conceptually, and has no new personal feelings “, there are lots of us already doing this, you know, with a slight difference.. we are honest and believe in our work. So then who is being ridiculous??
21 Mar 10 15:02
Victor, thanks for your words and for going to all the trouble of sending them to my private mailbox as well, just in case I might miss them here. Obviously the message you're conveying seems to be aimed at a few people on this site. Your complaint being that they are not major artists who have altered the course of art history and their work derivative. This is of course huge news for me as I've always held myself and my status in the art world to be quite large and my revolutionary approach to the making of art itself an accepted fact that has charted new courses, changing art and indeed culture forevermore.Although at first it was hard to confront the possible truth of your words I began to realize how right you are. I am not an original trailblazer but just another humble, non original artist pilfering bits and pieces from this one and that one to create my unoriginal, uninspired works. Thanks to you I've now seen the light and it feels great to unshackle myself from the burden of greatness and be just another Joe Shmoe artist, it's a greatly liberating feeling. So once again I thank you as do I'm sure my fellow AP peers whom you've singled out, I'm sure they've benefited from your words as well. All, that is except JP, there's just no reasoning with him, the man has an enormous ego!
Alright all kidding aside Victor does raise a good point. Why keep repeating what's been done already? A psychiatrist friend of mine once told me that there is only one difference between neurotics and artists. Neurotics by definition repeatedly create and act out a personal drama or scenario in an attempt to understand their behavior and hope for some kind of different outcome. While artists do likewise, the difference is that artists end up with something tangible like perhaps an artwork that might give enjoyment to their own selves or other people and neurotics end up back where they started from with no productive result and nothing changed, doomed to repeat the whole process again and again.
So what do you do if your personal bent is to find pleasure in the art process knowing you're no genius and how futile the whole thing is, everything having been done before. Do you just give up and then what? Maybe swallow a bottle of sleeping pills and chase it with a bottle of rubbing alcohol. Hey, that sounds pretty good to me.
Actually I don't think there's anything wrong with some sort of indifferent, nonspiritual (I'm never sure what people mean when they use the word "spiritual" so I tend to avoid it) entertainment as people need to do something with the time they have between birth and death. And there is always the neurotic hope of a different outcome. In fact I think Karen is quite right in just about everything she's said and having viewed your portfolio Victor, I think your words about some sort of game in rebus are applicable to yourself and your own dilemma, the only escape from which is either to carry on or quit and find some other way to occupy your time.
21 Mar 10 18:34
Victor, although it seems that your comment is directed to a few people in AP, as a painter I feel alluded and therefore I join to the thanks list.I feel better for knowing that the progress of history does not depend on me.
To be good for a few is enough for me. And that’s a lot.
In any case, I hope that my fellows do not stop painting after reading your words. I need that their painting surprise me, delight me and excites me.
I think the world would be much worse if their paintings did not exist.
21 Mar 10 23:24
Sorry for "indifferent unspiritual Entertainment" and the other funny statements. Almost always any personal criticism leads to nothing and is ridiculous. it was just a ploy to provoke the candor.
And to write like "If I were you, I would...." leads nowhere as well.
Special thanks to Hillel for the sense of humor. As all the stupidities in this world are done with a serious face.
Well, I'd like to continue all that stuff not like an artcritic nor like an artist
but like "the poor in spirit" (although, I don't think I deserve "the Kingdom of Heaven")
or a CHILD which all adults cheat.
THE HONESTY
and the sincerity of an artist with himself, that is the most significant and fascinating thing to find out.
Why not discard any fear and discuss that subject. (John-Paul, let's "Criticism and Honesty" go to hell).
The acute sense of lie and his honesty with himself , for example, helped Jackson Pollock to throw out all his artworks
that were just variations of the past and helped him to find the new value, new concept in art. That is why he is the artist, the one
in the world history of art, the one who is not indifferent to the civilization.
I have an insane guess that maybe only about 300 artists could be called the artists during the entire history of mankind.
Critics named them "the greats". But I name them ' the honest artists".
As all the artists of 2010, like me and you, are not the artists, Let at least anyone of us be honest "human being".
An Intesting thing F. Dostoevsky once said:
There are things in which it is difficult to confess to in public,
there are things in which it is difficult to confess to among friends,
there are things in which it is difficult to confess to youself,
and there is something in you what you're not suspect.
We may be disturbed or comforted by the fact of being nothing for the art. Or we may change and continue find yourself in art.
Or we may try to surpass all our art teachers. Plenty of choise.... I don't know the real ways to being the artist (the great artist).
Perhaps - being honest to the most abysmal depths. Actually I don't know whether the art is dead or it's still alive.
I don't know the truth!
But as I travel different countries I met art people a lot.
I often saw all this arrogance and blind pride of the fact the ones were artists. That was hidden even in deeps of professionals' mind.
And now like a deceived child I can feel lie, whether ingenious or unconscious.
I do respect Gautama Buddha saying: reject all your faiths and beliefs to find the truth.
karen ! "I believe in dedicating time..." - could it be self-delusion ? If not, please, make it clear what it could be.
XXS ! "I think the world would be much worse if their paintings did not exist" - Don't you think a grandiloquent statement can be false.
The falsehood needs beautiful appearance to be liked by.
And finally and sadly we must admit that at present, after Malevich, only new can be the art (part of history of art in future,
only someone who realize any artistic concept can be the artist.
Personally I am not glad of the fact that dedicating one's life and efforts, any inner feelings, spiritual and whether substance and so on ... can remain
only (high professional or skilful) HANDICRAFT. Even high technologies (computer or whether) can not help.
The artistic concept are product of human brains.
I've just remembered a thing about THE HONESTY. You may know that Leo Tolstoy at the end of lifetime refused and cursed all his creativity and works.
What a overwhelming honesty ! ! ! It was new and awesome. The real artistic act, a performance, it must be called!
I expect you don't take all this for preaching and "The voice of one crying in the wilderness".
It's a call for help and an attempt to be honest. If really believe in something, could you share it?
Just could you say where from goes your belief, how it works, and what results of it you have .
Hillel ! Everybody has his own neurotic and psychotic things. Only the deads are sane in mind !
VICTOR, Your curious child
24 Mar 10 21:55
Victor, discúlpame por escribir en español pero la pintura se seca demasiado rápido. Gracias otra vez por mostrarnos la verdad a los ciegos y sordos. Dices que eres curioso, pero parece que tú ya lo sabes todo. Dices que eres un niño, pero no lo eres en ese sentido en que hablaba Nietzsche de Zarathustra: “Tus ojos son puros, y en los rasgos de tu boca no hay expresión de asco. No parece sino que vienes bailando. Zarathustra ha cambiado, se ha hecho niño.”
Eres un viejo, tan viejo como la historia de este continente lleno de clarividentes, predicadores y salvadores, conocedores de una Verdad que ha traído más dolor, muerte y destrucción que cualquier “ridícula ignorancia”.
Dices que mis palabras son falsas y grandilocuentes. Tienes derecho a pensar así. No es mi intención convencer a nadie de nada. Pero tu discurso está más lleno que el mío de palabras grandilocuentes. Lo que es peor, de sinceridad dogmática.
No conozco a ese “ser humano” del que hablas, no quiero formar parte de “la historia” del arte de ninguna humanidad, ni a civilización alguna, ni pertenecer al club de “los grandes artistas” de todos los tiempos –que tú conoces en su cifra exacta, sin decimales-. Ni siquiera quiero ser “artista”. Sí quiero ser honesto, pero la honestidad no se puede medir ni conocer más que por uno mismo.
Lamento la decepción que existe en el fondo de tus palabras. Pero yo sólo quiero pintar y que me dejen hacerlo, y confiar en poder “tocar” con mi pintura a alguien, alguna vez, en algún lugar. Y escuchar lo que tienen que decir aquellos que yo elijo que sienten la misma pasión que yo, y expresar de vez en cuando la mía.
Predica todo lo que quieras, en el desierto o en los púlpitos. Con discursos propios o prestados por todos esos carroñeros que, paradógicamente, viven de hablar de un arte que dicen que está muerto.
Si estamos muertos dejadnos morir en paz. (Grandilocuente, pero muy sincero).
26 Mar 10 13:10
Victor, for what it's worth, personally I like your aggressive stance, your willingness to challenge with no pretence of pleasing, and your seemingly obvious desire for making something that has meaning, with the goal of reaching the high ground of past exemplary artists. The photo you posted of yourself tells me this guy I can relate to, and that for sure we (at artprocess) have something in common with your gritty no-nonsense approach - a hunger to eliminate pretence in order to attain some sort of truth.Nevertheless, when I look at the works you've posted, I can only admit my disappointment at what seems to be cute Russian landscapes - interesting in themselves - but hardly the sum of the stimulating invective of your verbal communication.
I say this as an invitation to continue the dialogue you've begun - you're obviously after that something, that eludes each and every one of us, and of course that something we're also after too.
Incredibly, you managed to irk Hillel (I view as a real accomplishment), and that amuses me immensely.
If you could please succeed in pissing Hanjo off too - then we might just have a bit of fun over the next few weeks.
Kind regards
/j-p.
26 Mar 10 20:02
Victor, thanks for expressing yourself, although I'm not entirely sure what it is you're expressing. i.e "...only about 300 artists could be called artists during the entire history of mankind". Perhaps according to your "subjective" opinion, but "no doubt" they're would be thousands of historical artists who in their "subjective" opinion would probably disagree with you. By the way the critics' pronouncements of "greatness" were most often long after of the making of the art itself.)Your premise I believe is that art must be revolutionary to have merit. And (I'm not if my understanding is correct) that an honest artist should know that in our time, art or art progress is something that is quite unachievable. (The art is dead scenario.)
(Actually I believe most of the artist on this site might actually ascribe to some aspect of that thought, except of course for JP (ego maniac that he his) who as most everyone knows, believes his work to be the cutting edge of advanced artistic thought.)
However assuming my understanding of your intent to be correct, then "the honest artist" should either cease his or her activity, or at the very least carry on, but HONESTLY declare that they have nothing new to to contribute. Have I got it right?
If that is indeed the case I, of course, being the most HUMBLE of all the artists on AP would be the FIRST to do so.
26 Mar 10 21:46
Actually, I like artworks of you, John-Paul, and artworks of HILLEL KAGAN as well.And with debris of my brains I can still realize that what I've done is only sickly-sweet sniffles
versus your creativity.
Why have you been discussing my petty creature???
Is not it more intresting to express your opinions relating to honesty, faith, hope and whatever eise of an artist ???
Frankly, I foollishly think that such things as the Faith, the Hope, the Love in the life are far more important
than being any significant social figure, like an artist for instance.
And as XXS I ,also, think - " To be good for a few is enough for me. And that’s a lot.'
I do expect any internal thoughts or any humour from the others about themselves if they take the liberty to.
26 Mar 10 22:08
J.P, I hate to disappoint you my friend but I don't think there is any fun to be expected from this. And that is because I really don't see any serious, let alone intreaging, challenge.
28 Mar 10 17:51
Well guys, now I’m going to do art. I mean real art. Not this figurative stuff. Real art that even curators can understand and guys like say Malevich. By the way, he’s in hell now. When you come in take the left hand side at the end of the third floor in the department for Depressed Fools. There he is. Met him the other day. Well umm, I’m allowed in hell whenever I want. The devil’s a good old friend of mine. I’m even allowed to stay overnight. He’s such a nice and helpful guy. Okay, where have I been? Oh yesss Malevich. Well he’s playing chess with old Ad Reinhardt all day long and the two of them just cannot stop fighting on who’s done the best black or „ultimate“ paintings ho ho. Sometimes I don’t bother to sit down for a while and listen. I mean in the end you can learn a lot about the endles differences in black hue. Quite interesting. Wouldn’t have thought there were this much without the help of these guys.
I mean in the end Mal’s a lucky guy down there. He was supposed to go to paradise but the devil cought him just in time and saved him from that. I mean paradise is ... well, umm, how to put it ... it’s pure hell so to say he he. Imagine all this hosiannah and hallelujah stuff twentyfour hours a day seven days a week. And being bossed around by this old guy that’s so pathological after personal prestige and needs to be hailed all day long. And you are not allowed this and not allowed that and beware of this, too and let alone that . . . and don’t even think of THAT one in particular. No, no this would have certainly ruined old Malevich within days. Now he can dive into the good old depression pool together with Reinhardt or be on stage. Okay, I have to explain this. They have a little stage down there and everyone is asked to give a little show every now and then. So Mal does the revolutionary pamphletist when he’s into it. Pushes his fist into the air and declaims the old manifestos with his cracking voice. Sometimes together with Marinetti giving a manifesto duett and everyone who’s listening laughts his pants off. So there in the fools department there’s not so much difference between fascists, communists or capitalists. Pretty much the same stuff. Didn’t know that either.
Okay. Talking about Mal I lost the red thread right away didn’t I. I said that I was going to make real art. Yeah that’s what I’m up to right now. So what am I going to do? Well, I have to clean up my studio. Making a heap of things I want to keep and another one with things I am supposed to throw away. I mean this is the normal way of how to do such a thing isn’t it. So I took some old paintings of mine peeled them from the stretchers and ripped them into stripes of approx. ten centimeters width. Then I took say seven of such stripes rolled them together and fixed the roll with some tape to prevent it from getting loose again. So after a while I did not only have aching hands but a nice collection of rolles too. While sipping my tea and pondering on them I got the idea of turning this into what I might call my „Dead Sea Scrolls Project“. So what I have to do now is to ripp apart all of my paintings in this way. Then build a glass cabinet, what we’re used to call a vitrine and put them all in. And then all these curators, gallerists, critics and whomever else can feast on that and make their silly theories about it and fight on who’s the most brilliant in interpretation etc. etc. I mean that’s REAL art isn’t it.
Okay, I might put a photo in the studio log. [LINK]
16 Apr 10 11:55
Good idea. I'm going to keep painting figurative paintings to have to rip and make Art ...
20 Apr 10 09:01
Has anyone here heard of Rudolf Steiner? He gave many new impulses in many areas. One of these areas is Art. He gave many lectures on art, he was a sculptor and painter too, among million other things. Here is a link where you can find many free books and lectures on art and other subjects: http://wn.rsarchive.org/Lectures/GA276/English/AP1964/ArtMis_index.htmlThe easiest way to find more art books is to use the Search button on the site
Peace!
27 Jan 16 16:23
Haha Flavius... nobody's come to this forum in the last 500 years! You risk awakening some old ghosts, like myself :o)Yes I've heard of RS, but personally I tend to avoid any form of collective ideology, however exceptional it may be. Notwithstanding, the few followers of Steiner I've met were likeable, interesting, and smart young people. Two brilliant computer programmers I knew were Steiner advocates.
Rudolf himself probably has had many interesting things to say on Art, however my preference is to talk directly to artists (like you), and read what you have to say on your own work, the process of it's making, and your experience of being an artist in today's world.
And if Steiner is the impetus for you to make art, naturally I'd be interested to hear your experience of why that is so.
28 Jan 16 09:41
Of course my enthusiasm for Anthroposophy is based on practical experience of Steiner's ideas and new impulses. I studied Art and Art Therapy in the UK at a Steiner college. I also lived in a village called Forest Row, which has put many of Steiner's ideas into practice. Forest Row has quite a few initiatives, some of which are: 2 biodynamic farms, the first waldorf school in the UK called Michael Hall and Organic architecture, to name just a few...
Having studied Art and Therapy at a Steiner college, my approach to art is deeply personal, and could also be called Transpersonal (ie very personal and individual).
In the arts, Steiner's universality was an influence on artists like Kandinsky, Mondrian, Klee, Joseph Beuys, Mario Merz, Karel Malich, Giuseppe Penone, Anish Kapoor, Olafur Eliasson, Tony Cragg, Helmut Federle, Carsten Nicolai, Meris Angioletti, Jan Albers, Manuel Graf, Simon Dybbroe Møller, Gertrad Goodwin and countless others perhaps not as famous or know to the public just yet.
28 Jan 16 12:52
I don't think an artists should be removed from the site .I think the artist should have images that they remove from their page as the add more . They should be showing that they have a greater understanding of their own work by removing images. They should demonstrate that they have moved beyond some of their imagers , as they grow in their art process. The craft of the work is what makes it great . Each dialogue with the world is always personal to the artist . The viewer will come to the work from their own personal place . Artist are not dictators who control human response . They present a view . The engagement with the world is the fear and the thrill. There are no failures , there is only the next step . We have control over the materials, nothing else . That is the real challenge , can you sustain being in an undefined space with all its challenges .
Can you justify your behaviour as you stand outside the social norms of work , making money .
OF COURSE YOU CAN BECAUSE THAT IS WHAT YOU ARE DOING .
As for fame and fortune , it has nothing to do with art , it is political , knowing the right people , playing the right games .
If you want to be famous you have to treat yourself as a business person making sure your work is seen by as many people as possible.
I think people should make comments about the work , the materials and how they are used by the artist .This would be a good start.
28 Jan 16 23:43
“I foollishly think that such things as the Faith, the Hope, the Love in the life are far more important than being any significant social figure, like an artist for instance.”Art is indicative of faith in something useful.
Where there is art there is hope.
“Love in the life” ………….. isn’t art an expression of love.
Creative practice be it profound or trite is a fun activity, that’s why people do it, presumably.
And to hell with it, if fame is on your desire list, then go for it.
01 Mar 18 04:26
I have decided it is high time I did something for the protection of the surface of my work. I have never felt it was worth the trouble until recently. However, I haven't yet been able to find a material or a way to prepare it that would create a protective film for my oils without making the surface too glossy or flat. Partly because I have been afraid to test on finished work.
Any suggestions, recipes or advice on books are welcome.
Thanks.
20 Jan 09 16:15
Maria, I like absolutely matt and general I advice it picture varnish matt 003 Talens /1000ml e/. It is universal and fastly dry. Good for mixed technician acrilico and oil too. I think that small test is indispensable.And ps. to Maria "which says 300 different languages"
I thank for your opinion about my pictures. Your definition “How it is possible to have it all together: strictly figurative work, with strong narrative content, being contemporary, great painting” is very universal and allowing for growth.
21 Jan 09 21:14
ps. link with full information about /varnish and click/http://www.talens.com/english/products/default.asp?post=true
22 Jan 09 13:51
Varnish seems to be a little bit out of fashion to begin with. Of course it still protects your painting but it also does something to it you might not want. That depends on the way you paint and the way you treat your paint. So for example you could never ever varnish a Francis Bacon painting without destroying it. Or you would take away the fascinating surface of a Michael Andrews painting with trying to cover it with varnish. Even those unbelievable huge paintings of Jenny Saville are not varnished even thought one can hardly imagine how they are being transported without the extrem danger of scratches and so on.Well, I myself work with acrylics that are much more vulnerable than oils. But I have to varnish them for otherwise even the simple face to face, back to back storing in the studio would force me to make a retouche of a scratch every now and then. So I use a layer out of 50% glossy varnish and 50% water to receive a soft surface with a satin gloss. Sometimes I hate to do it but on the other hands It gives the colours more depth and brilliance. And that’s important if working with bright colours.
The question of using a glossy varnish or a matte one of course is a matter of fashion too. Maybe the glossy version is not so welcome for one may think uh, looks a bit old-fashioned. And the matte version is not to be seen so I take that. But it’s not really true. Varnish in it’s natural version is always glossy. So for to get this matte surface they have to add some other chemicals or wax. And when seeing a matte surface of varnish I often can’t help to think that the whole thing is covered with a more or less thin layer of plastic. This might not be a problem as long as one uses paint with poor colour. Brown, black and all dark hues that is. But when using bright red, yellow or blue you will notice how much of the brilliance this type of varnish takes away. So if I have to use varnish I would always take a thin layer of semi glossy stuff which one gets with thinning the original material.
The companies most well known in Germany are Schminke, Lukas, Guardi or Goya. Okay Maria, you might have an automatic tendency to Goya might you? So for the beginning you should use the varnish of your choice carefully with only thin layers. If in need you can always add another layer. By the way. I always protect the corners of my paintings with little pieces of bubble wrap when having them in the storeroom. This helps better than any varnish.
24 Jan 09 16:50
Thank you Mirek and thank you Hanjo.With acrylics you use a waterbased varnish if I got it right. The varnishes I know for oils are not waterbased. Would thinning with turpentine destroy my colours?
26 Jan 09 19:41
Maria, I look for you everything about varnish, only its historical aspekt. Today there is chemical product. Varnish is for protection and in image equal light. It makes more intensive colours too. Please, it read :Varnish is resin dissolved in turpentine or in a mixture of turpentine and a drying oil such as linseed oil. There are several resins available with which to make a varnish, and the selection of a resin is guided by use.
Picture Varnish is used as a final coating for a painting to protect the picture and unify the appearance of the surface. It can, for example, make the surface appear either matte or shiny, or protect the paint film from chemical reactions with the atmosphere and from mechanical abrasion.
Retouch Varnish is used to give a full and wet look to the surface of the unfinished painting before work is resumed. This prevents the eye from being fooled by the unevenness of the light reflected from parts of the painting's surface.
Mixing Varnish is used as an additive to the painting medium to accelerate the drying time, to add gloss, and to give body to a glaze.
Isolating Varnish is a resin that is insoluble in turpentine or mineral spirits. When this varnish is applied to a paint film, it will protect it from being affected by the turpentine or mineral spirits in the next layer of paint to be applied.
Types of Varnishes
The following are descriptions of various types of varnishes and their uses. Commercially prepared varnishes are readily available, or varnish can be made from recipes given in this section.
Dammar Varnish
Dammar Varnish is the most popular of all varnishes and is used as a retouch, a mixing, and a picture varnish. It does not bloom (develop a chalky appearance) and it yellows less than most natural resins. Dammar varnish can be readily purchased already prepared or you can prepare it according to the following recipe.
DAMMAR VARNISH
1 part crushed dammar resin wrapped in muslin
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4 parts rectified turpentine
Leave wrapped resin to soak in the rectified turpentine for 1 or.2 days, or until the resin has dissolved.
Filter if necessary.
Dries in approximately 1 hour.
Mastic Varnish
Mastic Varnish is clearer than dammar and can be applied more easily. However, it does tend to bloom (develop a chalky surface) in humid climates, as well as yellow more than dammar. Mastic and mastic varnishes are much more expensive and harder to come by than dammar. Today, mastic is usually used as a mixing varnish and rarely as a picture varnish. A mastic solution (concentrate) for painting as well as a varnish can be prepared from the following recipe.
MASTIC SOLUTION
(from which the varnish is made)
1 part mastic tears
(The better mastic comes in the form of tears, or little round balls.)
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3 parts rectified turpentine
(The best turpentine should be used, especially if the varnish will be used in painting.)
The preparation of mastic solution is sensitive to impurities and heat. The mastic tears should not be crushed to speed the process. The tears should be suspended in a gauze bag or nylon stocking and allowed to dissolve without use of heat. This takes 1 or 2 days.
Mastic has a more stable shelf life as a solution (heavy gum solution is best) than as a varnish. Therefore, you may wish to consider diluting a mastic solution to make the varnish. This may be done by adding 1 part rectified turpentine to 3 parts mastic solution.
Mastic varnish will dry in 1 hour.
Synthetic Varnishes
Synthetic Varnishes are, in most cases, composed of ketone or acrylic resins dissolved in mineral spirits. The advantages are that they dry rapidly, are crystal clear (unless a wax is added to create a matte finish), and are non-yellowing. The disadvantage is that, with the exception of polycyclohexanone, they can be used only as a picture varnish.
Polycyclohexanone is a synthetic dammar like resin, developed recently in Germany, that can be used alone or in conjunction with dammar for media or varnish. It is prepared in the same way as dammar. The advantage is that it is optically clearer than, and yellows less than, dammar. It also forms a harder and more durable paint film. However, it is slightly more brittle than dammar and, consequently, is often used with other, more flexible resins. The polycyclohexanone adds clarity, and resins like dammar add flexibility.
Soluvar is a synthetic varnish composed of acrylic resin produced by Binney & Smith Company, which is available in both matte and gloss. It is used as a final, protective picture varnish on both oil paintings and acrylic paintings. It is receiving greater recognition because it can easily be removed if the picture needs to be cleaned or restored.
Matte Varnishes
Matte Varnishes are made by adding to a varnish a flattening agent, which is usually a wax (such as beeswax or a fossil wax) or a wax-like substance such as aluminum stearate. Winsor & Newton's wax varnish and Dorland's Wax Medium are thick and are applied by rubbing the medium onto the surface of the painting and polishing it with a soft brush or silk cloth when dry. Liquid matte varnishes are made by suspending a wax in a varnish. The application of this kind of varnish is facilitated by warming the varnish until the cloudiness disappears and then applying it with either a soft brush or a warmed airbrush.
The advantage of a matte varnish is that there is no surface glare to interfere with viewing artwork. This has become an important consideration for many contemporary abstract artists. A slight sheen can give the illusion of a secondary color where there is none. This is less of a consideration in figurative artwork where there are usually many variations in color and shape, which help to camouflage the shiny spots on the surface.
The disadvantages of matte varnish are that too much can leave a milky or cloudy appearance on the surface, which is also easily damaged by rubbing.
Application of Varnishes
When applying varnish, the first consideration is whether the painting is really dry. Although a painting may feel dry to the touch within days or weeks, the layers below the surface may not be thoroughly dry. A paint film dries by reacting with the oxygen in the air. If a painting is varnished before this reaction is completed in the paint layers below the surface, these paint layers are sealed off from their source of oxygen and cannot complete their drying process. The painting may remain soft and sticky for a considerable length of time and, with improper drying, the paint film may not bond properly to other film layers. Another problem caused by premature varnishing is that the solvent of the varnish may penetrate the paint layers that are not completely dry, thus softening them and affecting the appearance as well as the stability of the paint films.
Most paintings of average thickness and painted with a lean medium will be ready for varnishing between six months and a year after completion. Unless driers were used throughout the painting, one year is usually the safest choice when in doubt. If the paint is thick, one year will not be long enough. Never heat or place a painting in the sun to accelerate the drying process. Because drying of oil paint is a chemical reaction with oxygen, rather than evaporation, rushing the process can cause wrinkling and other horrors. It is best to store the painting where there is light, ventilation, warmth, low humidity, and loving care.
Paintings that must be displayed before they are thoroughly dry can be shown either unvarnished or coated with a retouch varnish, which will even the surface appearance and will provide some protection. It will also slow the ultimate drying time, but will not prevent proper oxidation.
During the lengthy drying process, the surface of the painting may collect dust or dirt, which must be removed before varnishing. Any cleaning must not involve the use of water because the water can penetrate the paint layers, thus reaching the ground and causing it to swell. This will weaken the bond between the ground and the paint and can result in serious cracking. The best way to remove dust is first with a feather duster or a pigeon wing. Then take a loaf of fresh bread and pull out the center, squeeze it into a ball, and roll this over the surface of the painting. If there are slight grease stains, they may be removed by blotting with mineral spirits. If there are problems beyond those described here, professional advice is preferable to experimentation.
When the painting is dry, has a clean surface, and is in a dust-free, dry, warm environment, the varnish can be applied. The two basic methods of application are spraying and brushing. Spray varnishing can be successful when applied to a surface that has a minimum of texture, but a spray cannot cover textural irregularities as well as a brush. If a spray is held too close to the surface, the application will be too heavy and may run or pool. If the spray is too far from the surface, some of the particles of spray may partially dry en route to the surface and give it a frosted or powdered look. If you begin to spray off the surface and then move evenly onto the surface, pooling can be avoided on the surface because the areas where you start, stop, or change direction will be outside the painted area. Two thin coats are superior to one thick coat.
For textured and irregular surfaces, brush application of varnish is best. The varnish can be worked into areas that are not easily accessible with a spray. For a heavily textured surface, a hog or bristle brush is necessary to force the varnish into difficult areas. Ox hair is excellent for smoother surfaces.
After the application of the varnish, the painting should be laid flat to dry for one or two days. The surface should be protected from falling particles and dust. This may be accomplished by laying a board over some books or strips of wood placed on opposite sides of the painting. This will bridge the painting and will keep the protective covering a few inches off the surface.
26 Jan 09 20:54
Mirek, you are such a lovely person to have taken the trouble to write all this! Thank you, I will study this thoroughly.
29 Jan 09 21:30
IncubationAs some of you know, Karen and I had a show in September. While sitting there at the gallery, looking at my work exposed, every day, for hours, the distance between me and the paintings grew bigger each day. Until I felt I had left them behind. New images of potential paintings started forming themselves and I took up sketching them on scrap paper, feeling so eager to start the new work. They would be bright paintings, with light and hints of what the country roads I drove through each day made me feel and the shallow pictorial space I like.
Then, all the business I had put off till after the show came knocking on my door and time kept passing with my impatience growing. In the mean time, the colours I had in mind slowly faded, until the recent episodes in burning Athens made them turn completely black. Despair followed. I thought that I was a fool planning sunny, happy paintings, content with my stupid, little discovery of “a new idea which would investigate my visual identity formed by my natural and cultural surroundings” and such. Those images would mean nothing given the circumstances and I didn’t even feel like making images any more. The whole beauty business seemed pointless to me. Of course, an architect friend kept telling me that it has always been moments like that when art and beauty are most relevant and necessary. I wouldn’t even be consoled thinking of Matisse painting flowers and fruits during the Second World War. I kept thinking of Picasso who made violence present even in his nature mortes through the presence of forks and knives.
That was the moment when Arnold uploaded some old paintings triggered by “things that struck him profoundly, over which he had no control”. I thought over those images a lot. Especially the one about the pilot being shot dead for the TV cameras and thrown out of the plane in Tel Aviv. I thought of the power of such an image as it is presented raw on TV or in photographs. It occurred to me then that the violence and sense of torture in Picasso’s paintings was of a different kind than the violence in a photo from a concentration camp in world war two. It is as if the archetype of the experience were dressed in apparently irrelevant objects and forms that in some magic way put the message through (Arnold in his beautiful little interview says that painting is magic because you look at scratches on paper and suddenly somebody’s idea is in your head). The archetypes of experience go beyond the temporary circumstance that triggers their visual materialization. It is something that has been there since the beginning of human perception and will be there till the end of it. It goes beyond the duration of a war or a terrorist attack or the gunning of one or many. It includes and compresses all past and future wars and forms of violence, turning the work into something that refers to all times. Like Matisse’s flowery wallpapers and fruits refer to all time beauty and harmony that goes beyond the ups and downs of historical events. Painting goes on, practicing one level above topicality, only fed by the experience of it.
Now, my fantasy paintings are back. They don’t have the same colours as before but my mental images of them are more physical. They have textures. And they look more mature. They are not sunny, happy, silly. I feel much more like starting work on them now. They have gone through incubation, as Hillel says.
27 Dec 08 16:37
Thank for sharing some of your intellectual process Maria, it really struck me as I've been contemplating the success of the Artprocess experiment. We are now starting to effect each other's work. Although we may be distanced by culture, language and sensibility we can find ourselves united by our commonality as artists.This site started with the purpose of seeing if it was possible to create an online community of artists. It was and remains a completely non commercial, no frills site, Its sole purpose being artist to artist communication. The idea was not the promotion of artistic careers or the attempt to sell artwork online. The creating of work and the interaction of community to inspire and further creation was the idea of the experiment. Early on I was skeptical that such a notion was possible but the reality of the community, small as it may be and the pleasure of the contact and friendships that have been forged have changed my preformed notions. My own work has changed as a result of interaction on this site just as it might have in the past when artists used to gather (in my city) at Grossman's Tavern or The Pilot Tavern and talk and debate, yet go home and brood and come to other conclusions as a result.
A multitude of free art sites have been created offering things this site could never do; unlimited uploading of large size image files and videos, live chat, etc. etc. Yet this one remains, at least for me the authentic model... the ideal. Maria's latest opening of this topic "Incubation", a spinoff from another topic shows just how flexible this format has become for those who have become adept at using it. One idea spins off into another and that's how it should be. It's the very food we as artists need to continue what we do. For whatever reason, mainly economical... the soaring costs of real estate having dispersed artists from central locations with their meeting places and watering holes. This site has filled that vacuum for those who understand its purpose and enriched their work and lives.
28 Dec 08 17:23
Just over a year ago, my wife and I had the opportunity to attend the Sotheby's Impressonist and Modern Sale in New York. the evening sale was a crush, we managed to squeeze in at the back near the phalanx of film cameras, standing room. Way up front, Sotheby's premier auctioneer on his high podium, beside him a huge turntable dramatically revealing each work in succession, and all flanked by two giant screens showing artwork image and instant dollar conversion into eight currencies... along the front and sides of the room, behind high tables, sat about thirty young turks manning the phones. Standing near them was a serious looking man with a brief case and a satellite phone. The air was charged.The show began with several works on paper by Egon Schiele, selling briskly, strongly, a self-portrait going for twice its estimate - over $10 million! We were soon at the first of the auction's gems, Van Gogh's "Wheat Fields" (28m-$35m). Bidding quickly reached $25m and stalled. A little joking from the dais yielded nothing. Pass. Murmurs through the crowd, heads turning...
Onward, Rodin sculptures going, a Monet just squeaking over reserve (9m) and a Renoir the same (10m). Then Pisarro, Sisley,Redon, pass. Gauguin, pass, a second Monet, pass, another Renoir, pass... The next star, a Picasso, stalled below reserve, as did Braque's "L'echo", a lovely piece which was hanging on the wall to our left.
And so it went, with nice sales of good works here and there, but a large number of works falling short of their expected millions. Especially the remaining 'star' pieces, those with expectation of $20-$30 million. The crowd restless, nervous, satellite phone-man quiet.
We skipped the morning sale. We took the time to poke around Sotheby's seven story citadel. We viewed their galleries. We passed some glass-fronted offices and looked in. We could see staff in front of a large screen TV displaying stock trading numbers. Sotheby's was in the process of losing 30% of its value on one day, as we would later discover.
While the evening sale was driven mostly by bids on the telephone, the day sale featured a more human fee. Less of a crowd, many bidding paddles about, a casual air. The room in bright light.
Works came and went - Vuillard, Seurat, Dufy oils and drawings, Matisse drawings, more Renoir sculpture, Picasso inks, Modigliani pencils, Miro, Chaall. The nice-looking, sweatered couple sitting just in front of us bought a little Victor Brauner oil for $250,000. Cezanne sketch, Klee oil, and more, and then another Schiele, his last of sale.
I had noticed two women arrive ealier, sitting nearby on our left. Fortyish, well-dressed, very casual New York. Coats on their laps and shopping bags at their feet. Enjoying themselves on a bright fall afternoon. The Shiele came up on screen a small crayon work on paper, sketch for an oil (splay-legged female nude, true to Egon's oeuvre). The bidding quickly reached a reserve of $300,000, when one of the two women raised her paddle. It became clear that she was going to have that drawing, and the other bidders withdrew at $400,000.
We left shortly after that, quite drained but exhilarated. It was at once profound and profane, a spectacle we hugely enjoyed.
I think back often to those two ladies. My first thought being, of course, "heck, I've got crayons!" And I've turned it over every which way, this whole concept, this provocative phenomenon of commerce and art...
21 Dec 08 23:34
Interesting story Arnold though I'm not sure what it has do with the business of being an artist (unless that artist is your old travelling buddy Mr. Hirst) but it does make you stop and think. Isn't it curious that artists who are usually pretty lousy capitalists produce the commodity that is perhaps one of the best examples of pure capitalism? What's the value of anything? Usually there's some intrinsic value to something (ie. how many carrots do you want for your bushel of wheat) but art really has no intrinsic value. Other than the scrap value of the material of its production it's only worth whatever someone is willing to pay for it.
I'd love to be able to say when asked for the price of a painting that I simply charge for time (pay scale determined by my nonexistent union the W.U.A.W. (Worldwide Union of Art Workers) and materials, say 100 hours times $25 per hr.= $2500 and materials $108.50 Total -$2608.50 plus shipping and any applicable taxes.
So what goes on at Sotheby's, the other auction houses, the public galleries, museums and publishers that help shape perceptions... all of that great big machine that forms the worldwide art market has very little to do with what we do.
I think you're right that "art is not for everyone". Actually it's for very few people, the vast majority being more interested in what something sold for than the stuff itself. However I have to disagree that "everything is not art", because in what you've written and your vivid visual description of the whole ugly spectacle you've proven otherwise.
25 Dec 08 16:15
Recently I had the pleasure of meeting another AP member in the flesh. Arnold Leventhal was in Toronto for a family occasion and we had the great delight of a visit by Arnold, his lovely wife and daughter. It turns out that Arnold's daughter Anna is an accomplished author and performing artist.
About two years ago she made a small radio broadcast piece for the CBC, our national radio service, the subject being her dad and his art. Knowing I would be interested she sent me a download of the broadcast. Well I loved it, It's a terrific piece about art and artists that I thought would be of tremendous interest to our AP members and I asked for her permission to make it available to all of us. She assented and has kindly posted her piece, entitled "10000 Faces I've Never Seen" on her Myspace space so we could have a URL to link to. I urge everybody to take twelve minutes and have a listen, it's a very enjoyable and informative little piece with the added bonus of actually hearing the voice of one of our members. [LINK]
17 Dec 08 15:55
Not a word? Nothing... what's with you folks? Did any of you even bother to listen to this thing? Ok, for the three, four or five people paying attention (my guess is four) I have to ask you. Did it not move you in any way, or bring up a few issues that we all share? From the first intoxicated utterings of Arnold (intoxicated with booze, art? My guess would be a bit of both) were you not simply taken in by the familiar voice of another of our species. Never mind the context of a kid who obviously loves the old nut bar enough to actually go on an expedition to explore the whole thing and in so doing comes up with a little piece of art herself. Yes the art affliction runs in families, we've covered that topic but I think there's some things here we haven't.Arnold showing the photo he's had in every studio space he's ever occupied. The Castelli "stable" (a bunch of racing ponies). The notorious abstract expressionist boys, practically the whole Cedar bar crowd. What does it mean to him? Arnold somberly explains that he can't really call himself an artist, being an artist requires total commitment and sacrifice. He's compromised himself for some small piece of normal bourgeois life. Being an artist is some kind of a holy calling and you have to suffer and sacrifice.
I thought that way myself, I never called myself an artist until I was painting full time, if asked I would say I worked in graphics or was a graphic designer even though I always knew I was and had always been an artist. Anna's right when she conjectures that being an artist might not necessarily just be a job but perhaps and I think truthfully a disposition (of course at some point you actually do have to make the stuff). I've met Arnold and had that immediate recognition and familiarity I get whenever I meet another of my species.
I've met a lot of artists and just about all of them have or have had to compromise and do something else to sustain themselves. JP washes dishes, others are in commercial art or teach. Sometimes those other preoccupations take all one's time and/or energy and often for prolonged periods of time. It's very frustrating but I think artists keep painting or sculpting or constructing art in their minds. Those long periods of gestation or incubation can actually be quite productive because when you come out of them you explode with all that stuff you've been brewing in your mind. Sometimes something external will just make enough of an opening that you can jump in and act again. Sometimes it's just a shift in one's own psychological perception. I think that may be the answer to the question that wasn't answered when Anna asked Arnold "why now?"
23 Dec 08 22:36
Well this is my first day off for as you know I work teaching and this year I’m doing it full-time, and I have little time free to write, I did listen to Arnold and enjoyed it, first because his voice brought him suddenly nearer to me, the feeling of hearing a friend talking and not a stranger floated in the recording, and second because his words have been lingering in my mind since I listened to them: the difference between his creative process and mine and what we both feel when painting “one of the most efficient ways of loosing myself…” something I wanted to think about and write about, but I just haven’t had the time. His words made me want to sit down and LISTEN to the paintings, make them talk to me, about him, about his world or whatever it is they talk about, you know Hillel some of us are slow thinkers or slow writers and need Time , (remember I really don’t think in English ) so please DON’T BE SO IMPATIENT we all have our pace, and I tell you if it were for me I would be sitting down in front of this pc looking up other painters and reading about them the whole day long, but I just can’t do it! And I bet there are others with the same problem. In fact I started looking up Arnold in the web to have more information about him and somehow ended up reading about Kitaj’s death and disappointments, like in the web , we are all connected some way or another, the questions we ask ourselves about art, what it means to us, why we do it, why we go on for that special one moment he describes… so let us have our moment of peace and we will talk about it, ok?? And by the way , receive my best wishes for all this next year Happy 2009! .
24 Dec 08 10:53
I am sooo jealous! For one thing, of the father – daughter relationship in this one. Ok, I have to take care of this in a minute and thirty something seconds, and go on with what I wanted to say.
I don’t know what Anna was thinking when she chose Laurie Anderson’s “Superman” to open and to close this interview but it sure was some choice. It has always made me feel a touch of something very intimate, very urgent, very imminent and absolutely unavoidable.
The very intimate, very urgent inner knowledge of being one of the species, is often accompanied in me by the horror of the doubt of not being one. And horror it is because I really don’t know what I would do if that was the case. I mean, now at least I can say that I “compromise doing other things to sustain myself” UNTIL. Until I can be able to work every day? Until I can find out whether I belong to the species or not? In the mean time, yes, incubation does go on. The problem is that ideas become urgent and the fear of not being able to let them hatch properly becomes the most horrifying nightmare. Because I really don’t know what other reason would there be to continue doing whatever it is that I do every day if the hope of actually feeling “that one moment of artistic success” should fade. Anna says something about abstract painting which if rephrased applies perfectly to my every day life: it doesn’t make sense unless you relate it to something else.
Arnold, I really would like to ask you this: what did it feel like not painting for, if I remember well, some 10 or 15 years?
Everyone else, I bet you have your own talismans somewhere. I know I do.
26 Dec 08 19:21
Well as I said before, I heard Arnold’s interview and sincerely I found it …short. He has an easy way of saying complicated things, putting them into comprehensible words anyone can understand and make it enjoyable at the same time. I heard it once, and two days later I listened to it again, this time alone and with no one to distract me.
It surprised me to see that even though our works differed so much our reactions through the process were so very similar.
My paintings have nothing to do with action-painting or chance, or even imagination, they are more related to intuitions, and an endless curiosity for the human enigma. I belong to those that cannot take their gaze away from reality, quoting Hanjo
"there are two different points of view of how to go to work with painting.The one is to follow an idea,to make a concept,to construct it etc. The other is to look at something and try to find out what it is telling you. The first one is inventive the second one curious just for to name the main points."
In any case we have a very different creative process, an yet, not always, but in some of my works I have experienced that same feeling of loosing myself, letting myself go in the process, dissolving in the painting to come back again to the surface without a clear notion of how much time has passed, and knowing just one thing, that lapse of time made the day worth it.
The first time I saw one of your paintings (I think it was called 66, it is no longer in this web) a name came to my head, “Kafka”. Subjectively something in your painting had connected me to his drawings I had seen a long time ago. I tried to find them again to confirm the link and what I found was this note “my drawing is a perpetually renewed and unsuccessful attempt at primitive magic”, funny, the same word you used!
Your works have undergone a steady transformation into a more abstract language. To me there is a great difference between these paintings you just uploaded and the latest ones in which you seem to have broken any possible link that could be left with the visible reality we all know. ( I keep seeing these little kafka figures in black, runing all over the painting ), I don’t read abstract paintings easily, so the earlier ones with their sharp contrasts, their aggressive slashes of paint and the few hints or clues of the event that caused them , reach me more directly. The latest, more abstract, sometimes speak their way through, sometimes become illegible for me.
“My work is going at its best when I no longer know what I’m doing”, well I never really loose the idea of what I am doing , but I do get lost in the effort too, specially when, trying to decipher a face, I remember reading that Bacon” was convinced that it was impossible to ever completely unravel the mystery of a person, and he became an almost fanatical observer of his friends in his efforts to discover the secret of their appearance, their living energy, the triggering factor in their immediate presence”-
The magic?
What I see is that abstract or figurative we all seem to aim for something undefined, that magic that makes a work of art have a life of its own. You can call it artistic success, or living energy, any other word, but we are all after it.
And even so, I as you, never talk about myself as an artist, I’m a painter, I don’t really understand what it is to be of that “species”, maybe the reason is I have never been able to dedicate myself exclusively to art, but then, we do not only paint with a brush, do we? Living is a constant incubation of ideas and emotions that come to the surface whenever we make it possible, for at least I think as Picasso (I think it was) that “painting is just another way of keeping a dairy”.
28 Dec 08 17:23
At the moment I’m very short of time. Of course. It’s christmas and the end of the year which means that there are many many social occasions to be attended. No time for spending lots of time in front of the computer let alone to ponder on essential questions. And the information you gave to us, acompanied with all the written and spoken texts from Arnold, is no easy stuff but goes to the roots of our very being. So it takes time and opportunity to turn it round and round in my mind if that what you want to make me talk about shall not be mere chit-chat. So there will be some chewing upon it first. But there is one thing that sounds funny to me: „I don’t call myself an artist but a painter“. I always felt being an artist even though there were long periods when I weren’t able to do anything that could be called art. I think that being an artist is a gift that is deep inside our souls, no matter if we actually paint or sculpt or whatever. So I never doubted to be an artist but now and then doubt if I am a painter.
28 Dec 08 18:00
I think Hanjo's right, that's what I was trying to get at when I agreed with Anna's conjecture that being an artist might be more a matter of disposition than anything else. And when I used the term "species" I was referring to "artists" not painters or sculptors or whatever. I think Arnold has been needlessly hard on himself in that regard as I had been myself until the age of forty. A little story that relates to the issue of full time commitment and our romantic notions of not being able to have it all and having to make sacrifice. Quite a while ago, I recall reading an article about Richard Diebenkorn, one of my favourite American painters. To provide for his family he taught painting, if I remember correctly at UCLA and longed for the day when he would be able to paint full time. During those years his production was limited to 5 or 6 large canvases a year and of course he felt that if he had the time to work full time he would produce more.
Well, you guessed it, his growing fame as an artist (despite only being able to work at it part time) finally allowed him to paint full time yet strangely enough his output remained constant. He was a 5 to 6 paintings a year man. That was the nature of his process. We share a great deal and we're all different.
28 Dec 08 19:32
I am floored by the sensitive and thoughtful comments coming back from 'the gang of four'! So much experience out there, it sent me reeling. I turned back to old texts that were touchstones for me back in the day, hoping to slow down and order my thinking.
Then my brain exploded!
Like Hanjo, I will need time to weigh in...
29 Dec 08 05:01
When i was younger i used to get very angry when i couldn't paint because of all the things i had to do for the family .I actually use to break out in sweat.After squeazing art in the tiny spaces of freetime in my life i've learned to take advantage of every single minute to work .This said as a thought to what Hillel was saying about being an artist.But i can't help feeling kind of sad of all time lost for other things which were and are important for the people i love .I wonder how selfish you must get in order to do what you want putting aside needs of people around you
29 Dec 08 19:37
Fotini thanks for not being selfish and joining the conversation, I've been waiting to hear from you. Driven people are selfish, the degree of their drive determining the degree of neglect of other aspects of their lives. It's not just artists but any successful person in any field of endeavor. However there are certainly enough stories of the screwed up children and lovers of eminent artists. Personally I never had that kind of ambition. Sure, my kids had to do without fresh milk, fruits, vegetables and meat but I was never selfish enough to deprive the household of a well stocked liquor cabinet.
29 Dec 08 23:17
Sorry Fotini, you deserve better than that... I just couldn't resist it. But you're right I think selfishness or the lack of it has something to do with this conversation. In the audio doc. Arnold says that he was unable to make the total commitment to art that he thinks is necessary. For the sake of his home life he has to suppress the artist side of himself having concluded that you "can't have it all", is he selfish or selfless? He'd like to have his art and his home life, not an unreasonable request but he felt (I don't know how he feels now) that to do reasonable justice to either, one must exclude the other.Can a person deny who they are and can people who profess love of such people expect them to deny themselves? There is true selfishness but to suppress your artist self to make others happy strikes me as complete selflessness that in the end makes no one happy. There's always some compromise that can be reached. I suppose part of the question here is how much can you compromise yourself and still be an artist?
30 Dec 08 15:56
It is true that obstacles can be very helpful for the creative process. The more we are hindered the mightier the outburst. In German we use the term „Leidensdruck“ for this, which means that suffering builds up a pressure that finally makes you act. Maybe that this Leidensdruck in general is the fulcrum of all our need to make art.Well, about all this Hillel, Karen, Maria and Fotini have already spoken in wonderful and exhaustive words ... and yes I liked the interview too ... so I feel no need to repeat all that in smaller words and poorer English.
But what caught my special interest was Maria’s „Incubation“ piece. In this - besides the incubation process - she deals with an issue I am also chewing on every now and then. So this is what came to my mind while pondering on it:
What are we looking for as human beings? In general it’s peace, food, love, friends and health. In particular health becomes more important with every year that passes. Even such simple things as that you might be able to just hear what people are saying when talking to you, let alone understanding it. And what’s more lovely than to remember those rare moments of love and friendship and appreciation like what some of us experienced in Trapani, Rome, Madrid or on the island of Syros.
But looking at the news makes us ask constantly how we can want to describe such „silly“ things as beauty or love when every single day somewhere in this world there is uprising and war with it’s lots of killings and mutilations? People die in scores from hunger or/and warfare, so how can I spend my time pondering on which kind of pale blue I am going to use? That’s why every now and then we as artists feel the need of using more and more black paint as Maria says, to finally end with painting completely black paintings as Ad Reinhard did.
Well, in the aftermath of WWII most of the paintings actually took this direction. Everywhere grey of all hues and black. Sadness, horror, torture and death. Now most of these paintings have gone and left our memory. But what’s still as powerfull as on the first day are those colourful and peaceful paintings Matisse did during the war. He was often decried for obviously having been blind to all what happened around him, but he simply did not join that chorus but rised the flag of what it is worth living for and what was highly at risk exactly in that time. He wasn’t blind at all but gave us hope, consolation and solace. Just as Maria’s architect friend had said.
„... Picasso who made violence present ...“ Maria writes. So what is it with that violence? Every day, as long as we can think back, one witnesses violence in the news and on TV. Detonations, burning sites, ambulances fighting their way through rubble, people crying completely desperate. But even this daily horror is only a censored view, made bearable for the viewer. What it really looks like one can find in the internet, on some sites, masses of bodies, killed and maimed in pools of blood shattered over the place. Or the almost unidentifiable remains of a suicide bomber etc. And this you cannot really bear. So how to deal with this horror as a painter? Painting piles of corpses? And in which way? What kind of composition and what colours?
There are those examples from Goya or Callot or later Picasso and Bacon and Dix. But I always had great difficulties with and were very sceptical about letting all this horror go through an aesthetical process. Making it a painting or a sculpture with all these questions of form and craft and material. These small, greyish and blurred photographs already, taken in the American Civil War or in the war on the Krim peninsula in the second half of the 19th century, tell you much much more about how gruesome and shocking and unbearable war really is than all the different paintings made after the same events in the same time. Human imagination cannot match reality.
So for example Picasso’s Guernica never really touched me. It needed the help of a short film in which Paul Eluard’s poem „Guernica“ was being recited and as a background a firework of small detailed pieces of the painting like in a very rapid video clip. That worked. But in the first place it was the words and the voice that touched me.
Well, I know the photo by heart, Arnold has used in one of his paintings shown in his studio-log Maria refers to. It shows the half opened door of the „Landshut“, a plane hijacked by Palestinian terrorists for to press free the masterminds of the German terrorist group RAF (red army faction) that had spread murder and panic over Germany in the seventies and were now imprisoned in Stuttgart. The said photograph is one of the icons of what happened in October 1977 just as the photos Gerhard Richter used for his RAF series showing the corpses of those terrorists that had committed suicide after the blackmail with hijacking the Landshut finally failed. So I know the story with all it’s details and circumstances like many Germans of my generation and in this case Arnold’s painting is able to recall all this. But does it work with other people as well?
There is a play called „Mogadishu, window seat“ after a novel, which we saw three month ago, for then it was the thirtieth anniversary, in which my beloved model Ulla performed as one of the passengers. This play was shattering indeed. You could feel the constant angst, the unbearable heat in that plane standing on that Mogadishu airfield in the desert (not Tel Aviv) for endless days, the thirst and the pain of having to sit still on your narrow seat, unable to move or really change your position for uncountable hours. You could almost smell the penetrating stink from sweat and shit, making breathing in the cabin an ordeal. And you could feel the silent, suppressed panic when the terrorists finally announced to kill another passenger every half an hour until their demands were fulfilled. And the passengers had already seen the killing of the pilot. And then the incredible relief when in the end the German special forces that were flewn in secretly managed to take the terrorists by surprise and to end the nightmare.
Well, this is what a film can do or a theatre play or a novel ... but a painting? On the other hand I can understand very well why Arnold did these paintings and understand the way in which he did them. He had to act out all his frustration and horror to stay sane. Maybe I would have chosen a punch ball for the same purpose. But in the end this is something you have to do for yourself by using the measures you have at hand. It doesn’t necessarily function with other people.
Well friends, I am aware that this is only my very personal doubt that has to do with my character and my feelings, so please don’t strangle me. But nevertheless deep in my heart I too hope that a piece of art might create this „archetype of experience“ Maria is talking about, no matter if I have the impression that it very rarely works. To end with I want to thank my dear friend Maria for having offered her thoughts so openly and honestly.
30 Dec 08 18:49
have a great happy
healthy
creative
productive
full of everything you wish for
new year
best wishes to all Artprocess artists
Fotini
31 Dec 08 21:20
We all learn a great deal of what we know about the world from television news, magazines and newspapers, the photos and films and commentaries that are describing experiences which are not our own.Hanjo remembers well the incident which i evoked in my painting. By his tone I know the painful memory he carries. He is reminded of a play he saw about this same event, which provoked in a particular and vivid way his latent memory, and he has told it back to me, (and to you) in a bold story.
Now I have this bit of terrible history as a new experience, and it belongs to me.
03 Jan 09 05:12
There is a huge gap between a beautiful, actual celebration of life, Matisse painting and what I mockingly describe as “happy, sunny, silly” piece of an image (beauty and love are not silly; there can be silly images claiming to be about them). In fact, I think some piece of information is missing from the last paragraph of my “Incubation” writing. The fantasy paintings I am talking about, the ones that came back, that went through incubation surviving the emotional crisis, are not images of violence. They are the very initial ones, conceived to celebrate the beauty which surrounds me and the thrill of deep penetration into the nature of it. Only that they do not have the superficiality of the first hasty conception. And this doesn’t mean that they have been contaminated by darkness or frustration. Instead, they have come out victorious and strengthened. Reflection on Arnold’s painting contributed to the victory of these images over the darkness and frustration that had come over me, but not because they presented a solution. It was precisely the discovery that a painting like that doesn’t work. Apart from giving some relief to its creator. The horror of the actual photograph in the papers cannot be reproduced and in my opinion there is no point in doing so. Why make an image of a killing which will never be as shocking to the eye as the real image of the act? To this I perfectly agree with Hanjo. But this is not what Picasso and Bacon and Goya were doing. Their paintings were not the mere narration of one specific incident. Except maybe Guernica which, in the end, is only inspired by this one isolated bombing while it is about a human condition present in many different instances in history and which will continue to manifest its sad existence in different places in different times.
I feel that all successful, great works of art are the body of some archetype of experience. It can be the experience of horror as it can be the experience of peace and beauty. That depends on the painter’s choice, character and feelings. But painting would not move us the way it does if we couldn’t find in it the expression of experience.
03 Jan 09 21:10
I really enjoyed listening to Arnold going on about what it is that gets him returning to that studo. I also found Anna's other audio tracks equally interesting, and agree with Hillel's comment of her work being artworks in themselves. Coming back to the topic in discussion, the following fundamental themes appear to be asserting themselves - in my opinion each one meriting their own individual treatment:1) Hillel's basic "One of the Species": How can we recognize a fellow artist, and should we take action when we do?
2. Again Hillel's generous "Artists keep constructing Art in their minds". His theory being that even if the artist doesn't physically create, nonetheless the process of intellectual research is ongoing, and is thus equally pertinent.
3. Hanjo's topical intervention on the artist's portrayal of violence (whether for or against). How can an artist successfully intervene in a politically-visual context?
4. Arnold's and Maria's discussion of if it is possible for the artist to selflessly dedicate her/himself to family and financial earning, despite her/his need for regular basic solitude back in the studio?
Notwithstanding, despite these quite universal concerns, and our individual actions in response, I firmly believe that an [international] group action is much more newsworthy and relevant in an online presence, and that we should now be thinking of moving beyond the artist-to-artist communication theme to that (more serious) consilidated [international] artist group context.
Personally, I'm still convinced that we could take on the "12 interfering artists" online project, and even produce exciting results. The 12 (or 6 or 8 or whatever) will be easily identified - the 12/6/8 ap members who have posted the most comments on the ap site.
We have a core group who are well acquainted, and can now take on the dynamics of building a collective interactivity, and forming a group identity.
Of course it is easy to chat in this fashion, but we know there's really a lot of work to be done if we want to realize something credible. In my opinion, the odds are against us if we want to individually have some effect - and are against us also if we want to do so collectively, yet as an [international] group we have a greater chance of attracting consideration, and therefore have no alternative but to forge ahead with collectively defining whatever significance *we* want the future artprocess to have.
My basic proposition is - why not seriously work together on a unified project, collectively come up with a significant set of process and imagery, and see if we can create a presence worth noting?
09 Jan 09 00:14
Hi there J.P. Well, this is not the first time this idea comes up and you know most of us have shown more or less interest in one way or another. But I think there should be some proposal of a clearly defined form for this international group (its goals, its way of presenting itself etc) so that discussion could begin. So, one of us could give it a try. Be patient though, because it needs some time and icubation (wow, I love this word... I am starting to form sentences on purpose just to use it). 09 Jan 09 12:24
Hello Maria... we'll probably have to flesh out that definite form all together. I imagine we could do something similar to what we're doing now, only at a much more involved rate. My main worry would be to avoid quarrelling too much in the group, so we should understand at the outset that the project is our common publicity exercise, and that our first thought is to the online viewer and making an interesting event.
09 Jan 09 14:43
Friends,I just received an e-mail from a friend that is dear to me. It’s one of these e-mails meant to be spread over the world by sending it to all your friends who are asked to send it to all of their friends etc. I suppose some of you have received this mail as well.
The e-mail comes as an outcry against the violence in Gaza and the so called aggression of the Israelis against the Palestinians. The photographs show Israeli soldiers pointing their gun against children, lots of dead, maimed or injured Children and crying peoples. The message is: Look at these Israeli beasts that are going to kill us and our children on purpose and with no reason to do so.
No word about Hamas, the al Queda like terror organization, that is firing rockets and mortar shells towards Israel every day since years. An organization that torpedoes every step towards peace. Whose militants hide on purpose inmidst a densely populated neighborhood provoking on purpose civilian casualities for to get enough footage for anti Israel propaganda. They store their weapons and ammunition in schools, mosques and private houses and launch their missiles against Israel from there out of the same reason.
I am no friend of military actions as well as I am no friend of terrorist activities even though they are running under the flag of „liberation“. And I understand that the sender of that e-mail is no friend of this either. But we must not be so naive to spread heavily anti-semite propaganda from Hamas in the name of pacifism and human rights. Spreading material like this makes us the useful idiots of an inhuman terrorist movement.
13 Jan 09 17:30
"Does meaning change with process?" It was a question asked recently on one of the very many art sites. I thought I'd save my response and the question it provoked for my favourite site of art losers. The easy creation of imagery with today's digital cameras combined with programs to manipulate those images have created a glut of pictorial matter that we are bombarded with whether we go looking for it or not. The making of art and imagery without the discipline of learning to measure, breakdown and reassemble, in other words how to really see what we've seen will surely change the meaning for artists unless "meaning" is only taken in the most literal of ways as it is for some casual viewers of the visual arts. Even photographers whose stock and trade has been the manipulation of light and dark are now freed from any constraints. The result of all this democratic "art" making is a complete devaluation and equalization of visual stimuli, it's all more or less shit. Just take a look through all of those aforementioned art sites, if you've got the time or stomach to do so.
There is a "sameness" today, predetermined by available software that becomes so apparent when perusing all this material. Even when used commercially as in cinema and animation the process becomes generic. There was a time when you could tell in an instant the difference between, for example, a Disney animation and a Fleisher Brothers' feature. Not any longer, today it's simply about the story, visually everything looks the same, individuality and expressive art have been removed for obvious reasons from all those commercial projects. Computer technology and software applications determine the look and visual feel.
The same thing is happening in the so called "fine arts" as more and more people find they can master these image making programs or at very least exploit aspects of them to produce "interesting" imagery. If the artists or image makers don't learn to draw they'll see what the average unschooled viewer sees. Simply "images" that will affect them randomly, "I like that!... Cool... Far out! ...That's gruesome." Just a "Rorschach" approach to art. Hopefully it won't happen and artists will just add all these new innovations to their arsenal of tools. Once the novelty wears off they might just resign all this stuff to the bottom drawers in their studios but I suspect not and think a major shift away from visual literacy is occurring, that is what sparks my question.
05 Oct 08 22:20
In response to your title question, any software developers/programmers I've known (I've met quite a few) keep well away from the visual representation of their own back-end work, and leave it up to the "graphics & web design guys" to do that kind of thing.I feel that if you're referring to the young upcoming fine artist of today, and hoping to get a response out of him/her - then you won't get much joy I'm afraid. S/he would never lower her/himself to reading a website that specializes in (loser)Artist-to-(loser)Artist Communication such as this one.
Maybe losing is an art? I've always felt the cliche' that art and loss are intertwinable is irrefutable.
Anyway, your warning on visual literacy is pertinent even to us old-timers - it's so easy to slip into judgement based on the latest digital mode of representation. I don't think I know how to draw anymore (do I still have the patience and concentration?).
And so, I'm preparing those templates you've instructed me to do (in an earlier message), and will send on your version when ready, so the painting lesson may begin.
You know meaning doesn't change with process. It takes an artist to transform a process into meaning - that's probably why so many say there's so few real artists?
07 Oct 08 22:52
Thanks for your answer, I never thought that the development guys were visual people but they're the ones designing programs that make it easy to visualize objects three dimensionally and from all angles in some kind of imaginary space. My point was that where there were once theories of perspective expounded by various artists, when put to practice it was still an individual artist's particular feel for perspective and measurement that made for individual style. The degree of perspective, whether to exaggerate, subdue or change it completely if that felt correct was left to the vision of the individual artist. With today's various raster and vector programs individual artists, illustrators and animators come up with images that feel very similar because the program is predetermined. That's what I see in all kinds of jazzy stuff produced for advertising or films and frankly it's become boring. Art schools are producing graduates proficient in various programs because that's what employers request. Job applicants must be familiar with (obviously in graphics, various desktop publishing programs) but also Corel Paint Pro, Adobe Photoshop, 3D Graphic applications, etc. I think it takes patience and intelligence to become a "computer proficient" professional artist. I think you're also right when you ask "why learn to draw?" It does seem to be a very slow process by comparison. Everything on the computer is quick and the mind becomes accustomed to that speed, it's addictive.
My main point remains that it is the designers of those programs, visual people or not, who are the real artists, their product being those selfsame programs. Creative people will and are doing things with these programs but the innovation is in the literal not the visual. It's the visual that for me is being lost. This is not just happening in the commercial realm. Digital Photography and printing is now an acceptable medium of creation for presentation in museums and galleries as more and more artists use their computer knowledge for personal expression. If as McLuhan said "the medium is the message" then I believe the people responsible for designing the "medium" are more "artists" than the artists that utilize them. And since the former are non-visual computer scientists I believe visual literacy is being lost. The literal image is paramount and that accounts for the successful inclusion of photography and digital imagery into the museum and gallery collections. People are used to seeing such images and put them on an equal footing with any other art, it all comes down to the image and not how it was arrived at. I'm not sure whether that's for the good or bad of humankind, it's just the way it is. Personally I feel it's a loss, a pleasure and sensual experience that seems to be vanishing, As we know there are still a few of us that love to get right up close to a canvas or sculpture and see the human hand and eye that produced the art but our numbers are shrinking.
By the way, I would never be arrogant enough to attempt to give you a painting lesson but sometimes one can trap oneself and I heard you make a plea for possible assistance. Sometimes we're so caught up in our own habits and the traps they lead us into, that it takes an impartial eye to find a possible way out. Isn't that your whole idea of "interfering artists"?
08 Oct 08 16:17
Well, it’s hard sometimes to keep high spirits. In such moments often a line from a poem by the Peruvian poet César Vallejo comes to my mind:Hay golpes en la vida, tan fuertes ... yo no sé!
There are hits in life, so hard .. I do not understand!
He indeed had a very hard life and died of starvation in 1938 with being only 46. So compared with him I am a lucky guy. This sometimes helps not to become too bitter and filled with hatred. I had no problems with bitterness all my life before stepping into the artworld. So now since I am working as a fulltime painter this everyday frustration sinks into my soul and charges it with bitterness and hatred drop by drop that’s not that easy to resist. And so unfortunately sometimes there will be an outbust. But such an outburst of course makes thing worse for afterwards I’m sitting in my cabin with a very bad concience and feel terribly guilty and ashamed.
The best time I have (besides being with my wife) is when diving into painting wholeheartedly. When I can forget about getting recognation or sellings and be happy with bathing in paint and doing what I love most. And in the end that’s the important thing that one lives for one’s art and tries to make it become better and better.
18 Jul 08 16:27
Well I can understand perfectly what you are talking about, except for the idea that the best time you have is when you are painting, I cannot say the same thing, for me the first day one paints is perfect, from then on it turns out to be quite a fight, at least I visualize it as a fight with the painting, in which at the very moment I turn around and relax for a moment IT wins, and defeats me like in a boxing round. If I am alone I swear and talk to the damm painting and ask myself who got me into this , and who is the idiot that tells me I have a certain facility to paint , or from where came the idea that one enjoys painting....... yes I want to do it but I know I can loose easily, and although time passes by very fast when painting, when finally I look at the watch and decide its time to go home, I'm exhausted , and maybe I've been retouching, redrawing something the whole evening, and it really hasn't changed much. James Lord describes a similar process in his book "Portrait of Giacometti", the frustration of the artist fighting with Lord's portrait , session after session, never being quite satisfied with the results. Lord photographed the whole process, and from the outside one doesn't see such a difference between the first portrait and the final version. But Giacometti always felt on the verge of producing something REAL, never quite reaching it. I understand him very well. There are days in which I seem to dissapear inside the painting though, and when I come out I need nothing more.
18 Jul 08 21:59
Well Karen, that sounds funny to me. It sounds as if a boxer would say: „Oh I really hate this fighting, it’s so strenuous and afterwards I am totally spent“. Okay, it depends on one’s nature but since I’ve learned professional boxing in my earlier years I knew that I like fighting. Knowing how to defend yourself and knowing where to put the punch yeah. I need this adrenaline bath and that’s why I only use fast drying acrylics while trying to paint wet in wet. That makes it as stressful as I like it. Being in this state of emergency is what I am looking for. All my senses are in alert, I see everything in a part of a second without even thinking. And maybe sometimes I even feel the urge to vomit for I am so much aroused and my solarplexus is revolting. Then you may sit in your corner of the ring, sweating, grasping for air but absolutely satisfied for you know: I made it. That’s why I don’t like oils for you can sit on a chair while painting and slowly doze off.So it’s not the challenge that infiltrates me with bitterness or the problems I have to solve when noticing that something is wrong with the mouth. To cite Sargent it’s exactly the essence of a portrait that there is something wrong with the mouth. What’s getting on my nerves is the indifference of some people, their ignorance when saying „oh, just another face, so why do you paint it when you already have the photo“? Or as the curator of a famous collection here once said when looking at my „At Arm’s Length“ series: „Why isn’t he painting younger men“? Then indeed like Lucian Freud I feel the urge to hit him right away, what by the way he really did in his younger years. He was notorious for that.
19 Jul 08 10:39
He must have been a famous curator but mind my words "he was quite an idiot" if he said that seriously, at that very moment I would have ended the conversation, no need to talk to another empty-headed person. You need your energies for other things. Yes I understand the feeling, in the end I compare it with the relation with a difficult lover, that makes you suffer but to whom you return again, and again, asking for more. The moments of euforia are few but fantastic, and finally when you see all that effort together, you realize the paintings have pieces of your skin stuck in the canvas, pieces of yourself, they are your story, all that energy you invested that nervous anxiousness is there.
19 Jul 08 11:19
Hanjo, the online Artprocess Bar wouldn't attract anyone if we didn't raise a bit of a rumpus every now and then. Heated argument is good for the atmosphere, and as long as you buy a round of drinks for the participants afterwards, all is forgotten!The difficulty of the market is familiar to all here. I hoping at least one active ap member (if not many!) will break through to wide recognition and financial independence. Nevertheless, the odds are stacked against the individual on that.
I'm a little reluctant to say this (from our previous experience) but we may have to look again to some collective venture in order to attract attention to what we do. It seems that when no-one of influence is supporting, it's a lot easier to gain exposure and acceptance as a group than as an individual.
19 Jul 08 11:39
Oh, the reward will be a night out with Hillel? Sounds phantastic indeed. So why not try to organize a second artprocess group show in Toronto so that we’ll catch two flies with only one trap? First we can meet again and show our works (and by the way make those people in Toronto understand what a brilliant painter they have in Hillel and put some shame on them for not having realized this so far.) and second combine all this with a night out (or two, or three ...) with this great artist and friend, pushing the economy of that place as well. But please make sure that the organizing person will not be that gallerist Hillel was talking about in one of his fabulous stories recently.
19 Jul 08 12:30
Enough time has passed and membership increased to warrant a renewed look at not only the direction of Art Process but its present reality and future potential. This is not to take away from what was its initial vision but to possibly bring it closer to that vision. An online virtual community of artists, that was the unknown factor when the site began. Was such a premise even a possibility? Well it is possible, friendships have been formed and continuing communications established, not to any great extent but enough to determine the possibilities and potential of the site. When AP first started there wasn't Saatchi Your Gallery, My Art Space or my Art Info, a few free art sites that I'm aware of now on the internet. Those plus all the other art sites available for fees or others I'm not aware of have changed the whole environment in the two years since I came aboard this one. At that time I was barely computer literate, being a subscriber to Modern Artist I was invited very early to the Saatchi site but it took me a couple of weeks and some help to learn enough to upload a few images and join. From that came an invitation to Art Process and the two others. Of all of them Art process continues to be the only one to capture my imagination. Yes, I utilize My Art Space as an alternative for the need to set up my own personal website, I'm probably too lazy, cheap or both to bother. My Art Space is excellent for that. This is the only site that fosters artist to artist communication and a sense of fellowship.I've never thought that the internet would be of any use for either the selling of art or making the artist known. Just to make things very clear I'm fairly certain that art, at least the kind that I've always aspired to will never be a commodity on the web. Enough time has gone by now for most of us to be aware that the only people on all of the sites I've mentioned above are the very young, very failed or for all practical purposes never to be throng of artists that have always been and always will be the supporting cast of the very few recognized artists of renown who dominate the art world at any given time. The percentages don't change but I would estimate that for every artist who can barely eke out an insufficient living there are ten thousand losers who will never achieve that much. And for every artist of minor import or renown, that ratio would probably increase to just one out of every hundred thousand. Just take a look at Saatchi's your Gallery or My Art Space and see the thousands upon thousands of artists listed and certainly no artist of even slight establishment reputation will be found among them. As far as I'm concerned the internet only illustrates very graphically and very swiftly what has taken me practically a whole lifetime to understand and that is the near impossibility of breaking through the sheer number of aspirants. So the art world will continue as it always has to be a place of very few winners and a great number of losers abetted by a number who straddle the margins, being in related fields like teaching or working in museums and galleries while continuing to do their art for no other reason then their commitment and love of the whole process. Naturally art being art, there's always the the hope of the unexpected.
The lovely thing about this particular site is there was never an implied promise or expectation of attaining either fame or sales. Artist to artist communication was always the main point, a place for artists to meet and discuss and hopefully inspire or merely entertain each other was the sole idea. Like the other sites mentioned and like the internet generally it's completely democratic, anyone can join and participate, veteran professionals, students, those just starting out and amateurs alike. But unlike Saatchi or My Art Space there are no ongoing contests for best of the month and other competitions leading to shows and so forth, where usually an entry fee is necessary. To be fair I don't think the Saatchi site charges fees but it has perpetuated a culture of competition. Yes things did lead to one offline show but that was an exception to the rule and I think very unlikely to happen again. You'll notice that there are no ads or links to other sites here as there are on all the other sites. My Art Space which started about a year ago now offers premium pages. If I sign up now, I can do so for the bargain basement price of $50 for the year. Presumably they will be charging $100 yearly in the near future to thousands and thousands of artists. Well, you can do the arithmetic but when it comes right down to it, it's a business. The difference is that this site has never had anything to do with business. It's objective was quite clear from the very beginning, artist to artist communication, no more, no less. If you expect to attract dealers, make sales or do any kind of business whatsoever as a result of this site you're barking up the wrong tree.
Obviously as it's for free, a number of people, possibly the majority having nothing to lose, upload their profiles and portfolios and partake no further of the site's real value as a meeting place for artists. In the close to two years of my involvement, I've noticed quite a number of artists whose work and portfolios haven't changed an iota. Neither added to or subtracted from and never a word from the artists themselves in response to comments or for that matter direct questions. Perhaps they're dead or incommunicado from some other personal tragedy. My opinion is that if an onsite presence is inactive for a certain period of time, just as the banks do it, accounts should be confiscated, profiles and portfolios removed.
The bottom line, Art Process is not about so called networking for the sake of business but for true socializing and the exchange of ideas for the sake of comradeship and art. To my mind a much more valuable and realistic goal. More then any other site anywhere, this one is geared and designed exactly for that. It has through trial and error arrived at what I believe is a perfect format for communication and dialogue.
Over the last small while I've tried to give a few examples of communications other than the usual artwork comments and appreciations. There is now on the Forum Page listings, Artist's Cafe, a place to tell the stories of our lives as artists, not just to amuse each other but to learn from each other and share our experiences. Why not do reviews of artists' and museum shows in the various areas of the world where we live? That's quite a resource, peers from all over the world sharing what they see. It's a chance to receive art information, not through the eyes of art reporters or critics but from our fellow artists. Why not treat ourselves to the same kind of scrutiny and comparison through essays and interviews that our better known brothers and sisters receive in respectable art journals? I am recommending that the administration provide a new Forum listing titled "Artist to Artist Interviews". The topics will include interviews by members, with members they feel to be of interest. Although language continues to be a barrier, hopefully interviews by artists, clever enough to have a second or third tongue, will be able to introduce artists of one language group to artists of another. Yes it takes some commitment but with a staff of hundreds and correspondents from all over the world the possibilities are as endless as our imaginations and it's high time we made the most of what this site has to offer, not for fame or fortune but for ourselves
13 Apr 08 16:48
Hi Hillel, I really liked your comments about artproccess and I think this is a great site. This is the only site that offers artists the opportunity to post works in progress. That's amazing, although I'm still getting over the nerves of showing unfinished works on the net. Never the less, I agree about the language barrier. It is amazing that we are able to have so many countries represented. I believe that Babelfish dot com has free downloadable software that will translate for us. That may be an option you could pass along.
26 Apr 08 23:40
Thanks for your comments Abby but I'm afraid that Babelfish doesn't work as advertised, I've tried it myself and found myself in the midst of a major international misunderstanding and incident.
27 Apr 08 19:21
Dear All, I must reply to this not only because I've been part of this website and I like it very much but because from this website I've gotten so much. First, no matter what some artists say I think the show organized in Sicily was a great experience, from that show I met with Federico Mazza whom is my boyfriend now. I could say that Art Process allow me a window for professional contacts as I have continued working in Sicily thanks to the people I met there and for personal matters since I have made good friends through it and the person i love.
I think what Hillel says is very true and I wouldn't know how to say it better, my comment can only be as an artist, that feels very happy and thankfull for this space where to network, share and exchange opinions, it is very authenthic and that is something I appreciate a lot these days. I have kept updating my information but it is true I've never been a big forum contributor so on that I do declare my self guilty !!! but i think we can all refresh a bit content and start to give it a bit more of an active content without making JP use his time much for it.
For JP I think he has been wonderful in every sense and the least we could do is to someway save this wonderful space and show him that we do care for all he has put up for artists.
All my best for you
sandra
ps: I'll translate in italian if needed (babelfish is something to AVOID)
03 Jun 08 08:40
englishMAKE YOUR VOICE HEARD!
DO YOU CARE WHETHER OR NOT ARTPROCESS CONTINUES TO EXIST?
italiano
FATEVI SENTIRE
VI INTERESSA CHE ARTPROCESS CONTINUA AD ESISTERE O NO?
ENGLISH
(on Sunday, May 1, John Paul Delaney posted this comment.
"The employers for whom I spend my time figuratively washing dishes, have decided yet again it's time to turn everything upside down (i.e. reorganize) and so even though I'm still employed in a day job, I've been assigned to do duties completely different to what I've become used to. Unfortunately, I know next-to-nothing about what I'm expected to do now, therefore I see some months of re-adjustment as I learn to do what's now expected of me.
This means I'll have little or no time to spend working on ArtProcess - which disappoints me somewhat, as I see the site being used less and less, and it probably needs some dedicated development to attract back some interesting contributors.
Hillel, I always remember your line of this being a loser activity, but you still decided it was worth adding a contribution or two to help out. In the end, you turned out to be the mainstay of the site. Right now I wonder if it's really worthwhile pushing this website along any more, as in the end it's not attracted much interest amongst our fellow artists out there. As you mention, much better sites for artist exposure exist now, and so it's probably time to call it a day for the artprocess project, and put it down to yet another loser adventure, interesting as it was, while it lasted?"
ITALIANO
Domenica 1 Maggio, John Paul Delaney a scritto questo commento.
“I miei datori di lavoro per I quali in maniera figurativa sto lavando piatti, hanno deciso che fosse ora di fare tutto sotto sopra (cioe’ riorganizare) e quindi mentre ho ancora un lavoro di mattina, mi hanno assegnato compiti completamente diversi da quelli che sono abituato di svolgere. Sfortunatamente, so pocco o niente di cio che dovro’ fare adesso, quindi vedo qualche mese di adattamento per imparare a fare quello che si aspetta da me.
Questo significa che avro’ pocco se non proprio no tempo per lavorare su ArtProcess – fatto che mi rende un po deluso, visto che il sito viene usato sempre meno, e che probabilmente richiede uno svilupo piu dedicato per riattirare alcuni contribuenti interessanti.
Hillel, ricordo sempre le tue parole che questa e’ un’ attivita’ perdente, ma avevi deciso lo stesso che valeva la pena di dare un contributo o due per aiutare. Alla fine, sei diventato la figura principale del sito. Adesso mi domando se davvero vale la pena di mandare avanti questo sito web, visto che alla fine non ha attirato tanto interesse dalla parte di artisti la fuori. Come dici, esistono siti migliori per la promotione di artisti, quindi forse e’ giunto il momento di chiudere bottega per il progetto ArtProcess e catalogarlo come un’ altra avventura falimentare, interessante finche’ e’ durata?”
ANSWER / RISPOSTA
Personally we would be saddened to see the demise of this site, we still think ArtProcess has some kind of potential for dialogue that's unique but the responsibility for providing content has always been its members' and it seems we haven’t met our expectations in that regard. We realize that JP can't do it alone and he has other commitments but we're prepared to contribute what we can.
If you would like to see this site carry on then make your opinion known by responding with a, "Yes!" "No!" or "I don't care!", and if you care to, an explanation or opinion. The fate of ArtProcess is in your hands.
MARIA & HILLEL
ITALIANO
Personalmente, ci dispiacerebbe molto vedere questo sito crollare. Crediamo ancora che ArtProcess ha una potenzialita’ unica per creare dialogo ma la responsabilita’ del contenuto e’ sempre stata dei suoi membri e sembra che non siamo stati all’ altezza delle aspettative riguardo questo. Comprendiamo che JP non puo fare tutto da solo e che ha altri impegni ma siamo pronti a contribuire quello che possiamo.
Se vorreste vedere questo sito andare avanti, fatte sapere la vostra opinione rispondendo con un “Si!” “No!” o “Non mi interessa”, e se volete agiungete la vostra spiegazione. Il destino di ArtProcess e’ nelle vostre mani.
Maria & Hillel
03 Jun 08 09:08
Well, I have seen or being a member to some other websites showing art, like the Saatchi site, Artmesh or Artrewiev etc. but NO ONE OF THEM can keep pace with Artprocess in terms of communication. As Sandra has pointed out artprocess initiated many very close friendships and no one of those participating will ever forget this wonderful gathering in Trapani in 2007.Well, it is true, me too fell more and more silent recently for I have to struggle with my art and I am a painter and not a writer, particulary not in English. But as one can see from the „Authoritative Voices“ list it’s only a small amount of the members who really use the communication tools. And if one of them fells silent it immediately has a bad effect to the site. So I have to call myself to discipline and continue commenting.
Let’s keep Artprocess alive, this wonderful site with its features no other site has like the fantastic „studio log“ section which at the moment is only used by Titus and Hillel as far as I know.
It’s true that at the moment there is not so much activity on the site. But on the other hand I have the feeling that the activity comes in waves. Sometimes there is more sometimes there is less. Or maybe we are spoiled with the Trapani preparation time when the site was humming with activity. So let’s increase our activity and staying patient at the same time and not as we say in German empty the tub with the child in it.
best Regards Hanjo
03 Jun 08 09:33
Dear John, I might be a bit slow to comunicate things, I would like to tell you that artprocess for me has been a very important experience, for the love of art and life, I've rediscovered values and forgotten passions by meeting all of you artists. I'm proud of being part of art process because I've met the people behind, generous people like you, interesting and stimulating, beatiful people that love art unconditionally. I think it is terrible to take away Art Process with all the "garbage" around. I would be happy to help you taking are of the website, graphically and technically if you won't have the time anymore, maybe Sandra can also help with promotion and good new ideas. I would love to meet you soon, after 18:30 where are you? in Rome? let's see each other I would love to talk to you, best FedericoITALIANO:
Ciao John, io forse sono un pò lento a comunicare le cose, io vorrei dirti che Art process Trapani per me è stata un esperienza importantissima, per l'amore prima dell'arte poi della vita, ho riscoperto dei valori e delle passioni dimenticate da tempo conoscendo tutti voi Artisti. Io sono fiero di far parte di Art process perchè ho conosciuto le persone che ci sono dietro, persone generose come te, interessanti, stimolanti, belle persone che amano l'Arte senza freni inibitori.
Mi sembra terribile levare via Art process dalla retre, con tanta spazzature che c'è. Io vorrei propormi per riattivare Art process, darti una mano per gestirlo se tu non avrai più il tempo, coinvolgerei anche Sandra per nuove idee ed energie positive, io vorrei incontrarti al più presto dopo le 18,30 dove sei? a Roma? vediamoci, vorrei parlare con te dopo tuttto questo tempo! con sincero affetto, Federico Mazza
03 Jun 08 10:54
Estoy absolutamente de acuerdo con todos vosotros, sería una pena dejar morir Artprocess, es una web distinta, con otro tempo, otro nivel de comunicación, mas profundo y personal, menos superficial. Es cierto que no todos han participado, y la lengua es una de tantas razones por las que creo que otros artistas, no escriben con asiduidad, y de ahí que haga este comentario en español. Es difícil comentar una obra de otro artista, como para encima tener que hacerlo en una lengua que no es la tuya. Todos los días antes de irme a las 8.15 de la mañana echo una ojeada a la web, y leo a Hillel o a Maria, o a JP, o a cualquiera que haya escrito en ese momento. Por ArtProcess conocí y he mantenido un pequeño grupo de buenos amigos, que de una manera u otra han alimentado y enriquecido mi vida. Me he asomado por detras del hombro de Hillel cuando miraba los garabatos de su amigo, ya muerto, y he compartido los esfuerzos de Maria autoretratándose a golpe de luz y materia, he leído con interés los textos de Hillary, y he observado con curiosidad los arrebatos de color de David, o los descubrimientos de JP al caérsele una estatua. He conocido Trapani , lo que considero un lujo para el alma, y para la vista. Y me precio de haberme traído algún amigo siciliano que me parece ya como si le conociera de toda la vida, y para toda la vida. Es cierto que no he escrito tanto, ni tan a menudo como Hillel, por ejemplo. Primero por que no escribo de forma tan amena, aquello que tenga que decir está en mis pinturas, está todo allì, si uno quiere leerlo. Segundo porque escribir lleva tiempo, y este año ha sido un poco complicado para mí. Así y todo siempre he dejado patente mi intención de ayudar en todo lo que me fuera posible en el funcionamiento de la web. Así que dejo aquí también mi voto de que no se deje morir algo que está en el fondo muy vivo, y reitero mi oferta de ayudar en lo que pueda para que siga funcionando. Creo J.Paul que has hecho algo diferente quizá porque tu enfoque de lo que son las relaciones entre artistas es diferente y en él no entran competitividades, ni concursos, ni niveles, sólo personas que buscan y a veces y en el mejor de los casos, se encuentran y comparten, así que creo que puedes estar orgulloso. Mantengamos esta web latiendo , entre todos.I wrote my comment in spanish but in a few words it says that I agree absolutely with all of you, it would be a pity to let Artprocess dye, it is a different web, it has a different tempo. There is a much more personal and deep level of communication between artists. It is true that not everyone has participated, and I think the language is the main reason for this. If writing a comment is complicated let alone doing it in a language that is not your own. Thanks to ArtProcess I've also met some very good friends that have expanded and enriched my life, and I lived Trapani, an experience that I will never forget. I have shared the process of doing an artwork with many different artists, and learned from it. This is unique indeed. So I owe this web a lot, and I wouldn't want it to dissapear. If I can do anything to help it go on, please count on me, I think it is worth it. Let's keep it alive with our voices.
03 Jun 08 15:37
Caro JP, togliere artprocess sarebbe un delitto contro l'umanità. capisco che forse diventi sempre più impegnativo lavorarci e che tu hai anche un lavoro, una famiglia.... però ArtProcess è un patrimonio di tutti, anche di chi non si occupa attivamente di arte ma ne sente la necessità. L'esperienza di Trapani credo che sia stata meravigliosa e che sia stata assolutamente trasversale al sistema ( artistico). Fin dall'anizio artprocess ha avuto una grande partecipazione e tante persone hanno collaborato e contribuito con i loro interventi e le loro opere, per difendere delle parole che dovrebbero renderci migliori : comunicazione e cultura. questo progetto è la testimonianza che ognuno di noi può dare un contributo e insieme fare la differenza. Non è un pensiero romantico, ma un dato di fatto. ArtProcess è un progetto straordinario che può e dovrebbe diventare ordinario.
03 Jun 08 16:41
Well, it seems we're all in agreement, I certainly can't argue with anything that's been said here and that even includes my own statements. I think Frederico's very generous offer of help could be very beneficial. We certainly haven't heard from everyone and once again I encourage them to make their opinion known. But the general consensus seems to be that ArtProcess is beloved and recognized by its member artists as being something rather special, as is its founder and the moving spirit behind the whole thing.Yes there are other sites now for exposure and social networking but we all know this one is the real deal, the one with pure heart and intent. JP, I know you're seeing our words here. We want AP to continue and people are ready to help and make a more concerted contribution of time and effort. The only issue that hasn't come up is the cost of keeping it running and I know you're allergic to any talk of capitalizing from this site. We also know that you bear the whole brunt of bearing whatever the economic expenses have and continue to be. You're a dedicated free software GNU kind of guy. Please remember that all of them including Wikipedia don't turn down donations. I've spoken to enough members to know that they would not be averse to the idea of a non mandatory donation. Perhaps a suggested small annual fee of some kind on a strictly voluntary basis.
04 Jun 08 15:45
Well... I sure was surprised to see all those messages. Actually, I don't do any work on the site (other than the odd bugfix) - all the work was done at the beginning, so that it would continue on it's own without me having to do any regular maintenance.
I was at the point of starting on a new set of functionality for a great suggestion of Hillel's who wants a new artist-to-artist interview section with the possibility to upload images, and make modifications before publishing the completed interview. I'm very interested to do this, only it will take some time to code in a way that it becomes a do-it-yourself, user-driven, interview application (i.e. I don't have to do any work once it's complete).
I also want to setup a proper "publicize your exhibition" section.
I had been wondering if there's any point in doing this at all as I felt you were all losing interest in the project. Your response tells me otherwise - so artprocess will live to fight another day. Thanks for the support!
There's only a problem of having to wait until my daytime job eases off a little so I can concentrate on the interviews development.
As far as money is concerned - most of you probably know the artprocess mantra by now - the artist shouldn't pay, as s/he pays so much (in sweat and tears) already, just by doing the artwork s/he does.
As long as I'm washing the dishes, that pays the bill.
And I'll be very happy to take up Federico's great offer - as you can see, we badly need a decent graphic designer!
Thanks always for your ongoing contributions of communication and artworks - you, ladies and gentlemen, are the soul of artprocess, and as long as you consider it worth continuing, the site will be there for you.
Kind Regards.
/j-p.
05 Jun 08 00:14
Weel Jpcome on! contact me please!
iniziamo a rispolverare Artprocess! mi chiami quando vuoi? o ti posso chiamare io? nel weekend? Io sono un uomo operativo, non mi piace molto parlare dei problemi, mi piace risolverli!
06 Jun 08 10:08
Scusa Fede... sono immerso in un nuovo progetto di lavapiattista e non ho un attimo di fare niente neanche durante il weekend. Si tratta di una tecnologia di cui non so assolutamente niente ma devo portare delle soluzioni in tempo breve (cazzo - perchè mi trovo sempre in queste situazioni assurde? Voglio solo dipingere). Sarà un'estate dedicata ai piatti purtroppo.Appena ho un po' di tempo libero per dedicarmi all'AP, to faccio uno squillo.
Grazie sempre per la tua offerta di aiuto - è ben accettato ma non vorrei sprecarla, quindi aspetto un momento quando siamo tutte e due liberi e possiamo progettare qualcosa interessante insieme.
Nel fratempo vedo che stai facendo grandi passi in avanti con le tue opere - ripeto i miei complimenti e spero che continuarai sempre concentrato come sei.
Un abbraccio.
/j-p.
06 Jun 08 19:53
Caro JP, apro con la traduzione di un verso di uan canzone di Bob Dylan:" ho visto tempi oscuri dove non riuscivo a trovare un amico. Ho visto fuoco, ho visto pioggia". Pensare di chiudere Artprocess, una libera comunità di liberi artisti, di questi tempi oscuri, è paragonabile alla sensazione di fuoco e di pioggia che spesso brucia e bagna le nostre esistenze. Il sottoscritto, pur essendo tra i sottoscrittori di Artprocess, ha poco contribuito al dibbattito sul sito, e per questo chiedo scusa. Ma devo confessare che ho trascorso molto tempo a conoscere gli artisti iscritti al sito,ed è stato un bel giro attorno al mondo.
Fa la tua legittima stanchezza non interrompa questa piccola comunità virtuale (e non) ciascuno con le proprie competenze, potrà animare e aggiornare il sito mentre termini di...lavare i piatti... e puttosto ti ricordo che a casa mia c'è sempre un posto per te. tuo
vmm
07 Jun 08 16:38
I would really like to see Patricia's tile instalation better. Maybe consideration should be given to the studio log image size. Especially since we usually upload views of studios or spaces and not just close ups of works. J.P. I hope I am not putting presure.
02 May 09 16:33
Patricia, this is a brilliant project! Congratulations! So in a way the green line finally becomes threedimensional with all the stories it transports. As you know I always thought the green lines to be a novel difficult to read but trying is worth it. Thanks for sharing your experience.
02 May 09 17:04
Please see the AP link below where this topic first came up, I think this Forum location is more appropriate if any more conversation is to take place.[LINK]http://www.artprocess.net/artshow?artist_id=1159&fname=Tony&lname=Mac Cárthaigh&img_id=6598[/LINK]
JP's not really talking about criticism, sorry if I left that impression. He's well aware that everybody has their own take, different strokes for different folks and all that. What he's interested in is knowing what's going on in artists' minds and by what process, successful or not, are they trying to reach that wee glimmer of something or other that initiated their quest in the first palace.
All I'm saying is that right now the only place to do that on this site is the Studio Log but seldom will you get an artist able to do a whole lengthy monologue about their own process all on their own. I have seen that when prodded with questions as in an interview they can be quite forthcoming.
If this is not to be just another artist showcase site (there are a great many and much better able than this one for that purpose) than an interactive Studio Log might be the way to do it. i.e. Trade off much of the individual showcasing for the ability to intercommunicate on the Studio Log pages.
Ok now you can all beat up on me.
27 Nov 09 20:46
OK Hillel et al, thanks for the prod. I'd better start up some activity again at ap or the Gang Of Four who *are artprocess* will get totally fed up and move off somewhere else. Next week, I'll start taking a look at re-working the SLOG. It was done in a hurry, and has lots of rough edges about it, and I'll add the possibility to comment as you say. Once I get into rhythm I'll take on other suggested changes that have come up in the past. I'm a bit rusty now with this coding work, so please continue to be impatient and keep on bitching while I try to pick up where I left off.I've said this before elsewhere and I'll bore you all again by repeating, that for me at least, the idea of ap was founded on my experience many years ago at art school where the real learning experience was generated by the students themselves. I learned the validity of how different approaches to working could resolve equally well shared concerns, with lots of discussion, argument, and humour thrown in for good measure. More importantly, I saw that this is how a group comes together and begins to create a collective identity (e.g. overheard conversations "Have you seen what they're doing down in 2nd year painting?").
Fast-forward 25 years later and you've got a bum painter isolated in a foreign country who fails to interest anyone with what he's making, and occasionally thinks back to when the process of trying to produce art was much more vital, and shared communication helped to keep research and exploration moving on.
I imagined there must be many more people out there in similar situations and so ap was to be a place where that communication could begin again, having the ultimate goal of allowing a collective identity come into being. If, and whenever that happens, the group voice will be a lot stronger than the individual and, managed well, could begin to attract attention within the art world. At that point, we could present a convincing case for art event managers, gallerists etc. to invest in our work and to finance our shows.
We're nowhere near that point now. Nevertheless, there's a faint glimmer of hope still being kept alive by those four who are the core of ap, and so I suppose it's only right that I get off my fat ass now to contribute my part too.
28 Nov 09 07:58
Good, I am glad to hear that the SLOG is going to get better. Now I don't know about how much data can this site handle, but it would be really good to have larger images. An maybe a little more tidy layout of the projects together. When it started, for the Trapani purposes, one couldn't have imagined there would be so many projects and now the drop down list looks too long and messy. One more thing is that projects get in alphabetical order instead of time of publishing order, which makes it difficult to follow one's process. Some times when I go through my slog I think of deleting some stuff but then I don't because some of it is our history. On a second thought, reorganizing just the slog lets unsolved the problem of having this so well cocneived artprocess site crowded with people who happened to through some paint on a piece of paper once in their lives and satisfy their vanity by putting it on the web, like is the case in most free online galleries, but are no artists nor do they aspire to interact with one. I don't know how it could be put in practice but wouldn't it be better if the whole site was not enother gallery but a big studio log instead? Wouldn't that discourage those who do not intend to interact in the first place to waste site space and wouldn't it make it easier to show the site's identity at fist glance?
28 Nov 09 21:06
Not exactly sure what SLOG means in this context but what I was trying to get at Maria and perhaps I wasn't clear was to trade off the gallery aspect of this site and concentrate ONLY on the Studio Log aspect. Just leave 10 or so examples of an artists portfolio not an alternative personal website. I've always been personally reluctant to edit or delete any images in my "portfolio" particularly if there have been any "comments" because I know the hard work that was entailed to extract those comments. But in order to separate this site from others that aspect would more than likely have to go.Other sites do the gallery thing much better than this one, huge unlimited image file upload and so on. So why not just get rid of the dilettantes, rob them of just another place to upload images and put all the AP resources towards the Studio Logs. In other words put the emphasis on the "Process" as opposed to the resulting "Art". JP might disagree and I'm sure these changes probably entail a huge toll of labour on his part but I think given the online options that going this route might be more faithful to his initial vision.
28 Nov 09 23:35
Gosh Hillel.. I sure hope I don't end up in your classification of dilettantes. I'm just a bum painter hoping to get down into the painting hole sometime soon but don't have the balls to tell the world to f* Off because what I do is so much more important than washing the dishes so the family can get by today. I post some images of my work hoping there'll be some bigtime moneyed collector who'll recognize the true worth of what I do. The thing I don't get is that no bigtime collector will ever set foot in ap.As it's the major battle of my life just to *BE* in the painting hole (who here can concur with this), I surely can't be asked to willingly spend literally days fiddling with these horrible computer things as a means of communciation with my fellow artists.
Nevertheless, as you say, times have moved on. Happily, there is no real need for ap anymore - today artists have ample opportunities to exhibit their work on the web, and in far better contexts.
Nevertheless, coming back to your argument, as a reminder the original precepts of ap were:
1) Anyone who says they are an artist is an artist.
2) Artists should never be asked to pay money.
So be it for artprocess.net.
Coming back to your valid point, one day I want to re-open the site artprocess.com (currently not available) to artists from artprocess.net who agree to be selected artists. It'll be a sort of "BEST OF AP" from my point of view. I think there we may be able to develop your ideas for a more professional group, and collectively build something of consequence to reflect serious artists with serious ambitions.
Just bear with me, and give me the time to fix ap.net so it works a little better for all, then we'll move on to something new that the Gang Of Four (if they agree) and I can develop together from a concept and functional point of view.
29 Nov 09 17:10
To me SLOG is short for Studio Log. I hope it doesn't mean anything else in English. I'd better look it up...Yes, Hillel, I understand what you are talking about and I am at the same wave length.
JP, to begin with, you are already putting a great amount of your time and energy on this project and I don't think anyone here expects you to perform miracles in one day. We can all plan this slowly and it will be ready when it will.
On the other hand, if you ask me not everyone who says to be an artist is one. And this is one of the reasons why "big time collectors" do not waste their precious money making time browsing through all those existing virtual galleries, full of Sunday painters and people with no real artistic vision or ambition.
Thinking of this another matter arises. What is meant by a "group" of artists?
a) Are we talking about a group of people who form a "group" based on the mare fact that they are artists? In this case this “group” has no identity and in my opinion there isn’t any specific reason why it should be called a group and why should anyone pay any particular attention to it.
b) Is it about a group of people who may have different ideas on art making but that is of no importance since what they aspire to is to get their forces together only in order to get into the art market? Honestly, if I were anywhere in the art dealing business, I wouldn’t pay much attention to such a group.
c) Or are we talking about a group of people who have in common specific artistic ideas that distinguish their work? A group like let’s say “the cubists” or “the fauves” or “the surrealists” etc. In that case we might be getting somewhere. Of course in that sense in Art Process there are a few different disciplines so we cannot be talking about one group but a few subgroups within a larger one, which I personally find very interesting and might be interesting also to potential art lovers who browse the net, if there could be found a way to distinguish these subgroups as if in a big house with different studio-rooms, where work and discussion take place and then have occasional inter-room communication too.
If this artists’ community project were not on line and it were done in some local dimension, some people would start a group and there would be people who would enter the group because of some real intellectual reason, without which it wouldn’t have crossed their minds to get anywhere near it in the first place.
Now these are some thoughts of mine. I am going to work for the next three precious free hours I have left now. Otherwise there would be nothing to talk about anyway.
30 Nov 09 12:40
Oops Maria, I expressed myself badly. I meant to take the position of any ol'artist out there who's battling against the stuff of living just to get to her/his studio every now and then. Sometimes it's hard to be a judge when they don't have the time, inclination, or ability to actually jump into the communication thing, and all they have is hope for the big-moneyed collector :o) !Personally, I've hardly done anything with ap for over two years now, though I suppose it's time to start up again.
Your questions on the meaning of group are very pertinent. I see the GoF (Gang Of Four), with others such as Fotini and Arnold for example, that might be convinced to work together in some way. A thread of bold figurative work and a desire for discussion seem to unite them in some way.
That's something to think about for the future, and would come under your c) category. I'm quite interested in b) however. Hopeless causes attract me. My goal would be to help create a group that would become interesting to the art market. All we need is a little cynicism, strong ideas, and good marketing - something we're quite capable of I believe.
I hope you enjoyed your remaining three hours of work. To my mind, you are the one at ap making most advances with your art. Please continue to post your progress, and I'll start soon to look at making the slog interactive. ciao.
01 Dec 09 06:15
The "real" artist ? I think it was Robert Hughes who put down Basquiat as talentless by virtue of having bye passed the art school system. A friend of mine pointed out that over 30,000 grads exit that system each year but to what effect. Is it all attitude then ?It seems to me that the Gof4 have already mentally jumped from the good ship A.P. As figure painters of varying abilities with a mutual hierarchy a flight to reasoning text based dialogue is irrestible. However as an outsider loner of long standing my instinct is to abhor elite groupings. But detaching from personal beliefs i have to conceed that most human endeavour sets standards for itself. So what if the despised Sunday painters recognise their efforts for the often limp copy Art that they are yet feel inspired to improve while being challanged by the company of their "betters".
06 Dec 09 20:29
No, Tony you have missed the point. Where has anyone said that “real artist” and “art school” have any sort of “necessary condition” relationship? Did you hear anyone here talking about Master in Arts degrees? No. It is a common place that Picasso had been almost thrown out of several Art Schools.What I have been talking about is people for whom art making is a way of life not a profession certified by a diploma. And these are people who dream to do nothing but art, regardless the fact that they may have not succeeded in doing so just yet, not because it is fashionable or because they can get the girl in a cocktail party while talking fancy, but because they are bursting with it.
Now, I must admit that I haven’t fully understood what you mean in the second part of your comment, so I can’t provide an answer to that. However I would like to point out that the "Gang of Four" title was given to Kagan, Schmidt, Kruse and myself arbitrarily and regardless the friendship between us four I do not quite identify. I think it is an unfair, untrue simplification of what has been going on here in AP the past three years.
08 Dec 09 23:07
It's not too difficult to become part of the AP "elite", all you need do is write the odd word here or there, a comment, an observation or some random thought. This will immediately establish you as a loudmouthed opinionated jackass or as most everyone else would say "he / she's part of the AP elite".Abhor elite groupings or not but just a few more comments Tony and you yourself will have joined the ELITE.
10 Dec 09 21:06
The whole idea of an elite is ridiculous, even the idea of creating an artistic group out offour persons that work in different ways, in far away countries with different goals is strange. As Hillel says it is just a question of participating more often in this web site. Nothing to do with elites or degrees or anything else.
Solitary painters, not necessarily successful, that every now and then like to talk with someone else with similar interests, share difficulties or low creative moments. I have used this web in that sense, at the end of a day, as one shares a coffee with another friend, I came here to see what was being said or showed. I had more time then, and the time I had, I could dedicate to painting, now I have little to show here if there is anything, (and I find it so funny to be talked of, like being part of an elite!!) but nevertheless I check it every day, for it is the only web in which sometimes you can read an honest and interesting comment. “sometimes”. There have been other members who we all were interested in reading too, like Arnold for example, who for some reason or other aren’t mentioned, and should be.
So in the end this is like an evening group meeting, virtual meeting, in some “café” of who knows where, in which sometimes you listen, sometimes you talk, sometimes you upload your work with pride and sometimes you just watch the rest of the world create while you ask yourself if you have anything worth saying or showing .
11 Dec 09 08:08
To define what is a “real” artist is very difficult. More than to be one. I am often in contact with teachers and students of Fine Arts, amateur and Sunday painters, and I could not say which one is an artist more than the others. Even I'm not sure to be one. The word “artist” refers to an ideal, and in that sense are artist those who wish to be one. But how do you measure that?!There is a precept from the “hacker world”, the inventors of Internet, which says that someone will be called “hacker” when other hackers call her so.
Therefore, artists, comment my pictures and make me an artist, please, and then get me out of the AP!
11 Dec 09 13:52
wow Hillel if only i had realised it was this easy to join the elite i would have opened my big mouth long ago.....
11 Dec 09 17:39
See there ain't nothin' to it, welcome to the elite. It's quite a grand feeling isn't it, almost overwhelming and believe it or not this is just the beginning. Congratulations!
11 Dec 09 18:02
FRANCIS BACONThe last museum exhibition I saw worth talking about was "Francis Bacon / Paintings From The 1950s" at the Albright Knox Gallery in Buffalo, New York. Buffalo is only about an hour and a half drive from Toronto and naturally I only got there on the very last day of the show, July 29th, '07. There was quite a lot of work, mostly from the Sainsbury collection, thirteen paintings in all. The Sainsburys were early supporters of the artist and the portraits of Mrs. Sainsbury were Bacons first depictions of a female. In addition there were works fom other private collections from all over the world including Albright-Knox's own "Man With Dog", he did at least a couple of versions on that theme, the one at the Albright -Knox is definitely the best. Although it's a relatively small museum the Albright-Knox has an excellent collection and when they make an acquisition it's usually a very good example of a particular artist's work.
Although I've seen a few original Bacons previously at the Tate and the one that's in the Albright- Knox collection, this was the largest number I've ever seen at one time and there were a few good pieces and a few not so good ones. It's always a good lesson for us artists to learn that even the greats are not always that great and that should give us leave to be a little kinder and more forgiving with ourselves. What impressed me was Bacon's attention to the presentation of his work, not surprising for a gay former interior and furniture designer. This need for lusciousness, all the works beautifully and sometimes ornately framed with elaborate mats and under glass. So prissy and precious and sometimes actually quite annoying, all that glass, the reflections often obscuring the image underneath. What surprised me was that the show produced in me this kind of stereotypical gay notion of Bacon for I've never really thought of him as gay in that way, implying a homosexual at ease with life or at least wanting to be. Rather, I've always thought of him as I think he did, as a queer, a flaming faggot. The boy that his manly horse breeding aristocratic (although broke) Irish father threw physically out of his home for being a poof and parading around in his mother's underwear and gowns. The young lad that lived a life of decadence in prewar Berlin on the the avails of older men. Crossing the channel once again to continue that kind of life as best he could in London. Always attracted to the underworld and the dangers of the brutish types he was prone to, the ones he could count on to give him a good beating or rob him of his money and punish him as Dad had done for being a queer and thus satisfying his deeply sadomasochistic desires. Notorious for his flamboyancy and sardonic words he was an outlaw to the end. Compare him with Hockney, an artist I admire for his cerebral study of art and optics. A gay man at ease with himself and others, I met him once at an opening, he was very polite and charming. Also compare their art, of course there is no comparison. Bacon's art when successful is simply unforgettable, all that angst and pain imbued with the strangeness of his life that makes us all too aware and sensitive to the strangeness we all feel somewhere within ourselves.
Just a couple of other observations. Admiring art writers have often spoken of Bacon's originality in painting on the reverse side (the unsized and unprimed side) of the canvas, yet no one ever mentions, as you all well know, that the sizing and priming supposedly protects the canvas from the acidic effect of the oils and turps, although frankly these paintings from the '50s seem to be in perfect shape. So much for art education. Not having one allowed Bacon to do as he chose. The point I'm coming to however, is never believe what an artist says even if he or she believe it themselves. Bacon in interviews and statements made much of what he called chance in his painting and I don't see much of that at all, in fact he was a very controlled painter. The reason he painted on the unprimed side was for reasons of control. I know it because when I was a graphic artist we used similar techniques for rendering mock ups. We would do big flat areas of colour with thick strokes of waterproof Magic Markers. The depiction of letters or figures could be painted in very quickly with designer colours or gouache without disturbing the underlying areas of colour. Likewise Bacon who no doubt used that technique commercially as a designer found that the oils on the "wrong side" of the canvas were absorbed and dried very quickly. In other words they stopped so that he could have more control when painting his figures without the colours bleeding. Later, for the same reason he quite often used acrylics for the grounds.
Actually he always painted more as a designer than a painter, like Robert Motherwell he had superbly good taste. In Melvyn Bragg's documentary on him there are some scenes where he reviews some slides of his own work and other works important to himself. Shown a of slide of his own works he said something to the effect of, "I don't think that one worked very well." that was followed by a similar painting of the same subject matter and he said something to the effect of, "Oh that one's much better, it's a much better layout". That really struck me at the time because designers and commercial artists concern themselves with layout, whereas painters always talk in terms of composition. That's the reason I think a purist and idealist like Giacometti derided his work and called him a fraud. I love my hero Giacometti but I also love Bacon precisely because he was a fraud and trickster who invented his own rules and life and art and stage managed the whole thing perfectly and yet beyond all that, his paintings are honest and do reflect his life and obsessions.
(Anyone else out there who has seen something of interest, a commercial show or a museum show or anything else that has given them food for thought please share your ideas with the rest of us and post your writings here. And as always your responses, arguments and objections are welcome.)
18 Mar 08 00:47
DIFFERENT PERSPECTIVES ON FEMALE SEXUALITY.
JOHN PAUL DELANEY AND TERESA MILLS
Two different Art Process artists one male, the other female. Both working three dimensionally. Their topic, female sexuality and surprisingly they come to rather the same conclusion.
Taking the Art Process tour you sometimes notice certain things of interest. Completely different works by what appears to be artists of completely different sensibility start to come together and make some kind of visual sense when viewed together in the same context.
Let me make the case of the connection between the two artists titled above.
John Paul Delaney's Inverted and toothed sculpture "The Victim" He explains it away as something different just a reaction to doing works with protruding and arrogant elements (sounds very macho and very defensive doesn't it?) yet I can't help viewing it as other than the almost inevitable attraction to and the succumbing to female sexuality and the inherent danger so prevalent in the male imagination. The cause of early male impotence, fear of losing one's manhood to the mystery of the female organ is a common and an archetypical male phenomena. There's a certain truth to it as well. The male spider is compelled to forfeit his life for the pleasure of sex and the procreation. A similar feeling takes hold to greater and lesser extents among human males. The deadly attraction to that place of comfort comes with great cost. The union that produces family and children and also produces the loss of freedom and individuality, the shackles of conventionality and obligation. The loss of one's self and one's art. These are the fears and possibly the realities depicted so beautifully in Delaney's work. [LINK]
As I looked at Theresa Mill's beautiful work "Sexual Object" I couldn't help thinking about how much more direct she was about the whole sexual thing, quite aware that the beautiful organ conveyed so tenderly in her work is also the cause of the same trap that the male senses and even worse (men quite often abandon the whole setup whereas women, so connected to the children seldom do). She very wittily turns the lovely organ into an iron for pressing clothes. The compulsion the organ produces in her and the resulting consequences will certainly keep her bound and chained to the tasks of housekeeping, responsibility and obligation. The same loss of freedom, self and art depicted by Delaney. Yet she is quite aware of what is happening, she deals with it squarely and knows she can't beat the compulsion. The male who must volunteer his services is much less aware, somewhere in his psyche lurks the truth and the fears to where his compulsion and attraction to that selfsame organ will lead yet it's not quite as clear and he disguises his fear. Perfectly natural, the perpetuity of the species demands it. [LINK]
23 Mar 08 02:38
"..The deadly attraction to that place of comfort comes with great cost.."
When I read that quote from your piece, I fell about the place laughing - yep, you said it brother, that about encapsulates the whole shebang.
24 Mar 08 09:53
As you well know my whole purpose in life is to amuse you so I'm very gratified. Mind you a grievous fall into utter despair or at very least a vain suicide attempt were more the reactions I was hoping to provoke.
24 Mar 08 20:25
hi Hillel, I really enjoyed reading your very apt comparison of our works! I have been so busy with my teacher training lately that I haven't payed a visit to the artprocess site in a while. I have just also been reading the rest of the artist stories in Artist's cafe, they are such an interesting read and so well written. Thank you for entertaining us all.
16 Apr 08 12:26
Thanks Teresa, I'm glad you enjoyed it and had wondered where you'd disappeared to. Training to be a teacher, eh? I'm betting it'll be art and not ironing.
16 Apr 08 17:52
CUBISM?Having just read Norman Mailer's Portrait of Picasso As a Young Man I thought I'd share some thoughts. It's not a great book, nothing really new to be garnered if you've read anything else about the artist and it relies heavily on Fernande Olivier's book about her ex lover. What's most interesting to me is the author's take on "Cubism", I use quotation marks because the word itself like other words in the art lexicon was never formulated by the artists to describe what it was they were up to but rather bestowed upon it by sometimes angry and puzzled critics. Mailer seems to understand that most of the explanations and rationalizations created by those who championed Cubism as a movement like the dealer Kahnweiler and the poet and intellectual Apollinaire were a hodgepodge of various notions of modernity. Trying to tie everything together with notions of the fourth dimension and Einstein's theories of relativity, both had a stake in the success of the new movement. Although I believe he was a genuine enthusiast Kahnweiller's motivation as the preeminent dealer was obviously commercial, while Apollinaire poet, intellectual and avant-guardist was more concerned with how he'd be viewed by posterity. Picasso and Braque were more or less silent and the second rung of cubists like Gleizes and Metzinger borrowed and improved upon the earlier formulated language and created manifestos as did the Synchromists and Futurists, etc. Mailer then goes on to create his own muddled theories and his protagonist Picasso is always the best and the greatest, pretty much relegating Braque's paintings to a more minor status which is completely outrageous because both artist's work at the time, regardless of the gap in their innate abilities was of very equal quality. The democracy of their work together marked the only period in his life when Picasso was actually able to quash his ego for the commonality of the struggle. It should be noted that Picasso hated all the talk and particularly hated theories.
If you've ever read any of the thousands of subsequent writings on the topic you'll have noticed how boring and unreadable most of it is. Museum tours and explanations surely confuse the people in attendance. They come away knowing that those early works created during that narrow time frame (1908-12) were very important but without any real appreciation or understanding. So the question is does anyone actually know what Cubism is? And does anyone actually like the stuff or do they just take it in because "it's good for you" the way bran and whole wheat is in one's diet? I suspect that like James Joyce and Franz Kafka, who although people constantly speak of their work, they are in reality seldom read and it's a rarefied minority who actually enjoy the stuff. Cubism plays a similar role and familiarity with it is necessary for a person of culture. The popular mantra that Cubism was the logical outcome of Cezanne and was anticipated by him in his work is I think a falsity. I doubt that had he lived another 50 years Cezanne would ever have produced a Cubistic work, devoted as he was to the idea of realizing the world as accurately as his eyes could see it, unprejudiced by experience and mental preconception, "Realize all forms by the sphere, the cylinder and the cone." to paraphrase his famous saying, has more to to with his own technique for achieving his objective, each fully loaded chiseled brush stroke applied with meaning, one next to the other until the whole complete. None of this has much to do with Cubism. Only from a very surface like interpretation of the building of planes and some slight vibration of movement when in trying to achieve accuracy a former brushstroke is left intact. That plus outright mistakes in getting things right when for example a table's top seems to be on the wrong plane, the apples ready to roll off, does Cezanne in any way anticipate the Cubism of Picasso and Braque. The main similarity I see is that Cezanne approached his work with an unrelenting spirit of research and investigation. Rightly venerated I doubt whether the majority of people actually enjoy his work as much as his more luscious, easy and painterly contemporaries.
So what was Cubism? I believe it was a myriad of different things to different artists each of whom was working intuitively in their own way. One thing is for sure it was truly the start of the modern era, art could no longer be the illusionistic depiction of things. The invention of that one eyed monster the camera did a much better job of all that. But the intuition of artists determined that there was an even more realistic experience to be had of this world, one that didn't just capture one brief moment but encompassed past and future. Each in there own way set out on their explorations of space and time. Multiple views of objects, a new type of plasticity and the depiction of movement and time. Even surrealism that seems so at odds was a byproduct of the same quest for a more real reality, which is actually the literal meaning of the sur prefix of the word... over or super reality. In the past 100 years or so nothing has fundamentally changed. Except for the occasional retrograde throwback work of some neo romanticists or classicists, we're all Cubists even if our art is not cube like, pursuing in whatever form we choose a greater truth about our world. Freed from the restraints of producing realistic illusions of the world the advent of Cubism allowed artists to enter an age of exploration to discover some kind of greater reality that they sensed was out there, their only tools being intuition and imagination. The fact that Picasso and Braque could only sustain their rigorous investigations for approximately four years before descending into what became known as Synthetic Cubism, a decorative style of painting with Cubistic elements shows how hard the job was. For me "Cubism" has become a catchall word for any kind of advanced and investigative art that aims at attaining some newly sensed truth an art who's chief characteristic is one of research and not adornment. Usually perceived as ugly and shocking at first, art motivated by a spirit of investigation can, given time and understanding, attain a beauty beyond measure as the reality catches up with the art.
20 Jun 08 01:58
Well, I wasn’t recommending a volume specialized on Picasso’s art or an analysis of his first works, I just thought that Mailer’s book was fun, easy to read an enjoyable for anybody who like me still feels the fascination for this contradictory genius par excellence. An artist that flooded the world with his ouvre, and influenced decisively every discipline he touched and nevertheless thought it was absurd to think that art had any kind of historical mission, and who never worked thinking of the future “ All I have ever made, was made for the present and in the hope that it will always remain in the present. When I have found something to express, I have done it without thinking of the past or the future” he once said.Mailer describes Picasso’s life and art covering the Blue Period, the Rose Period and cubism in a multiple facetted approach through the testimonies of his intimates at the time, Fernande, Stein, Apollinaire, Jacob, etc, constructing the puzzle that Picasso often represents for people who never had the privilege of seeing him alive and try to find out the enigma of his genius, and of his charisma. (like me)
The book might not be new, or it may not be original, but it does achieve the goal he set to himself “ the desire to make Picasso as real as any character in life or in art”.
It did help me understand better some of his fears, and obsessions and his behaviour, and I enjoyed reading the anecdotes of these years in Mailers clear and natural writing. I chose the book to read about him, the young man, so I wasn’t expecting one of those “boring and unreadable art texts” that you mention and that I sometimes make an effort to read (and never finish).
Your description of cubism is very good though and I agree with you in your identification of cubism with “advanced and investigative art that aimed at attaining some newly sense of truth an art who’s chief characteristic is one of research and not adornment”..” “Multiple views of objects, a new type of plasticity and the depiction of movement and time” who wouldn’t?? but I also like the idea of its relationship with the relativeness of things, quoting Robert Hughes for he describes it in few words.. “cubism has everything to do with proposing infinite relationships between things , and seeing how many of them at a time can make visual sense”
“ reality is not figure and void, it is all relationships, a twinkling field of interdependent events”
“You still cannot walk into the cubist room. But that is partly -or so the paintings quietly argue- because you are already in it . It is the space of relativity…….”
The space of relativity......... is there anything more relative than colour ?
Well, yes it was not easy to read, and it still isn’t but it is true that it remains the most influential art dialect of the early 20th century.
And I liked the book….
24 Jun 08 00:23
In his exposition toward a definition of Cubism, Hillel highlights the fact that we are in the centenary year of the birth of Modern painting.With this I heartily agree. In fact I am presently celebrating the event!
Whenever I need to reinvent myself as a painter, I return to those four years of collaboration, Braque/Picasso, and steal some more!
Braque himself offered what may have become the watchword of all Abstractionists ' you must have TWO ideas, one to destroy the other.'
L'chaim!
24 Jun 08 03:41
I should explain, Karen and I sometimes correspond and we ask each other what we've been reading. Karen had mentioned she was in the process of reading Mailer's book on the young Picasso and on one of my excursions to the public library I picked it up. That period of art is of particular fascination to me, Picasso not so much, but nobody can deny his major contribution at the beginning of the century. Whether the Mailer book is good or not I can't really say, I'm not a literary critic but for my purposes it failed to provide me with any new insights. However I truly enjoyed Karen's response and respect and understand her viewpoint. Picasso was certainly an enigma and had such a great power and so many second and third rate followers and imitators that he almost single handedly destroyed Paris as the centre of the artworld after the war giving America the opportunity to attain a cultural cold war success by supplanting it with NY.The book however did get me thinking once again about that revolutionary period of time. The labeling of art and the so called schools of thought and philosophies... the "isms" so to speak were I think a very unfortunate development and that's what I'm trying to get at here. Cezanne had only reached his fulcrum and old age leaving the path open for a hundred years of diverse art. And Picasso and Braque had barely begun their experiments when suddenly new isms were sprouting up everywhere in a host of different European countries. So art became not so much a continuation of learning and process but was in constant search of the newest and the latest movement or revolutionary enfant terrible, at least from the marketing perspective of things.
Yes you can draw certain straight lines from so called Cubism to Europe's post war Abstractionists, Quebec's Automatistes and America's Action Painters. The realm of illusion culminating in flatness (the art of the past) and the realm of flatness culminating in illusion (the art of the present and future). In the quest for the new and the shocking, all of that has been thrown to the wind. The image once again has taken primacy and people including artists and experts have lost the visual literacy to look at painting and sculpture as unique forms with their own rules of engagement and construction. The image reigns supreme, the painted image competing with the photographic, digital and video, all being viewed on par, the only question being which image is the more intriguing and for people without the visual literacy to assess the constructive or historic components, it's a moot point. We the practitioners of the so called quiet arts are certainly the losers as whatever audience we ever had is continually dissipating.
That's why those early years of the 20th century have such power. When you see a retrospective of any of the artists from those times you marvel at their optimism about the future, they were all in their own way onto something unique and it's still reflected in their work today. Hughes talks of the "shock of the new", the true and real shock of the new is never lost no matter the length of time that goes by. I don't want to sound like an old curmudgeon or malcontent but I doubt that it will ever happen again. I really like what Arnold had to say, I don't recall hearing it or reading it but it's very true, modern art is a conflict that cannot be resolved, I think that's the antithesis of what modern consumers, reared on neatly conceived TV programs with beginnings, middles and convenient endings are prepared to deal with. One idea is more than enough for them, never mind two that are on a direct collision course.
25 Jun 08 01:07
I am so happy to have Hillel around to do the reading and digesting of the endless confusion of commentary and critique and opinion and analysis which has infested the artworldI love the simple clarity of the twin paradigms - illusion>flatness,flatness>illusion which he has created for us. A satisfying summary of 100 years of artwork, allowing me to put MY time to better use!
27 Jun 08 04:58
Arnold, do I detect a note of sarcasm? Do you think it easy, the enormous investment of time I put in here, sometimes 30 to 40 hours a day, all to come up with mindless and inane trite so you serious artists can get on with your relatively easy jobs of creating enduring and meaningful art that will touch the souls of humanity unto the ages while I sublimate my own personal aims and ambitions for your sakes and the betterment of mankind. I thought not, that's the problem with all you artists, its always me, me, me.
27 Jun 08 21:54
Not a toot of sarcasm, Hillel...in truth, I wonder where you young folks get the energy to do what you do !28 Jun 08 21:31
"Young folks", "energy?" and you're telling me you're not being sarky!? All kidding aside Arnold, I know we're just having a bit of fun here but to get back to the original topic. What is your take on Cubism? Your work shows an engagement with it and I'm not talking about going back to those years and stealing from the trough but I can't help thinking about The Blaue Reiter Group and Franz Marc, August Macke and others when I look at your portfolio. JP's painted works always conjures up for me the so called Orphists like Robert Delaunay and others. People look at my stuff and say "What is that, some kind of Cubism?" and I say "yeah". It's hard for me to understand how any artist working in the modern milieu can remain unaffected or detached from those early years without some major struggle.Sure in the end something either works or it doesn't and it's the emotional impact that counts. There will always be some iconoclastic artist or a complete primitive who will challenge our aesthetic beliefs and produce something completely different and powerful. But for anyone born in the last hundred years Cubism is a major part of our language. So what is it and what does it mean for all of you?
29 Jun 08 16:59
the artworld according to me, me, me.My earliest exposure to Aret was to the early paintings and sculpture of Picasso -1904 to 1915. So quite naturally I believed that this was also the beginning of Art for the rest of the world.
A look at Art history shows that most every innovation and twist performed upon painting had been done before WW1. Nothing is new. France, Germany, Russia, Africa, Cuba, even Canada had spawned artist/innovators of the first order, and they covered a lot of ground. But if there was a progenitor, a prime mover, it was Picasso. All benefitted from the competitiveness of the time, but Picasso drove the bus.
About 1906, picasso completed his famous portrait of Gertrude Stein. A critic remarked that she didn'e look like that. " She will! " picasso replied.
The balls on that guy. Twenty something!
Suddenly, Eurocentricity in Art was dead! Image was dead! What took its place was a 'World Painting', where Vision is everything. Where each part of a canvas is as important as the other. The subject is not more realistic, but more REAL! Freedom - to dioscover!
Yet, as soon as Picasso sniffed a 'style' of Cubism energing, he turned away and moved on.
Blah, blah, blah, it's all been written. But for me, the purest explanation of what changed is contained in this anecdote ( stop me if you've heard this ) - a visitor told Picasso he didn't understand him. Later he showed him a photo of his wife. " Oh, " said Picasso. " how small she is!~ I guess it's so she can fit in your pocket."
It took me years to figure that out. Cubism, Picasso and Modern Art...in a word.
08 Jul 08 05:44
Another week of busting my ass at work so I thought I'd drag in on my way home and see what's up. My heart is light because tomorrow is my studio day, and how I covet those few hours. Like any good Sunday Painter I want to put a few more whiskers on that cat I'm painting!I've brought along a bottle of (Folonari) Valpolicella in honor of a meeting last week with a friend of 50 years. We drank this stuff together before we were legal, and I'm happy to say it is the same swill now as then!
Aaah!
I've spent many hours navigating this site, and found a lot of information lying around, about its history, its membership..I'm going to sign up again under a new name, to be the 1000th ! What do I win, JP?
I like the naivite abounding here, i like the sophistication. I am pleased to find that nothing changes, yet all is fresh and new! And I like the work! The innnocent idea of the work we all share...
I could get to like this cafe, cheap and dark, as it fills with raucous arguement and noses to punch! So pass around the bottle - it only cost $1.79, and I'll easily earn that from the next sale of a painting!
19 Jul 08 04:42
Actually Jacques (Montel) had mentioned a few weeks ago that we were coming up to the 1000th to join up, and how should we celebrate the event? He met with a roaring response of.. silence (perhaps a bit of shuffling in the background and the odd "Quoi?"). We're all too jaded with just getting through the week with the aim of having some precious hours in the studio (as you so aptly describe) that ideas of festivity don't come into it - we ain't there yet.
Nevertheless, had we the wherewithal, my suggestion for the prize would be:
A night's out drinking with Hillel.
(Personally, I aim to actually get to do that one day).
So if you sign up again to become the 1000th, you might even treat yourself to a trip down the road to Toronto and go knock on his door?
Roll on that next sale!
19 Jul 08 10:55
Arnold I really like the way you put it in the artworld according to you, you, you... very succinct and to the point.Now will someone please tell me how AP is coming up to 1000 members, if you go to "Artists A-Z" it seems to say membership is approaching 600 members. When Jacques mentioned something about it a while back I really didn't understand what he was getting at. Explanations please.
As far as a night's out drinking with me goes... I'm too old for that stuff now, a late night drinking bout would probably finish me off completely. My drinking nowadays is usually confined to the daylight hours so the lucky winner should show up at my door in the morning but not before 8 a.m. because that would be plain ridiculous. What kind of person would start drinking before 8 a.m. it's just not civilized.
20 Jul 08 01:53
The 1,000 are registered users - those who have added some basic details and their email address. They comprise artists exhibiting or not (yet) exhibiting on ap, and others interested in the artworks - as when they register, they can leave comments on the site.The others you mentioned (actually currently 484) are registered users who are also exhibiting at least one artwork. So we have quite a way to go yet before we can say that we are 1,000 artists contributing to the site with images of our works and our comments.
Nevertheless, reaching the 1,000 registrations (and a couple of months ago 100,000 unique session hits) are milestones that state our presence is slowly but surely growing.
20 Jul 08 16:19
Needless to say, the accumulation of numbers in this sense is meaningless, when what is *really* required is, say, 10 core artists, angry and serious about not accepting the status quo, willing to come together as a unit to withstand, and counteract, the oblivion of being ignored by the (well known to us) all-powerful marketing machine made up of eager-to-please critics and gallerists, whose only goal appears to be financial profit and brushing shoulders with stardom. How about taking on this charade collectively, about pulling out the stops, about showing what a real, angry, visual language can communicate? Who among us has the balls, and the ingenuity, to work together to take all that challenge on?
Never mind the accumulation of numbers, personally I want to deal with those few among us who are fed up with taking all the crap lying down, and are ready to talk about doing that one deeply-satisfying and meaningful (to us) show that tells them simply - brother, cool it, take a look - this is really where it's at.
20 Jul 08 20:58
Hmm... no reply on that one. Looks like it was a bit over the top as a proposition, for we ever so genteel artistes.Right then, as the saying goes, if you can't beat them, join them. Let's just open up our own gallery.
21 Jul 08 18:38
I love when you've been into the ale and start ranting like a crazed anarchist. I read what you wrote 10 times yesterday, trying to figure out what it is we as a collective can do to challenge the shopkeepers who don't want to stock our particular products because they doubt they can flog the shit. What are we supposed to do, pick a date and declare it "Unrecognized Artists Day" and then simultaneously throw bricks through windows and burn down buildings in 60 different countries? Today I'm glad to see that you've sobered up, thought the whole thing through in a more reasoned manner and decided that we should open our own gallery. How about a chain of galleries in 60 different countries so we can keep our stuff circulating world wide? Sounds do-able to me.
21 Jul 08 21:01
If it weren't for you, this site would have closed down from boredom long ago. Thank goodness I have you to bother put a few lines together and give some character to the process, even if you do insist on a reality check each time.Nevertheless, I'd like to take up your point on the shopkeepers. I've a feeling it's not the actual work that interests them as saleable, but rather the whole package of the artist profile - age, sex, race, background, market readiness, adaptability etc. We suspect it's not all about the work, right? Then what I'd like to do is bring those artists who don't fit into the schema, a little to the forefront and show there's quality in them dar' un- (or little-) known artists really. I mean there'e lot's of precedent for this already in history, right? So why not play on that?
Basically I'm saying let's ignore the gallerist/critic path and get a core group to work closely together on a year's preparation for a collective show? The participants should think more about maximizing the effect of the group as opposed to perfecting their own individual pieces. The point is that the show should be a kickass one that will turn heads and get people talking. With all our combined decades of experience, surely we're capable of that? C'mon it's too damn easy to dismiss it out of hand, why not discuss a little more to see if there's a small possibility in the making?
Regarding the opening a gallery proposition, I meant an online one.
21 Jul 08 23:00
Boy, try to chill after a fierce weekend, and run into some frikken artistetrying to flog a charcoal on newsprint!
Look to the music business as analogy.
Now EVERYONE is in a band. Everyone IS a band! All music is available anytime to everyone. The record industry is DEAD! Whether we know it or not, music has gone thru a sea change in the last five years.
Gone is the top Fifty. No more golden oldies, standards or classics. Music has gone truely democratic, and extracted the Capitilist Imperative.
And NO ONE is going to make a nickel off it!
take this as given, and apply it to the visual arts....
Jeez I'm tired...
22 Jul 08 03:49
Arnold makes a good point, all these websites and images out there just for the taking. Unlike this one, some with very high resolution jpegs, downloadable and good enough to make decent glycee prints on paper or canvas. Times they are a-changing, the difference in the analogy is that the end result in the visual arts usually (not always) results in a one off collectible object that will always remain a tradable commodity. The music biz will always have its live concerts and performances. To squeeze the maximum amount of loot out of those objects and performances fame will become an even more important factor than it has been.Now back to Delaney... okay Mr. Democracy, before I even approach certain sensitive concerns and I think you know where I'm heading. And without taking into account the myriad of practicalities and logistics, what do you mean by historical precedents, are you talking about artist's whose achievements weren't recognized during their lifetimes or do you mean precedents for the kind of show you anticipate. Events that turned whole scenes around and gave some obscure artists notoriety? Cool down Arnold, at this point we're only having a theoretical discussion.
22 Jul 08 19:00
I meant the former... referring to the erstwhile unknown artist who's work is 'discovered' to be interesting, a little late in the day.I just figured that as we're all so wizened and wise with bags of experience to spare, why can't we put a kickass (I like that yankee word) show together collectively - where the show is more important than any single artist's work?
I was thinking along the lines of "Twelve Interfering Artists". The point being that each artist presents her/his project proposal online, for the other 11 to discuss and deliberate, and basically interfere with the original plans to such an extent that in the end (let's say over a year's work online - all well documented) the resulting works are more a result of the combined interference rather than any single approach. I think if we got the right group together, not only the completed work would be worth seeing, but also the website dedicated to the progress of the project. It's taking the basic theme of ap and combining it in a quirky way.
22 Jul 08 22:04
Note to JP - Delete button for my half-considered comments.The 'collective' within my example of the music business would be, i guess, a generation...a great number of people who have re-defined 'success', lowered expectations, in a way, in order to make and share music for sheer joy! We pay for the technology that disseminates, but not for the art itself. And the artists don't care!
Whoa!
In my mind, this paradigm now exists, and grows.
What i am reaching for is a model against which to measure the near future of making paintings and sculpture.
And i'm out of my depth.
22 Jul 08 22:30
Keep talking, I think you may have something but you've really got to stick with the concept. Trapani failed because the whole idea of process, theoretically to be documented in the Studio Logs was lost. The Studio Log in effect became a mere ticket for entry and in the end even the slight documentation that did exist plus plenty of bits of dialogue that could have at least realized some aspect of process was not there. The actual hook of the show was not realized, I still think it was a good concept. The problem was and is the effort it takes to document one's own process to keep a visual and written diary day after day. It gets in the way of spontaneity to be so conscious of one's self as viewed from the exterior. Also few artists are prepared to work openly and reveal secrets or perhaps allow the magic to escape through an open studio door. That's why there were in actuality only, if I recall, only 2 or 3 studio logs of merit by artists who can work in that manner because in a way it's part of their own process. The show should really have been limited to those.This new concept could prove even trickier. On a personal basis The idea of announcing in advance what the project is would be like writing some sort of bullshit for a grant application. My project is always the same, I paint and try to make a better painting than my last one and get closer to what I've been looking for.Yet the idea of interference is intriguing. If I've got you right the participants monitor each others' process and progress, making suggestions and commenting. (Something you can't do right now in the Studio Logs but might be worth considering to make that page more interesting.) Activity like that might just force movement and change of habit and lead someone in a different direction. On the face of it it sounds horribly aggravating and irritating but it does combine the whole AP rationale of process and artist to artist communication. This concept is even more demanding than the first one.
23 Jul 08 04:06
I knew you'd get the picture ('scuse the pun), Doctor Kagan. Only thing is that you wouldn't be allowed get away with a cast-off statement like "I just paint, so that's all". In fact, if you look through the texts of ap, you'll find so much richness in stories of what stimulates you, what doesn't, past influences, personal history, your family etc. All of this will have to come together over the year of interaction with the other 11 pain-in-the-ass interfering artists, to create a fascinating image of the artist today. You see in reality it boils down to a publicity stunt - at least that's what we'll say to each other as we put ourselves publicly through this collective *Hard Time* (c). Anything else of worth that might emerge will be a plus. I think if we build a good enough site for it, it could become interesting, and maybe we could use it to convince someone to let us do (i.e. finance) that show in Toronto that Hanjo wants. At any rate, we hope it should raise some interest on the internet, for our individual projects as artists, and for the more general project of the artists of ap.
23 Jul 08 06:25
Well friends, what a funny suggestion! At first sight I would answer the same way I did with the Trapani concept. Showing the process? Letting someone into my studio? NO WAY! But as you all know it was Ilona (I think it was her) that asked me why I was so shy to do that, for my very own website for her was just that process thing. I don’t think that it is but nevertheless the idea cought me and from then on I tried my best to make this process documentation become real and interesting. In February 2007 I had an open studio exhibition for to show the Trapani idea and what I had done for it so far. During the two days of that open studio about 120 visitors came to my studio and were attracted by those two studio-logs I had gathered in two separate books. They even sat down to read the entire text! I mean they really took the time to go through it and even asked questions etc. It was fantastic. I hadn’t expected this. Unfortunately (ha ha) one of the visitors was so attracted that he bought my first contribution, the feet inmidst of the tomatoes, right away from the wall. Okay, what I want to say is that I am very hesitant with the suggested project. But from my experience with what we had in mind for Trapani I am able to imagine that this new idea could become very interesting and challenging. So why not have a try?
But ... I beg your pardon for being rude again ... the main thing will be that we keep our hands on it from the beginning to the end and not delegate it to a so called organizer who has quite different personal interests in mind. It’s true, I loved to have been part of that terrific emergency squad that finally made the show run but I would be perfectly fine without it next time.
23 Jul 08 18:10
I think it could be a good idea, and this interference of other artists in one’s own work and viceversa can be a good stimulus; irritating or not (in fact irritation is a perfect spur that usually modifies something in us )it can generate a subterranean flow of influences from which no doubt we would all be enriched and probably surprised from the resulting works. I wouldn’t mind it at all for I’ve grown accostumed to work with people around me at my studio, but of course I’d rather have the comments of other artists I respect.
23 Jul 08 22:29
John-Paul, the essence of your suggestion seems to be „To create a fascinating image of the artist today“ as you have said. So it will not so much deal with art shown in works but with artists life. The outer circumstances as well as the inner prerequisites.As far as I know all this has been said already in different comments, forum entries and studio-logs. It’s exactly as you’ve said that „If you look through the texts of ap, you'll find so much richness in stories of what stimulates you, what doesn't, past influences, personal history, your family etc“. So to paint that image of the artist today it would only need some people to carefully scan all these kilometres of texts already written somewhere on artprocess and to find a scheme to systematically organize them. This alone would be a tremendous piece of work to do. But in the end you would have exactly what you are interested in.
Quite another thing is to gather a bunch of artists (I guess you would need some kind of criteria to chose them) and let them work on whatever they are used to do and at the same time let them interfere in each others working process over a years time. And I cannot really see what this part has to do with the first one. Well normally I do 30 to 40 pieces during such a period. So maybe you have in mind only some three or four works particularly produced for this purpose like it has been with the Trapani project. But even then I am very sceptical if this will work. I am not talking about different artistic personalities or just different personalities ... from being very communicative to being loners. I am talking about what making art is in contrast to talking. As we all know there are many different ways of communication. Starting with using words, body language, gazes, vibes or whatever else. And there is music, paintings, sculptures, films, dance, performances etc. etc., the whole range of art. Each one using a different and typical king of „language“ which if translated into words will loose most of their speciality. It’s evident that you cannot repeat a piece of music in just words. With all the other kinds of art you will at least be able to describe what is to be seen ... a very poor substitute only. I guess that the use of these hermetic languages gives art this touch of magic. And even artists are not necessarily able to put in words what they are doing . So what will come out if everything that is done in one of these languages is pulled into the world of words, discussed, critizised etc. And last but not least will put the focus on the theme only for one cannot really discuss the style, the manner, the craft. All this makes me be very sceptical as said in this interference part of the project. But nevertheless why not give it a try just for the fun of it?
24 Jul 08 12:12
The essence of JP's suggestion to me is not so much about an image of the artist today but the effect of the interaction of artists as facilitated by this particular website. I agree with Hanjo that much of that can already be witnessed on AP but the "hook" for a show would be the documentation of all that internet interaction and the resulting work from such a diverse and geographically separated group.My recommendation would be to firstly establish the capability within the Studio Log to facilitate the concept, get it in use and see what happens. My experience has been that curators of the type of public galleries likely to be interested in our venture, pre-plan their exhibition calendars 2-3 years in advance. Our concern at the moment should not be with which institution will host and fund another AP show but just getting the process going to see what evolves.
Keep the process open to all members, forget about a specific number like 12, the interesting interactions and groups will form on their own. With an ongoing process and something to show I think it should be possible to interest a curator from somewhere or other and he or she would be the final arbiter as to who and what gets shown. An independent and professional curator would not only keep the process (for us) democratic but they would obviously have their own agenda and the ability to mount and present a professionally produced show. In any event it's an interesting experiment.
24 Jul 08 16:30
I want to step away a moment, and take a look in from the outside. The artists are complaining that their work isn't getting the deserved attention and credit they think it merits. Nevertheless that doesn't stop them - they keep churning out their works month after month - hopefully to sell them, but that doesn't always (or often) happen either. Looking around the internet, it's much the same story - mountains of art being created by serious, well-meaning individuals on high-quality websites, so much so that in the end one gets bleary-eyed looking at the sheer volume of the countless images. In fact, they all tend to blend into that monotonous experience of looking at the third-hand: computer-rendered images of photographs, of artworks.To counteract this bland surfing experience, I would propose to setup a project that intead gives an insight into the working and playing lives of the artists themselves. So instead of just the image of the work, there is some collective discussion and banter going on between the artists, that amply encompasses and includes their daily life - all to make it that much more interesting for the casual viewer.
To the artists, I say guys, lighten up - this is a marketing exercise, don't be so defensive. The project shouldn't be the usual life-and-death debate, but much more relaxed and spontaneous, less important within your oeuvre. You've got to look at the whole (i.e. the project), how it is shaping up, how to make it more attractive for the client (your internet viewers, and eventually organizations that will finance a real show). Your individual contribution should'nt be your goal but instead how all the contributions come together to make a potential whole. Naturally, the fact that it's a marketing exercise shouldn't be communicated either (you gotta fake it a bit), and let's run with what happens naturally at ap in a stop-start, not very cohesive fashion, and put it into a more controlled structure, governed by you, with a view to the audience?
Evil-of-evils I hear you cry! Yeah, it is a bit. I wouldn't pollute ap.net with it, but would instead put up artprocess.org, which I've been thinking could be a container for organized events and online projects like this.
25 Jul 08 07:40
Er.. is this the silence when, up for blasphemy before the Spanish Inquisition (High Art section), and I, accused, say "C'mon guys, cool it, let's all just chill out here a moment.." ?Or is it just that everyone's at the beach?
26 Jul 08 15:27
Be patient J.P! I, for one have been working like hell.
I have been absent for a few days while organizing an event here and I just read all this today. I am trying to form a clear idea of this proposal, which I think is the fruit of the initial idea of this artist to artist communication project of ap, and of course the reason why I am here with you guys.
As a first approach on my part, I would like to say that what bothers me in today’s art scene, is that there is far too much chit chat and image making and marketing in the expense of the actual work of art. To such a point that the essence of the work, where it comes from and why it looks like what it does, is forgotten. Which in turn, drives the public away from art, as something that is practiced by a bunch of conceited fruitcakes who live in a world of their own, with no real contact with reality.
Having said this, I tell you that I don’t care about the artist’s profile. What I deeply care about is find a way to show how an art work is born and what factors interfere with its realization and its final form. The interaction between artists is fundamental and inevitable. It happens as we speak, even when we don’t know it does. I would be very interested in recording this. I think it would be a perfect way to show in what way an art work is the meaningful product of live interaction between the artist and his/her environment and peers. It might help show how “meaning” gets into works of art and the difference between a meaningful art work and any other product (however exclusive or expensive or impressive) one can buy, two things that the public seems to mistake for one another, especially because of the fact that the art market treats the works of art the same way as any other object that works as a status symbol.
I am not sure I am making sense. I hope some of you might agree with me.
So, I tell you how I imagine this new project: each and every one of us starts one or more works and tries to document his/her thoughts while uploading images of the process. I would make an application where each member would have a personal studio log on their page instead of a huge studio log page for every one. Then we could start commenting on the work we feel we have something to say about and each artist can talk about which comments and how have influenced his work (a sort of blog apart) and of course show how the work has changed or not because of this. We don’t have to be theoretical about it. Just record our feelings and thoughts. A simple “…this idiot the other day said I should make it bigger. So I decided to make it even smaller!” will do. This can go on for a year or so and then we see what works have been made. Without having predecided on “what I will show in this show” like we tried to do for Trapani.
Then, I agree with the idea of an independed curator who would sort all this out and help chose the works and documentations that make the point of this interaction clearer and help find the best way to exhibit this whole idea.
Focusing on the actual works is I think what is missing nowadays. We must remember what making art and not marketing is all about. Sales might follow but this should be the result of meaningful art production and not only marketing. I don’t think marketing is evil at all. On the contrary, I practice it to some extent. But it cannot be the motor for doing what we do or the work dies. After all, getting this message across is the best marketing you can get. You will have convinced your buyer of the quality of the product…
26 Jul 08 16:22
Aye Jae Pea, ye hae awaket us all frum the deepe slumbre tha hae descent upon us. Whye hae ye dun it laddye? Oops sorry, I get in these moods when I've been drinking a wee bit too much of the scotch whisky. Your last words were so awe inspiring yet confusing that, as you can see, everyone was struck dumb and confounded. Maria makes some good points and suggestions but I don't think we're quite getting the idea and how it would work. We've all been trying to fit it into the AP we're all accustomed to which as your talk of AP.org (?) attests to is not the idea.
You've plainly got something in mind so why don't you just get on with it? Lead the way Oh Great and Terrible One and we will surely follow ye (oops).
27 Jul 08 00:38
A couple of points Master Hillel, 1. - I ain't no leader, you all know that, and I don't intend to take up that role, and 2. - would you ever keep away from that scotch stuff, but instead take a sup from the well of purity of the Irish? Sure with taking the Irish whiskey, doesn't the clarity of mind descend upon you in all it's glory, that renders the universal understanding deep within, such that no manner of quizzical complexity brought before you cannot go unresolved?And now back to our topic of discussion. OK apologies for any confusion - all I meant was, whatever form of project we eventually come up with together, let's not start with the premise of how it might useful for our own work, instead I suggest we talk about making an online website that'll be an interesting place for the casual viewer to go? Let's make an "experience" rather than a show of works.
It should be relatively easy for us to do. We know how ap works - let's now use the idea in a context of marketing.
Taking an example, remember Hanjo on his vespa in the studio, or preparing his studio meal of wine, olives and prosciutto? I think that idea of focus on the issue (the upcoming show in Italy), and sense of humour worked well. I'm not saying we should all become comic actors, but that fact that he was able to lead the viewer into context, in a way that maintained interest, and gave a picture of the playful side of the artist, meant that he guaranteed himself returning visitors curious to see what he was up to next.
The same with Hillel - he makes movies with words, and has us all waiting for his next update, that'll make us laugh or cringe, or both. Once again, we return to read his latest.
Fortunately, both of these guys happen to be good artists too - so they really give good value to the viewers of ap (I suppose next they'll be demanding a fee from me for new updates - as they bring so many people back to the site!).
I would like to make a container full with all that kind of richness that gives a three dimensional aspect to the making of an artwork. I'm saying we should dedicate some of our creativity into the manner of presentation, and not just the work itself. If anything, for this project, the presentation should - in our collective mind - be more important that our individual pieces. The goal will be that the project is the product, and that it could then become a "saleable" item i.e. attract the curator's interest in organizing a proper show.
The idea is that for this project you have to think like Saatchi (as you know he made his fortune in advertising), and not like one of his empire of artists.
Am I making myself any clearer, or just stirring those murky waters?
...Maybe I'll be needing a drop of the Irish after all.
27 Jul 08 11:25
Hanjo:Well, with or without Irish Whiskey (I will remember having one when being in our Irish Pub round three corners next time for some guinness) I have the feeling of finally getting the point.
So at least it would mean that there should be a fresh studiolog section for this project only and not mixed-up with the one setup for Trapani. Opposite to Maria’s suggestion I would prefer to have it just the same way. For only this gives me the chance to stumble over something I haven’t expected. On the other hand there should be the possibility to comment on the entries so a kind of forum should be included. How to do this technically is a question I cannot answer for the only thing I know about weepsites is how the word should be written properly. Just as a question I would like to ask if it would be possible to include a part where small videos can be shown, so that perhaps one could upload something that shows how one is working or sleeping in the studio. But maybe that’s just too elaborated or difficult to do.
Anyway, it looks as if it is up to John-Paul now to create the tool for to start the experiment. By the way, thanks for the kudos.
27 Jul 08 16:06
It's too bad that items get lost in the back pages and can be missed so easily. For instance I just checked out the studio logs to see what Hanjo had been up to there because it was mentioned here. Great stuff... very interesting but it's the first time I've seen them because I don't go to the studio log pages unless I see something on the home page that sparks my interest. Obviously if I notice that my pal Hanjo has made a new entry I'll check it out. If someone else comes along and makes another entry then that appears on the home page knocking Hanjo's off before I notice it then I'll just plainly miss it. The same thing with comments, although in time because I visit the site usually once a day and take the tour I'm likely to stumble across something I should have seen earlier. Of course one thing I'm never going to miss is "The Best of The Forum" because that stays on the home page for months and even years helping to keep the page lively and interesting.There must be a way to set up on the home page a recent activities box. This site having a much slower pace then some others would allow for items listed to stay on the home page for quite a while. Sometimes traffic is so slow it could be a good long while, i.e. (date, time) Hanjo added a new Studio Log "Compensation", So and so added a new work/s (title), Arnold added a new entry to "don't bother knockin', etc., etc.. You get the idea and of course all the listings maybe 6 or more are hyper-links to the location. (Maybe it's too difficult, like Hanjo I know nothing about website technicalities.)
But I digress... so Hanjo and Hillel, two geezers are going to carry the day and entertain you all. I've got great hopes for Arnold (another geezer) and of course those two big mouthed broads, Maria and Karen but most of the the youngsters you can't yank a word out of 'em for love or money. And just one other thing J'ais Pis, "cringe" ... "disgust" and / or "nauseous", definitely but "cringe" "CRINGE!!!! (I'm hurt)
28 Jul 08 07:27
Hillel, you once again hit the nail upon it’s head as we would say here. Very goooood suggestion. Unlike you I do not look up ap every day. I simply do not want to get these rectangular eyes from looking on a computer screen all the time (my granma told me that this would happen for to push me out the house saying go play with the mud instead. So it happened that I got knowledge of the brand new and very interesting topic on the forum page only weeks later. An activity box oh my that would be sooo nice. And thanx Hillel that you posted it twice making it as important as possible!
28 Jul 08 09:12
He used his last reserves to slam the heavy door behind hin and sank to the floor absolutely exhausted. Every single breath filled his lungs with pain. He’d never run that fast. Everything was in turmoil outside. This upheaval he couldn’t stand no longer. It was like hell. But finally he made it, he’d reached this shelter. He was safe.When the pain in his lungs slowly faded away he turned around to lie on his back more comfortable. Here he could sleep for days he knew. If only no one of that Kagan gang was showing up. He carefully listened but no noise, no whisper, no nothing. Not even a mouse. He calmed down. My what a peaceful place this was. Artprocess it was usually called. He had no idea where that came from but nevertheless this was like heaven. No one would ever disturb him. And he sank into slumber with a smile on his face ...
31 Jul 08 08:53
OK Following on Maria's suggestion to put references to the studio log in the artist's gallery, and Hillel needing more forum and SLOG history on the homepage, and removing the fixed pick of the forum. I thought they're probably good suggestions and so I made the changes as they weren't so difficult to do. Let me know if anything breaks because of the updates please.
Hanjo, reading your recent studio log "what's coming next?" I get the feeling your alter ego is trying to tell you something. I reckon she's saying:
"Keep away from those guys - it'll just mean more trouble - don't tell me you've forgotten already?"
06 Aug 08 21:41
Sorry folks, I've been indisposed. Hanjo I enjoyed your prose above, I'm not sure what you're on about but you've got real style as a writer. I've just looked at your latest studio log project that gives us an advance sneak, peak of your take on JP's latest idea and you're not only a good writer but a producer, director and cinematographer as well. My feeling is that you should go off to Hollywood and join the ranks of Julius Schnabel, David Salle and Robert Longo of painters turned auteur filmmakers. I've also noticed the changes to the home page... very lively! "Good work!" to one and all.By the way (this should probably go on the bugs page but I'm here already) about making that posting above twice, when I clicked on "reply" after making my comment an "error something or other" came up instead of the usual "thanks for your reply!" so frantic that I shouldn't lose my daft comment I went back a page and thankfully it was still there so I sent it again, later I noticed I had sent it twice.
07 Aug 08 01:16
I've just re-read Hillel's opening message to this thread. It's become so much more meaningful after viewing the interview he mentioned (currently available) at the following URL:[LINK]http://www.youtube.com/watch?v=QhaqwlZxJZI[/LINK]
Consider watching the videos and re-read Hillel's comments, and let's discuss more... we've not exhausted this topic yet, by any means.
05 Dec 08 22:52
Much of Bacon's work has a sexual charge whether the imagery is explicit or not and I think that's the reason it's fascinating. Actually it was the work of our very own Hanjo Schmidt that twigged me to contemplate the nature of what I call "charged work". I liked a sense of perverse sexual energy in his double female paintings. I know he has made statements against what he calls "pornographication" of the nude in art and I believe he's sincere in what he's said however it's my own perception (viewer's prerogative) and I found it very interesting. Then I thought about other artists of interest in that regard like Schiele and Freud. With Freud it feels more repressed and for me the work is more perverse than Schiele's whose work is much more sexually overt. Then again maybe in Freud's case it's just a contrivance of some kind because his name is "Freud" but I really don't believe that. Pornography bores me but there was a certain charge to early porn right up to the 1950s when it wasn't so formulated and explicit. What I've become interested in is what it is that creates a charged image. Going back in my mind to areas of my own experience I've been experimenting with the pieces I call "The Intimate Moment".
I'd be very interested in getting Hanjo's opinions and feelings about the big Bacon retrospective that he recently attended at the Tate and I thank him for being the inspiration for my latest work and for the postcards from London.
12 Dec 08 00:59
Oh it would have been much better to ask me what my opinions and feelings were about that almost countless amount of backs and backs of heads of all kind. Of course it was packed on Saturday and Sunday. But as I could see on Tuesday and Wednesday as well it was packed the same way every day. So in the end I had to attend one of the early morning viewings for members only, to learn that there were various paintings hanging on the walls.Well, first of all I sensed this extraordinary sacred atmosphere this man creates with his paintings. And it’s not only the use of triptychs or the massive golden frames the paintings are in or the sheet of glass in front of every one of the extremely sensitive surfaces. It also is the colours, in particular the orange red and black, the presentating composition, the powdery surface of the paint, the mystery of the theme and the hint at martyrdom that produces this sacred air. So this declared lifelong atheist (god bless him for that) creates more of a sacred fluidum than the catholic church and Rothko together. That’s impressive. By the way, in the Tate Modern there is this big Rothko retrospective running simultaneous and you can experience that Bacon was absolutely right in saying that Rothko makes you depressive and not elevated or whatever.
Okay, let’s skip Freud and Schiele and jump directly to that questionable remark Mr. Schmidt once made somewhere. As far as I know it was not about „pornographication" of the nude in art but about „pornographication" of the human body. And I slightly have the impression that there is some kind of difference in it.
I don’t think that the depiction of the nude in whatever explicit state is pornographic in the sense of how we use that term nowadays. And it’s very clear that from the very beginning of art the depiction of the nude always had a sexual connotation concealed with alegoric and mythological themes. And all of this is pretty much okay even though for me it is a bit boring after all these centuries. And if somebody finds that in a still life the combination of a tomato and a toe are sexually charged why bother? What I was talking about some decades ago was the fixation of the body as a sexual thing ONLY, which consequently in the end leads to headscarfs and burkas and separation of the sexes and this I think is highly pornographic.
Well, as a sculptor (what I actually am, the painter is only camouflage) I’m interested in the design of the human body. Just have a look at a simple leg, it’s incredible. And as a painter (what I actually am, the sculptor is just a reminiscence) I’m interested in the surfaces of things. So that’s why the sexual connotation in a nude is not that interesting for me and not my theme. But if even that comes out as being sexually charged for some viewers ... why not? By the way, for me not the depiction of the naked body is that exiting but situations. That’s why I prefer texts more than images.
Okay, now I have to look for some breakfast.
12 Dec 08 05:47
I read your comment on Bacon, Hillel, and agreed with you, although I think the intense air that one senses in Bacon's paintings is not only because they are "sexually charged", but because one feels to have entered a forbidden territory common to all of us, but horrifying in what it implies, we look , we participate, we remain silent in the same room where something terrible has happened , or is about to occur.It has to do with the animal part of ourselves that we don't like, but are certain to have. Violence and sex have always been related. The way in which his figures are caged under a potent light makes me feel not only their being alone but also being exposed, exposed to my gaze, I feel the voyeur and the torturer at the same time. And the terrible doubt , why do I keep looking at it??? arises. These and many other uncomfortable images of oneself float in his closed rooms like a magnifying mirror and this makes us all confront an idea of ourselves that has nothing to do with the image of rational humans we try to display daily. Bacon in its contained images, or in the most explosive is saying "this is what we are..." we like it or not, admit it or not, it is the truth. He once said " (..) the greatest art always returns you to the vulnerability of the human situation." When I see his paintings they always impress me and make me think how fragile we are, and how complicated .
I am looking forward to see the show here in Madrid in February, and take a close look at his portraits, not for the colours, not for the design but for what he thought connected his work to Velázquez and Rembrandt, "the fact that every successful portrait contains a reminder of death: "you feel the shadow of life passing all the time" .
14 Dec 08 09:37
Karen, I think you're bang on in your assessment of Bacon at his best and you've said it beautifully. When an artist has had the impact that Bacon has I think it's important to try to understand what it is that gives power to their work. Not for the purpose of emulation which particularly in the case of Bacon would be a ridiculous endeavor but for the purpose of growing one's own art. What comes across to me in our discussion here is that the best art comes from one's own life experiences. The thing is to be honest and true to oneself. Matisse for instance was obviously not an angst ridden person but he painted what was for him of intense interest or pleasure. Some people may trivialize his art as sugar coated confection but he produced a great amount of diverse and honest work. I recall visiting the MoMA in NYC and coming across his paintings The Red Studio and The Piano Lesson and receiving that same jolt of surprise I felt when I first saw Bacon's Three Studies for Figures at The Base of a Crucifixion at the Tate. Obviously no two artists could have more different natures but to quote Hughes "the shock of the new" was the same and I believe both artists wanted to create beautiful, luscious work. Bacon does have that extra charge of (as you say) violence and sex. That was the nature of his life, you can't fake it.To come back to something I said at the start of this discussion not everything Bacon produced was of equal quality, he self admittedly produced plenty of works that missed the mark, as do all artists, especially the successful ones who are under pressure to produce great amounts of work to meet market demands. After a while they start parodying themselves and there's no doubt Bacon did that but he certainly produced more than his fair share of memorable works.
15 Dec 08 01:05
Hillel has shown me his, so I've got to show him mine...I've uploaded some old stuff on the studio log site, (tho I'd like to be able to use a photo with a comment ANYWHERE on this site, JP!)I hope I've been provocative in my selection! I'd certainly like to offend somebody...in the artworld we have always had one theme and one thousand opinions!
Well, that's it. My feet are on the table. I'm getting pleasantly intimate with a bottle of French Cabernet, thinking about tomorrow, a Studio day, when I get to put some more touches on that vase of sunflowers I've been painting.
20 Dec 08 06:12
Thanks Arnold, that's what I was looking for, all that oozy, dribbley, painterly type stuff and from what I could see they look great. More Rauschenberg, Johns and even Rivers than I would have thought, your process and inspirations are interesting to me. Why not upload those images and more with (if possible) some better quality 150k jpegs into your portfolio so we can enlarge them for a better view and comment on them individually.I see no one has made comment on "10000 Faces..." yet. I posted it not only because I thought it was a loving portrayal but you bring up some issues that haven't been covered yet on AP. I'll give it another day or so but if no one else comments I'll have to bore you all once again with my personal insights.
21 Dec 08 01:03
I'm very eager to listen to Anna's broadcast however I'm a having a bit of a technical glitch as the audio for that page isn't working for me. I'll try later when my son finishes his stategy gaming on his fancy new computer to see if I can listen to it there.I hear Arnold's suggestion for the possibility to make comments. It's not the first time either that it's been proposed. Originally, I had figured the studio log to be just the artist talking his audience through the evolution of the making of an artpiece - a place where the artist wouldn't be interrupted, with enough silent space to concentrate on presenting the process. I'll have to review that when I come back to doing the next version of that part of the site.
In the meantime, I tend to agree with Hillel that the "upload artwork" ([LINK]http://artprocess.net/upload[/LINK]) area is more suitable to presenting finished artworks (dimensions, materials etc). There the work gets added to the general bank of art images that appear randomly on the site, are sent as email images to the artprocess community, and are resized for viewing in different contexts. You also have the possibility of adding and responding to comments.
It's not related to the discussion, but I'm currently working on adding an artist event section which is basically the same sort of idea but with a slant towards exhibitions, one-off projects, past shows etc.
Thanks again to Hillel for pushing Arnold to upload those earlier paintings along with the very interesting introduction to each.
21 Dec 08 11:16
I am thrilled.Is anyone of you familiar with the work of William Kentridge? Well, I wasn't till I saw sculpture, drawings and film of his, last week in Athens.
Wow. It changed my life again. Look him up if you don't know his work. I'd like to talk about it.
04 Jul 09 18:49
I have watched a number of videos of Kentridge's work on y-tube this morning ,thanks to you Maria.And yes it is wonderful to discover an artist like that,a good word for me to describe him is humane.How was the rest of ''Heaven'' ?
06 Jul 09 10:52
I don't think I have seen Heaven. I saw the whole of the Magic Flute live, which is devine, and I got a big book on his work with a DVD showing parts of his studio work and the film Tide Table which is also wonderful. I think I will be looking for more literature on his work. Isn't it something else when the element of time and music are bound with drawing?
17 Jul 09 19:47
The phone rang, I picked it up "Hillaiiillll?", it was my friend Sean. "Whatsup man?" I asked. He replied. "We're invited out for lunch so meet me at my studio at 12:30." When I asked him what the occasion was, he answered, "Rosie Myer wants to arrange a show for us in New York and also do a piece about the group in her magazine. We're supposed to meet at The Sweet Vidalia." Ms Meyer had been publisher and editor of The Canadian Art Rag for going on (to her credit for keeping the thing alive) twenty five years and The Sweet Vidalia was a pricey, trendy spot in one of the city's gallery areas. "Well what's the deal Sean, what's in it for her, what's her angle?" I asked. "Why do you have to be so cynical," He said. "she happens to love what our group is about and the work we do and she's bringing some hot shot art dealer from New York who wants to promote it and sell it, but never mind that shit just get over here, Bogdonovich is coming and no matter what this thing comes to, at the very least it's good for free drinks and lunch, so shut up and meet me at my place, Kagan." Easily intimidated and bullied, I got on a bus and headed for Sean's. !2:30 pm and as per usual I was bang on time and Godfrey answered the door to Sean's studio. "Yeah c'mon in man we're all goin' for lunch... Rosie Meyer's payin'!" "That's why I'm here." I responded, "How's things Godfrey?" Meantime I'm thinking 'What the hell is he doing here?' Godfrey gave up full time painting and part time drinking for full time drinking and part time painting years ago. He answered, "Real good man, the Suffingtons commisioned a piece and Moira Goodwyn wants to give me a one man show in September." I said. "Good going Godfrey my man, where's Sean?" He said that he'd be back in a minute, that he'd just gone out to get some smokes. "You know you can't trust him dontcha?" What are you taking about Godfrey?"I asked and he answered. "I"m talkin' about Sean and all his holy and sentimental artist bullshit. How he loves his brother and sister artists with big tears welling up in his eyes." I asked him what he was getting at and he replied, "Well didn't you ever hear about Bernard Klandoff's opening where he got right down on his knees like a rabid dog and bit Bernie's ankle until he drew blood? How's that for his good will to his fellow artists?" I told him that I knew all about it as did everyone else in the city's art scene. The story had taken on legendary proportions, the event was a three man show and I happened to have been one of the three, Bernie had to be rushed to the hospital for tetanus shots and stitches. "But Sean tries to keep a lid on that side of himself... he's a good guy." I went on. "Oh, for sure I love him like a brother." Said Godfrey.
Sean returned and I asked him where Bogdonovich was and he said we were meeting him at the restaurant. We finished off a big jug of Italian white, had a few smokes and some convivial art conversation and started heading to the restaurant. While we were walking I got Sean privately and asked him why Godfrey was coming along (he was never part of our loose knit group that had shown together at various publicly funded and regional galleries). "Well he just happened to pay me a visit, what was I going to do, don't worry he doesn't want to be in the show, he's just after the drinks and lunch... what's the difference Rosie's paying, besides she writes it all off as a business expense." Well that makes sense, I thought to myself except I have never understood the whole thing about writing it off, (writing what off?) and business expenses and so on and so forth.
When we arrived Bogdonavich was already sitting with Rosie and the NY big shot at a table on the terrace. Greetings and introductions were made. The New York dealer was a great big tall guy with a huge mustache, he was wearing a white suit, a black silk shirt and what looked like some kind of giant red cape, like Batman or Superman and surprisingly he didn't speak a word of English. Apparently Jose was a famous Brazilian artist who now resided in New York. The waiter asked if we'd like anything to drink. "Scotch, make it a double." Demanded Godfrey. Rosie somehow provided translation for Jose who wanted the same, she ordered a glass of wine and the rest of us, beers. The talk that ensued mainly had to do with the famous Jose. From her briefcase Rosie produced a book, some kind of monograph written in Portuguese, all about her famous guest. Filled with pictures of him and his art, it was handed around the table, Sean and I sent each other a look... like what's this all about? Something was beginning to smell funny, meanwhile Godfrey was ordering another drink.
Now an oversized brochure was produced from Rosie's briefcase and passed around the table. "The Jose de L.............. Gallery, NYC Invite You to Exhibit at His Fabulous, Newly Renovated Downtown Manhattan Space...........(bottom line $2000 US weekly). It appears that our esteemed visitor was not only a great and famous Brazilian artist but had somehow or other acquired a neglected downtown, near to Soho, Church which judging from the pictures was badly in need of repair, although to be fair all pews, pulpits and other church furnishings had been removed and I'm fairly sure sold. At that point the waiter was at the table inquiring whether we were ready to order, Godfrey didn't hesitate. "Steak frits my good fellow!" I bent across the table. "Psst.... hey Sean you crazy bugger, you do realize we're being pitched here, are you sure she's picking up the tab?" He gave me a sheepish look that answered all, I told the waiter I wasn't quite ready to order and I excused myself and headed for the gent's room where amongst other things I intuitively transferred the $25 bucks I had in my wallet into my shoe. When I returned Godfrey was in fine form, he must have been on his fourth double and his unusually deep baritone voice was filling the room as he expounded on the failure of Abstract Expressionism to measure up to its promise.
The food arrived. Was I ready to order yet? No, and I continued to nurse my beer, Sean had done likewise as did Bogdonovich, no fool, who had cottoned on fairly quickly. Now what? Jose and Rosie whispered to each other amorously, it was apparent that Jose was an acquisition of the older Rosie, it had come up earlier during conversation that he was staying at her place. While they dug into their linguini and clams she asked if we were interested in booking the space. "Well, what about the article in Canadian Art Rag?" Sean asked. "For sure, a centre piece article," She said. "It will help publicize the show, of course we'll be looking for your group to buy a full page ad in the magazine." Now I knew that between all of our group we couldn't afford to buy lunch, never mind finance a show in New York and when I informed Rosie of that fact and also the fact that even if we were able to come up with the funds, I personally wouldn't bet a penny on my chances or the group's. After that things took a turn and became more subdued, those that were eating finished up. Rosie excused herself to go to the washroom and a little later a grinning Jose indicated he had to do likewise.
Cut to the chase, neither reappeared but the waiter did, with the bill. "The lady and the very tall man with the mustache said you gentlemen would take care of this." He said very politely as he retreated. The bill came to $150 and as I suspected everyone left at the table was completely broke except myself who, not that it would save us from our situation had $25 in my shoe. "Call Ziggy Sieglemeyer, he's got a credit card," said Sean. Sieglemeyer was a group associate and everyone knew his family provided him with his truck and just enough money to get by. He was gotten hold of, did appear and did rescue us from our embarrassing dilemma with everyone's assurance of paying him back shortly. Thereafter we all dispersed, Sean and Bogdonovich having things to do downtown and heading in that direction. Godfrey and myself going in the same direction as Ziggy, took a ride with him in his truck. Passing the beer store, Godfrey pleaded with Ziggy to stop and run on in and get us a case of 24, he was already in this far for a lunch, the day was still young and another few bucks for a few beers which of course we would pay back wouldn't mean that much to him.
Beers in tow, we headed to Sieglemeyer's studio where we supped the 24 bottles of beer, continued our conversation on art that rapidly descended into an ardent evangelical sermon by the recently born again Godfrey who had his own special take on the whole thing. The main thrust being, that all you had to do was be born again in Jesus, accept him into your heart and all your sins were forgiven, a clean slate... which was a perfect deal for Godfrey because you could wake up and be reborn in the morning, descend to sin in the afternoon, fall asleep dead drunk in the evening and be reborn once again the following morning. Later when I regained consiousness I found that Godfrey had already slipped off to wherever Godfrey went and I asked Ziggy back to mine, for the lift of course but also to repay him with dinner because I knew he'd never see a cent of the money he'd spent to bail us out from the restaurant and I also knew I had $25 in my shoe that I needed to last for the remainder of the week. We got to my place where my ever patient wife retrieved a lasagna from the freezer for her unexpected dinner guest and Ziggy and I went outside with a full bottle of scotch to await dinner. We talked about all manner of things and drank the whole bottle and ate the whole lasagna. it was at that point with all that beer and liquor in me that I began to wax on eloquently to Ziggy about what a bunch of losers and failures we artists all were and how none of it meant shit and that the biggest success in our local scene amounted to a big fat zero in the long run, I was even making myself sick. Sieglemeyer's face was becoming redder and redder, until finally he exploded with, "Well you might be a loser but I'm not, so go fuck yourself Kagan." and he stormed off.
The next day Sean called me, not to ask how I'd enjoyed my "free" lunch yesterday or anything else about the previous day's events but rather for disillusioning Ziggy who had already called him to inform on me and tell him what a downer I was. "You know," Sean said to me in a very disappointed manner, "Kagan, me and you, we're older guys who have been around the block a few times. We know what's what and we can take the truth but Ziggy's still a kid so don't destroy his aspirations." "That's fair enough Sean," I began, "but he's only a year or so younger than myself." "Yeah," said Sean, "however he's still an innocent so don't destroy his hope. Why are you so cynical?" "Beats the hell out me." I said, "You tell me...yeah, PLEASE tell me." (the end)
(A totally true artists' story, the names are fictitious. Your questions, comments or own personal artist stories are welcome.)
14 Mar 08 02:25
I’m absolutely floored by this story. And I am quite sure that this extraordinary talent for writing did not emerge over night. So there must be some drawers filled with piles of paper containing stories like this one if not more ... books perhaps. Well, that’s why I am ordering at least three copies of the book „An Artist’s Life“ and another three copies (one always need gifts you know) of „Seen Through a Bottle“ written by our astonishing author.
I am very thankful to you Hillel, for opening the literary section of this website.
15 Mar 08 10:58
Thanks, Maria and Hanjo. Believe me, I'm no writer, I do however have enormous respect for those that are. People like, you'll enjoy this Hanjo, Philip Roth, that guy has quite a mind. However at my age I do have many untold stories, memories that stand out in my imagination, as I'm sure we all do. These personal stories tell as much if not more about art and the art world as as does the work we do. Really, before Art Process I never wrote anything. When I started writing about this particular memory I was quite surprised to see it take the form it did. I truly hope it will encourage others to tell their tales, it could have the effect of adding another dimension to AP beyond the usual comments of "Love your work." and "Thanks very much." that are starting to get very stale.
16 Mar 08 01:05
Well, Hillel yesterday I went crazy looking for those books in internet, I would have ordered one too if I would have found it. But I found nothing, where did he get the information? this german old fox! The titles were so convincing! Finally I found out I had been fooled by Monsieur Hanjo, who must have had a good time,laughing in his studio...I must say that I enjoyed the anecdote too, your ironic sense of humour and the natural way you write about things,makes reading very easy and amusing, you should start another career right now, who knows? maybe you even have fun... one thing is sure, you will not suffer as much as painting, and we will all buy the books!
16 Mar 08 11:29
Thanks Karen, but even though that rascal Hanjo has provided me with a couple of very good suggestions for book titles, there will be no second careers for me, I'll stick with painting. I have more than three people who collect my work now and I don't think that the sale of nine books would be sufficient to keep a publisher happy, or myself in liquor money. Any writing I do will be strictly for this site and we all know what that pays, in any case here's another true story. PEARLS OF WISDOM
Bill was one of the elder statesmen of the Canadian art scene. Coming of age in the 1950s he was one of the young turks that shocked the very provincial art world of that time by following the lead of their contemporaries in New York. Their access to that work came mostly from magazines like Art in America, Art News and Art Forum to name a few. Bill being Bill, was a bit noisier and more flamboyant than the others, there was a bit of show biz running through his veins. Having greater ambition than is usually the case he went to live in New York and did achieve success there, finding a place with the well known and established Gallerist, Sam Kootz. His fall from grace and New York is good for another story and not my intention here. Let's just say that his return to Canada and his nationalistic spin for returning to his native land was enough to ensure his success here for years to come.
In my youth and as an art student, I would go to (the then) Art Gallery of Toronto and I loved Bill's work above the work of his peers. It wasn't until 1990 that I finally met him at his studio. He seemed to like me. Why not? I stroked his ego, told him what an important influence he had been for me and how superior he was to the rest of his gang. He agreed with everything I had to say, told me to go pick a painting and after he complimented me for my good taste because I had picked the best one, proceeded to title and sign it. My house is filled with my own work and my wife's work and a few other pieces by friends. The small painting Bill gave me is I'm sure, monetarily at least, my most valuable piece of art.
For about seven years, from 1987 to 1994 I had worked on and off, on a series of paintings that I called The Struggling Figures, a few of them are in my portfolio on this site. Although I had shown some here and there during those years, I had a full show of them in 1992 at a now defunct gallery (good for another story). Bill was invited to the opening which was a loud raucous affair, filled with a great many drunken artists including myself but of course as it was not his opening, he didn't show up. However later on during the show's run I was called upon to give a tour and speak about my work to an organized group of art enthusiasts in the evening after closing time. It was also arranged by the dealer that on the same evening, after the group had left, Bill would make an appearance and view my work. It was a known fact that Bill never gave compliments to other artists so I wasn't expecting much in that department but was interested in what he would have to say. At 9 p.m. his great hulking frame, supported by a cane in each hand entered the establishment. We shook hands and started to walk around the gallery together, all the while I couldn't help noticing that he was muttering under his breath. Eventually the mutterings began to become discernible, "Nice stuff!, Good shit!... Fuckin' good shit!" I thought it must be my imagination. Finally we came to the end of the show and the last painting, turning to me he said, right out loud, to my amazement and humility, "This is fuckin' good work, it'll make you famous. Maybe not right away, it might take ten years or so." my face was reddening and my head was spinning and then, his voice growling, he added, "Why dontcha paint these guys naked with giant sized cocks and enormous balls, that'll make you famous right now!"
16 Mar 08 15:16
In Greece, being an artist (meaning most often broke), allows you to run your business without having to pay for social security. And of course government allow themselves to cause you a lot of trouble when it comes to offer their health services. So, please, Kagan, next time you are up to such a story, warn people it is advised not to read with a mouth full or serious chocking may be caused.
Love you man.
16 Mar 08 17:57
SO FAR YET SO CLOSEOk, this is how it is. I shall not try to tell you what happened to me as I walked the halls of The Prado and stood in front of the great masters nor will I uncover to you the mystic spell Paula Rego cast on me. As every good Greek knows, you don’t want Apollo’s rage raised and his grace withdrawn by revealing the initiation ceremony of his Mystai in his shrine. But I can tell you of this episode that had me thinking how time goes round in circles, dragging human experience along. And as we spin on our times sometimes we get so close to other figures and consciences who spin on their own parallel circle. So close yet so far in time.
As seldom, if not hardly ever, things happen by coincidence, books and films and articles kept falling on my lap considering the ruby red, blood soaked years of Spanish history at the turn of the century Goya lived in. So, like a diner who slowly concentrates on each and every course only to postpone and thus enhance the sweetness of after dinner fine sherry, I made my way through the Prado till time was ripe to enter the gallery of “Las Pinturas Negras”. Alone. The first time. There they stood, in three rooms, rather small in relation to the ample halls where the great Velasquez hung, rather human proportioned, and rather dark; with the smell of grand mother’s curtains, always drawn to protect the antique dining room furniture from the light of the street. Or the eyes of it.
Haunted by those images and the feelings that borne them I waited three days before I practically dragged Hanjo by the arm, to go and see them. I suppose I must have ruined them for him because I couldn’t keep my mouth shut. Such was my passion and urgency to make sure that he felt what I did, that I kept “explaining” them to him. Look at the tragedy of the Duel with cudgels. How these tow men, brothers, are suspended in time and in the air, eternally exchanging bloody blows, with no legs to run, not any more, not after the madness war has inflicted on them. Can you hear the jaws crack? Can you smell the blood of the gums? Look at the land bellow The Fates turning yellow with poison as they hover over it. Yellow and black. Acid and poisoned. Do you smell it? Smell the sulphur as it burns. LOOK. Look close; hear them coming. They are close now; just behind that hill. Hear the hissing sound of their skirts. They are the Procession of the Holy Office; do you know what they do to you? What they have done? Their hissing skirts on the ground make you cold, don’t they? Poor Dog. But I stand here watching. I watch the Pilgrimage to San Isidro. I watch this human serpent of fools come advancing my way. I watch their contorted faces chanting their stupidity and madness and decay out of tune. Are they the same majas and majos of some past luminous times? How they are degraded. I watch them, after everything has been said and done, and I think all they have always been worthy of is to shrink in front of The Great he-goat. They will be forever led by him.
And so I frown; and my head bends slightly downwards and my lower lip moves forward and my chin gets harder and my eyes stare under my eyebrows with severity and contempt.
And then I saw it. Behind Hanjo’s back, in a dark corner of the room I hadn’t noticed the first time, was a bust of Goya, sculpted by some 19th century artist, of some dark stone, almost black as I recall. It was looking at me straight in the eye giving me precisely that look.
30 Mar 08 16:23
THE SHIP HAS SAILEDOnce in a while I get up the nerve to go gallery hunting, make the prerequisite phone calls and try to get an appointment to come in and see the gallery director with slides to get something going. Such was the occasion a number of years back when I managed to get permission to send packages to four galleries. Some time passed and I called the particular galleries and was told by three of them I could come in and pick my slides up, they would be at the front desk. The fourth hadn't had the chance to look at them yet and the following week she still hadn't the time to sneak a peak. The week after that when I called I was simply told, after being put on hold for a couple of minutes, to come in and pick up my package.
It was late afternoon when I shuffled into CG's gallery to redeem my property. The receptionist told me to just go on in to the back office, CG's private realm. Walking into her office the first thing I noticed was that CG was seated behind her desk with a small throng of people seated and standing about her in rapt attention to whatever it was she was talking about. She seemed to be holding court of some kind but I have no idea what it was all about or who the people were. Apprentice gallerists perhaps? Politely I stood at the doorway and waited for her to finish her sermon. When she finally did she looked up and spotted me. "Hillel Kagan." I announced. "Oh yes," she said, "I have your slides right here." As I approached her desk she offhandedly remarked to the group that, "This is a perfect example of what I"ve been speaking about". Handing me my slides she continued to expound, saying while pointing a finger at me. "Here is a very good, substantial artist who really knows what he's doing". All eyes were on me as she continued." Yet unfortunately for whatever reason, the poor fellow seems to have missed the boat... he's just too old! The ship has come and set sail and he just just wasn't aboard. Now it's simply too late!" The whole group was viewing me like some kind of exotic species at the zoo. "You do realize that I'm standing right here." I said, to absolutely no response and continued stares. Turning on my heels, my package under my arm I walked out of her office and gallery.
On my way home, I tried to figure it out. It was very embarrassing, the whole episode was atrocious, her behavior abysmal, and I was quite angry. She'd caught me unawares, I should have given her what for, but I was too stunned, I'll call her when I get home. No, I should write a letter and tell her in great and explicit detail what an asshole she is. Instead I did nothing and some eighteen years later I've come to realize just how astute she was.
07 Apr 08 23:10
NO IT HAS NOTI know how you feel about time passing and things that you longed to have happened still haven't ,and things I should have achieved I haven't been able to yet ,but I think I will go off my rocker if I for a minute think of giving up.I hope I\m reading you correctlly.You seem to be in such an inward retrospective mood and I like reading all these very bravely expressed experiences.
08 Apr 08 18:53
Well Fotini I'm glad you've responded as you have because it gives us a chance to talk about failure and that's something that most of us have to deal with. In America, as you know, success is everything and of course the success they speak of equals $. Perhaps we artists measure success differently, actually I'm sure we do. Our needs are really quite small, enough to get by to continue what we do. A place to live and work, food, a well stocked liquor cabinet (at least for half of us, marijuana for the rest). We don't covet fame but unfortunately that's how the art market works. Fame = sales. The main job of a gallery is to make their artists famous to ensure income for themselves and the artists, no fame, no name, no gain. In my experience the artists are much better at their job than the galleries are at theirs.Just as amongst any group there are some artists (a very small minority) gifted with a natural entrepreneurial and positive go getter attitudes. The galleries love those types because it makes their job so much easier. When a person like myself walks into a gallery I'm very conscious of the fact that their (the gallerists') experienced noses smell out the stench of failure very quickly. They might not know much about art but of that particular odour they're genuine connoisseurs. After years of failure in even making the slightest dent in the commercial marketplace I began to feel a change take place in my innermost feelings, the failure and futility started to rob the art process of its fun. The general gloom turned what was once my most joyous activity into arduous labour. From time to time I could rid myself of those black, impotence causing thoughts and free myself temporarily of my paralysis and squeak out a work. More often my anger and feeling of futility created in me a rebellion to even begin to measure, a childish desire to say "I won't, it's too hard, you can't make me." thus masochistically depriving myself of my only genuine pleasure... being lost in a world of measurement and comparison where time evaporates
So how does one deal with this almost inevitable failure? As far as I'm concerned you confront it dead on. When CG said my ship had sailed there was some truth to it. Yes it was a pretty horrible way to treat another human being but I understand her perspective. She doesn't understand much about art but she does play an odds game in her business. It's not that I'm hopeless, the thing about art is it always has the capacity to surprise, nobody really knows where it's going to come from next. So I do have hope, it's just that I've learned to carry on without expectations. Mine were never that great anyway, my biggest ambition was just to be part of the dialogue in some way. I hadn't made the connection early on between fame and artistic livelihood but I did know that I had to have my own alternate strategies for dealing with that. Being older now I've gone through enough of those black periods of anxiety, melancholy, dread and yes hopelessness to know that somehow or other I always come through it, working at yet another attempt at painting my masterpiece.
Finally, thanks for your comment about being brave but bravery has nothing to with it. When one is speaking openly to one's friends bravery isn't even an issue. There's an intimacy to our experiences that I know is shared by most of us so why hide anything. The democracy of this site has at least given me the opportunity to realize one of my ambitions, it may not be the way I envisioned it but I am part of the dialogue.
08 Apr 08 23:34
I am new to this site, but I have a story which may be of interest, being as we are all artists, gathered around a virtual table, slightly drunk...Back in 1988 I was in London, Eng.,taking in the museums and gallerys and culture in general. I met a young man, a recent graduate of Goldsmith's College, who was on a similar quest for the elusive Heart of Light! His name was Damien Hirst and, tho he was much younger than I, we became good friends in a short time.
we hooked up and bonded and did the Art Tour together, and drank profusely together, and pledged that whichever of us hit it big, we would share equally in each other's success.
We even traveled together as far as Majorca , where we played and vacationed as good friends will. One day we discovered on the beach the carcasses of
two sharks,washed up the night before. I had one taken off by the local fishermen, to be cut up into steaks, and, well...the rest is History!
So...
Arnold
12 Apr 08 22:44
Welcome Arnold, and thanks for a very amusing story. If you could produce a story like that while slightly intoxicated I can't wait to see what you may offer us when you're completely hammered.Having just visited MyArtInfo where I saw some of your very exciting and original work, I encourage you to upload some additional images here. It's always great to have another drunk at our virtual table.
16 Apr 08 17:56
DRUNK PAINTINGIt has long been an ambition of mine to paint while in a complete state of drunkenness. The reason I bring this up is I noticed that j-p said something about drinking and painting, having to do with myself, in the description of his latest Studio Log "Beer Box Drawing". There does seem to be a connection between the making of art and a taste for strong drink. Personally I don't think I've ever known an artist, at least an artist who's work I like who wasn't a drinker. Pot smoking artists just don't do it for me although they do from time to time produce something of interest. Artists that mainline heroin have my respect but I've known too few of them to form a definite opinion. Artists who abstain from all drugs and liquor are of absolutely no interest. Like all people who claim that they don't need stimuli and are capable of getting high on life itself, they are not to be trusted. They live a lie and their art shows it, the need for drink and other hallucinants being natural for every being, human or animal, on this planet.
That being said I have never been able to paint in a state of complete inebriation and I consider that to be my main failing as an artist. Limiting both my output and prospects. M, one of my very best friends is a painter. He's one of those artists who cannot do without the support of a dealer or gallerist. He doesn't care how much they screw him because without them he loses motivation. For instance they might come up with a scheme for him to produce a series of limited edition prints or works on paper for a hastily put together show and larger canvases for a bigger show down the road. Sometimes there are clients that just want a piece so they can donate it later at a higher valuation from the same dealer in the near future. A win for the artist, the dealer, the buyer and presumably the receiving institution, it's what is commonly known in the business as a win-win-win-win. M needs these schemes to provide the impetus to create, otherwise he would just drink from boredom. When he has a project, like let's say the production of fifty works on paper to be done within a couple of weeks, he's happy as a lark. The dealer provides M with quality watercolour paper and more importantly with a two week supply of four litre jugs of red wine, his preferred beverage for drawings, watercolours and all works on paper. He starts working early and drinks the wine constantly all day and never seems to become intoxicated. He doesn't mind company and people come and go all day long. He goes through a jug a day until the assignment is completed.
Larger paintings are a different story and when he has a commitment, the dealer knows that as part of his investment he must provide M with all the material needed. Stretched canvases, paints, brushes, etc. But the most important provision and before any serious work can take place is the provision of a couple of cases of liquor, additional cases may be needed depending on the amount of work required. Perhaps because he sees the large paintings on canvas as being more serious he requires the hard liquor to break down his inhibitions. People are no longer welcome in his studio. He locks himself in there for as long as three months, calling only the dealer, should he need additional provisions. He doesn't answer the telephone yet it's during those times that one is likely to receive calls from M at odd times like 3 o'clock in the morning. It's a one sided conversation where he just babbles incoherently. As he'll only call back if you hang up, I've learned to just put the phone in the drawer next to my bed and let him talk to himself until he drops off. The truth is I'm in awe of his ability to work completely smashed. Please don't think I haven't tried, I've invested plenty in art material and liquor (which I am lobbying the government for to be considered a legitimate art material and tax write off) but I've never been able to pull it off. Unfortunately, unlike M, booze doesn't compel me to paint. For me it's the opposite, painting compels me to booze. This I view as just another one of my multitude of failures as a human being and artist. Try as I may, I seem to need all my faculties to proceed with my endeavors and sometimes if the work is going poorly that means succumbing to my need for alcohol very quickly. Liquor is my reward for making progress, I try to work as much as I can and if I have indeed made some progress then I am surely entitled to my drink. No progress entitles me to drinking for the sake of drowning my sorrows, as I ask such pertinent and eternal questions as, "will I ever be able to paint again, how did I ever do anything before, has it all been an illusion, have I lost my raison d'etre, etc., etc?" Such thinking necessitates the need for more and more liquor. M is my best friend for a number of reasons but I must point out that the main reason is his ability to work while imbibing. I certainly don't love him for the work he produces which at least to me, looks like the scratchings and markings of a drunken lunatic.
There are women artists out there whom I know will jump on these statements as yet another example of male artist posturing. Just some more of that machismo hard drinking artist persona that is so passe. Let me assure them, as I have others, that for me there is absolutely no sexism involved whatsoever and I have enjoyed the company of my drunken female artist friends equally to that of my drunken male artist friends. No, let me take that back, I have enjoyed the company of my drunken female artist friends infinitely more so. So please don't hold that against me as I ask you as I have myself... why can't we paint (and live) perpetually drunk?
22 Apr 08 02:26
A WORLD APARTLast Sunday was Greek Orthodox Easter. This means I closed the school from Friday to Tuesday. Which, in turn, means that I was home alone all day for four entire days. So I did nothing but walk the dog, eat and PAINT.
I have been painting for four days and nothing disrupted me. It was such an adventure… Friday work was good; Saturday went bad and I was depressed all Sunday, but I put the canvas away and started three little portraits through Monday. That felt much better. Yesterday, waiting for the portraits to dry a bit, I started painting over an old, horrible, disastrous creature and there came out this very promising figure, bathed in light, I can hardly tell where she came from. She is proceeding well and I won’t rush her. I suppose she is so light and fresh because I painted her without having great expectations. Thinking too much is such a disastrous habit. Waiting for a new canvas, I made this little preparatory drawing of a two figure composition which, I expect, will be another interesting trip that will keep me busy for at least a couple of months. I am planning to take my time with this one and force myself not to think so much while painting this time.
My only other activity these days has been reading a collection of Matisse’s sayings and writings, a gift by a student. This fellow worked day and night and these days I remembered what it feels like. I find myself thinking about painting twenty four hours a day and I feel so much at home.
Next Monday life will try to take over again. Will I be able to face it?
01 May 08 20:08
Maria, you know I love you for your earnestness and romanticism but thinking about painting twenty four hours a day does not a great artist make. As you know, I'm a great believer in moderation and an artist must also be a well rounded person. You must learn to divide your time, at least half of which should be spent on completely debauched activities involving huge amounts of liquor (I understand that ouzo is quite inexpensive in Greece) and multiple sexual couplings and groupings. As you quite rightly say thinking too much is such a disastrous habit and what better way to start killing off those nasty brain cells than by taking my suggestion to heart. The other benefit of course, is the remorse, shame, guilt, self revulsion and suicidal thoughts the mind produces after a healthy episode of debauchery. These are all important emotions to pour into the soon to be great art you will create after the hangovers and physical sickness recede and you have a few minutes to concentrate with fewer brain cells in the studio.
02 May 08 01:32
JACKWalking on the street I happened to meet an old neighbour who lived in the same building as I did close to forty years ago. Besides for that connection I remembered that he had been an associate of Jack. "How's Jack?" I asked. "We buried him a couple of weeks ago." He replied and knowing that this particular fellow works for a funeral home, I knew that when he said "we" to take it literally. It was sad news that got me thinking about Jack with whom I'd lost contact quite a few years before and who according to my old neighbour had been in a constant care facility for the past couple of years.
So who was Jack and why do I bring him up in the context of this art dialogue? Well let me put it this way, Jack was an artist and for all his obscurity and living on the margins of all society was an integral part of the art scene. Allow me to supply some personal history. Jack was familiar to me from my relatively very young years when I first started to make a study of art. He never missed an opening, as much for the dainties being served as the art being shown. His presence was always there wherever art was shown in the city. Somehow or other he became a friend to my stepmother who was herself an amateur artist, she also cooked and baked and I think that's what the real attraction for Jack was. Come holidays or celebratory events Jack was frequently in attendance with his nonstop chatter and effeminate manner. My father was relatively patient with him although he quite obviously got on his nerves. Jack was after all, one of his wife's best "girl friends".
It wasn't until I started to attend art school that I started to get to know him. He was an assistant librarian and I frequently rode the bus home from school with him. He always wore a grey suit, white shirt and bow tie and carried a black bound sketchbook. In our conversations I learned he had gone to the same school as I was attending years before and had a number of stories about certain teachers who were either his peers or already teaching when he had gone there. There was also the talk of his short lived career and why he had failed to move forward in the world of art. So and so had said what a delicate touch he had or how exquisite his watercolours were but he didn't have the ability to push himself forward. Also he had the liability of a very elderly mother to care for although I suspect that the reality was the reverse.
Over the years from time to time I would run into him at some gallery or other and like I said before he never missed an opening. When I started showing, Jack, taking our familiarity for granted started telephoning me to ferret out any interesting gossip about the dealer or other artists I was showing with. Thereafter he would call from time to time to talk about art and the local scene, he astounded me with his virtuosic knowledge of what was going on. He had met my wife at openings and getting her on the phone he would engage her for extended chitchat. Eventually my wife being a soft touch started inviting him for holiday meals just as my stepmother had. He was a queer old duck, eyes closed and mouth quivering he could talk at length about art and artists, writers and novels. But he always licked his plate clean and profusely complimented the chef, recalled his late mother's home cooking and was the last to leave the party.
He had been going blind for years but that didn't prevent him from reading with the use of a giant magnifying glass or going to galleries, and museum shows. Although I'm not exactly sure what it was that he saw, with his face pressed right up to a canvas. Yet he always had an opinion and was continuously sketching, face right down on the paper of those black bound sketchbooks. He was very worried about what would become of his art when he was gone as there were no relatives, I'd never been to his small bachelor apartment near the university campus but I imagine he had thousands of those sketchbooks. He kept pressing me to undertake the responsibility of caring for them after his demise and I kept putting him off. Just what I needed, more shit. "Leave it all to the Art Gallery of Ontario or the Library." I advised. It so happened that one evening Donna and I were strolling downtown when I noticed Jack sitting at a table in a brightly lit McDonald's, we went in, head down he was furiously working on his sketchbook. We sat down and joined him for a coffee. The usual talk ensued, his deteriorating vision, what would happen to his art when he was gone, art gossip and on and on. While he was talking which he always did with his eyes closed as if in deep concentration and continuously until you stopped him, I took the liberty of sliding his sketchbook over to me and quietly turned the pages. Page after page was filled with what at first glance looked like handwriting, densely packed and row after row but upon examination I realized it wasn't handwriting as such but squiggles, loops, dots and dashes that made no sense and the whole book which he was obviously nearing the end of was just that, I closed the cover and pushed it back to where it was, Jack was still talking.
At the end of the eighties and beginning of the nineties I started showing somewhat more frequently. Jack would call, there seemed to be a new bitterness to his tone. Well, I was only getting shown because I was tall and manly what chance did a sensitive person like himself have. "It's no big deal Jack," I would reply, "it'll all add up to a hill of beans." Thereafter I would try to move the topic to some more neutral topic, I'd been to Ottawa and saw some beautiful stuff by my hero Giacometti. "Your hero!" He spat out with derision. "You're an imbecile." Now abuse I can get anywhere, isn't that what family and loved ones are for? But I didn't love Jack although I was beginning to see in his new hostility a testament of some kind of love on his part for me. So after a few calls like that I just stopped answering the phone to him and that was the end of whatever relationship we'd had. I never saw him again except for one time a number of years later when I spotted him descending from a streetcar in front of the Art Gallery one evening, white cane in hand and I would imagine totally blind and as usual depending on the kindness of strangers for assistance, I marveled at his continuing to go to lectures and openings, he would have been in his eighties but he persisted. I didn't stop to chat.
What was he exactly? Was he an artist? Those countless filled sketchbooks that I have no doubt wound up on the trash heap, was that art? Who am I to answer that? All I know is Robert Rauschenberg, a very original and unique artist died the other day and the world mourned his loss. Jack died a few weeks ago in total obscurity. For every Robert Rauschenberg there are several hundred thousand Jacks and they're all unique.
15 May 08 21:15
I remember Hanjo's description, breathlessly reaching the sanctuary of AP, slamming the door behind him. I'm rather new here but I know what he's saying. Yet this is getting ridiculous. I can hear the echo of my footsteps. After posting an item, I hear the crickets chirping...I don't like to drink alone.
My wife and I were recently in Chicago for the Jazz festival - good music, good wine, the whole Sinatra! We visited the Koons exhibit at the Contemporary. And Man, do I feel a good rant coming on, but...well...here's an item worth highlighting. On the day when the Stock Markets began their crash, Damien Hirst sold 200 million dollars worth of ARTWORK at Sotheby's!!! Hmmm!
Slantche!
18 Sep 08 04:09
I know the feeling, sorry about not responding to your comment about viewing myself as a mid-career artist capable in time of becoming a proficient colourist. Colour being something I devote very little conscious thought to I actually have very little understanding of what the term "colourist" means so I just wasn't sure how to respond although I know you were trying to be encouraging. The image you uploaded of an older painting of yours that you related to a newer work of mine made me want to comment. But as it was in the studio log section where there's no facility for response I didn't bother. So now that you've opened up the chat lines again I'll talk about it here.Let me firstly say that from what I could make of it I like that older painting of abstracted figures on a realistic ground but as you know I'm partial to that kind of work. Actually I don't so much strive to abstract the figures and keep the background realistic. Hopefully I try to achieve a balance, figures and ground equally abstracted. It's the potential for movement that the human figure inspires that causes what appears to be a greater amount of abstraction. The settings the figures move in tend to be somewhat more still. Yet it's a conflict that still gets my main attention and I've yet to resolve it to my satisfaction.
So now about Koons and Hirst, a little while ago you brought up the topic of how visual artists will have to start perceiving the value of what they do in a different way just as musicians have had to adjust to the downloading of music on the internet, etc. and I fully agree. Yet one of the outcomes is the great cost of tickets for live musical events and in the visual arts the monetary value of an original artwork by a "star" artist has nowhere to go but up. Even if those artists operate art factories "a la Warhol" that employ hundreds and have whole PR departments devoted to promoting their fame. If someone like Koons or Hirst didn't do it for themselves, the museums might well do it for them in posterity, just take a look at what's going on at the Tate's current commemoration of Bacon and the amount of press and hyperbole being thrown about about England's, no, make that the whole world's greatest artist of the past century.
Now Arnold, go ahead boy, discuss and rant.
18 Sep 08 20:17
Two nights ago i sat down to have a go at Koons and ended up going off on Kagan. Just as well, as Kagan's work is more interesting.The Koon's show was fun, we had a good time and all. And we have many of the original inflatables still in our home - the lobster, the shark, the bunny - from when our daughter was 5. So we recognize the cultural affirmations and the references to collective cultural memory.
But yet it's another instance of pointing up some commonplace object and sticking it in our face with a virtual exclamation point behind, which makes it Art!
Heck, it gets tiresome. I appreciate the craftsmanship, the conceptual acuity, but..
well, just but. I'm coasting right now on the artistry of that last bottle of Argentinian Malbec...
Sante!
20 Sep 08 07:36
It seems that the usual suspects are synchronised. I wonder what each and everyone is doing. I hope at least everyone is well.
I thought I'd say hello and go back to being crazy busy. Talk to you soon guys.
31 Oct 08 19:58
Beauty and other remedies.Time is a relative measure and as a result so is speed. Duration, let’s say life’s, which is related to both these two measures, is relative too and so is the idea of what quantity of actions made in what amount of time can be considered satisfactory. And, of course satisfaction is such a relative feeling.
Occupation of one’s mind with such thoughts is an ever successful way of becoming constantly haunted of the idea of imminent end getting closer and closer, which in turn triggers a procedure in which time is perceived in fast forward mode, with its speed rising constantly, till you move through your days in a dizzy, crazy swirl.
It is not clear when and in which particular circumstance it started but one day I realized I was ill with “overspeeding of inner time dimention”, aggravated with “incontrollable unreasonable guilt” attacks. In simple language, stress; and it can be pathological. You know you have it when you start having physical symptoms like stomach cramps, fast heart beating, insomnia, lack of patience and concentration, feeling tired all the time, getting irritated for no reason, suffering short term memory loses. Every day life becomes like one of those blurry, speedy Richter images and no matter how you shrink your sleeping and eating hours you are always one step behind. You are then stepping one step before depression.
All this of course is not real. It is a malfunctioning of the flow regulator of your inner time spring. The trick to keep your time from shrinking and extend it back to normal, is hit the brakes and slow it down. In my case I took up a patience exercise which at the beginning was also meant to work as a therapeutic illusion to convince myself that I hadn’t totally given up painting. To fight the voices in my head that were telling me that this or that work was falling behind and made it impossible for me to stay five minutes in my studio without drowning in guilt, I took a pen and a little sketch book and went out.
I live in a beautiful country side which, due to plenty of rain this winter, is as green as it has never been before. There is not tall vegetation, only herb bushes, lot’s of grass and innumerable thick leaved bulbs. Of course there is the sea too; never the same colour and with an immense repertoire of moods. But the sea was not what I was looking at. Too big, too powerful for my fragile state of mind. I looked for small plants. The first that hit my eye I sat on the ground to draw with my pen on my little sketch book. I tell you this was not easy at all; plants are such complicated forms and I chose to draw mine in detail; with a pen; not a pencil, not aquarelle but a pen with ink. You can make no mistakes and you cannot rely on illusion created by incidental paint marks. Oh, it needs time and concentration. Accurate observation drove my stress demon nuts. You may think it is not an enterprise sitting still on the ground, concentrated in the shape of a weed, “using your precious time which is running out every second, doing a sketch of something so humble, so far from what an artist with such little time available should be wasting her twenty minutes with”. And the most difficult part is, when you are done, refrain from looking at your watch and go do another one! And another one.
It has been a week now. I had promised myself to do at least one drawing every day and it seems to be working. Now I draw the plants in the vases at home and the little branches I have cut here and there in neighbors’ gardens and put them in glasses with water on my table, in front of the large window, so that they grow roots. I closely observe the tiny new leaves growing next to bigger leaves; I observe the way stems grow and how they twist their little bodies stretching for light. They are simply there. Time is not an issue in this universe of green forms. They slowly suck life from the water in their glass and they quietly extend towards light and they expand their roots towards the earth in peace and silence. You can feel them celebrate the air around. Close observation can bring you into their circle of peace and each time you look you are taken deeper and deeper as you notice more tiny leaves and thin, stretching, little newborn branches you hadn’t seen at first glance.
I can now tell that the process of doing these little drawings (they are no bigger than ten to fifteen cm) has been working like a refreshing shower for my brain. It takes away the toxins of every day rat race and keeps me on the sane side of the road. I intend on carrying on with them even though something strange has happened between me and figures: I sort of feel they disturb my peace. It seems that people will have to stay out of my work until I feel better.
18 Mar 09 21:10
Thanks for taking the time to share some of your process Maria, I understand perfectly your state of mind and respect the strategy you've devised for yourself while this mood has overtaken you. I'm sure your overall work will only be enriched by your exercise which is interesting in its own right.We all have our own methods of dealing with these altered states of mind and periodic bouts of angst and boredom we may feel for our own work. I try to drink my way through them although your approach may be more productive and healthier.
The main thing is not to go completely insane because then you could find yourself very very unhappy, lonely, anguished and a world famous artist.
19 Mar 09 22:39
This is such a beautiful text Maria, thank you for giving that to us. It reminds me of my own situation in Frankfurt some 27 years ago when I was in that rat race every day even at weekends while feeling that artist deep down in me knocking at the door all the time. But what should I do in that small time I had for my own? Just for my own sanity I had flowers in my cabin to look at and feel human. So one day I started drawing them. I thought oh my god how deep have you fell that now you draw flowers, what a kitschy subject. But after a while I had the same sensation you described with „ Close observation can bring you into their circle of peace and each time you look you are taken deeper and deeper as you notice more tiny leaves and thin, stretching, little newborn branches you hadn’t seen at first glance.“ So the beginning of my second artistic life started with drawings filled with water colours of flowers. Works I still love and which tought me to look precisely. This period was interrupted by another rat race for more than 20 years until I decided to stop all this and do nothing else than painting what finally brought poverty but satisfaction. Okay, to not tell too much I want to ask you if there will be an opportunity to have a peek into your sketch-book?
20 Mar 09 19:25
Coming just at a time when I can do nothing right, it was a real uplift to read your text Maria - thanks. Your exploration of the drawings is strong and encouraging, I hope you continue to enjoy this research, and find new channels for building upon an expanding visual vocabulary.You've quite a talent with writing too.
21 Mar 09 07:42
With all seriousness i too was impressed with Maria's lovely description of what led her to start, in her mind, her humble project. I had thought of Hanjo's flower studies, maybe I'm amongst the few who have seen some of the images. At one point I myself chose to do a series of still lifes (how boring is that?), even my series of small "Fundamentally Heads" was a similar kind of diversion.What i've learned, if anything is that it's not the ambition of the project but the interest one has in what one is up to. Boredom sets in quickly and we can't remember what it is we set out to do or maybe the project is too hard and beyond our capabilities. Yet bored or overwhelmed we feel compelled to do something and when we stop or slow down the accusing process of time (so little left and important things to do) we tend to forgive ourselves and perhaps choose something "less ambitious". Really there is no choice, it's that or madness.
In the end, it's all the same, just an excuse to paint, draw, do. The subject's gravitas or lack of it has little meaning, only the interest the process holds for us at any given moment. It doesn't matter what that might be, as long as it sustains our interest long enough to produce something there's always something new to learn.
22 Mar 09 16:37
Maria I also have to say that I understand perfectly your circumstances, because I have a similar situation right now, but you describe it so well,.. some of you have a gift as writers too,and I've becomed
accustomed to reading the texts first and then trying to guess who wrote it, usually I do identify your's,
Hillel's, Hanjo's and JP's. I think when we turn to something, to look at it with time and curiosity it is
because it's already inside of us. I mean, I turned to paint the sea to recuperate an atmosphere of peace I had
lost a long time ago, I couldn't have done it with a landscape.
Hanjo paints flowers every now and then, because he loves plants, he takes care of them like a doctor,following
their growth with delicate patience, it is
not a superficial choice. As it isn't when he paints himself in a cold scrutiny of every detail of his face or body.
We are a constant change of moods, and sometimes we need the simple joy of sitting under the sun observing what
seems to be unimportant
and we usually have no time to see, but can be fascinating. I think that the subject's gravitas or lack of it
as Hillel says, is not in fact in the subject, but in the way the painter lives that subject, or sees it,its "emotional charge".(think
of Van Gogh's Sunflowers,Morandi's bottles,or Nolde's seascapes).
Maria,I would only ask you to show your plants in a bigger format, because they cannot be appreciated in such a
small size. Drawings have a very personal,spontaneous character that talk about the way a painter works or thinks his work,(have you ever seen Seurat's drawings??or Mr.Hillels drawings?) I love to see them . So I would ask you to put at least
one in your gallery, so it can be enlarged and seen properly, please..And by the way Hillel, among your "fundamentally Heads" series if you refer to the Torah scholars, are some superb portraits,you are not referring to these when you mention "a similar kind of diversion" are you??
27 Mar 09 11:52
Hi Karen, it's been a while since you took a leisurely stroll down Hanjo's fabled boulevard, you've been missed.In answer to your question, yes the act of doing of those heads was a similar kind of diversion. The figures moving in some kind of (at least to me) believable space becomes just too hard a chore. So just isolating some heads and not worrying about the space they occupy and working in a very small format was a respite. I wasn't concerned about specific portraiture either, making for a much easier project.
27 Mar 09 19:56
Guys, I am in deep... stools...This new stuff I am working on is not working yet and I am trying to get a couple of painter friends to come to the studio and wake me up. Until they do, I am in a desperate situation. It is a pity I can't really ask you for help, 'cause one needs to see the thing live, but I can ask you another question. What about neon lamps? Have you any clue of which type gives the closest to daylight light? I had asked the shop and they gave me something but I still think it is too warm. Or maybe it isn't and I just have the light too close to the wall where I work. Any idea will be appreciated.
Anyway, take a look at the studio log. If you feel like throwing up let me know. Maybe I am not ready for this "work without a model of any sort" just yet.
06 Jun 09 18:12
Chains. Chains, my friends; they occupy most of my space. Have you ever felt you are trying to make your way across a room full of chains?
It is like dreaming with indigestion. You make one step forward and two backwards and there is always this feeling of moving deeper towards a deadly trap. On the other side of the room there is a door open. And you can see everything you have always aspired to going past that door. So casually, so natural, so “I was born for this” kind of way. And yet there you are with your feet surrounded by chains. Sometimes I can’t tell between my heart and my stomach. It is not clear which one it is that hurts so that makes breathing hard.
20 Sep 09 12:38
Well I can only talk for myself... it was certainly not something that was nurtured in the lower middle class background from which I sprung. There were no original paintings on the walls, yeah a few kitsch, framed prints from which I took endless enjoyment. Harbour scenes, wooded country lanes and the like... WOW! I loved them, the depth, the reality... how'd those folks do it? It was like magic to me. I could never get those effects with my crayons, but what and why made me want to? There were certainly no art books, or museum and gallery outings for us. On Sundays Dad piled us into the car for an outing, my brothers and myself, Mom, Grandma and an aunt or cousin or two, where we'd head for a factory where he had a job going (he was an electrician) and he'd park and say he just had to go in for a minute or two. Three or four hours later of horrible boredom, terrifying arguments, tears and insanity, he would return to take us all out for a cheap Sunday dinner and then home for that horrible Sunday evening of Ed Sullivan on TV and the knowledge that school began again tomorrow and none of my homework had even been begun.
Comic books were my real inspiration and art education, not that I called it art or even knew what art was. But I loved them, they engaged my imagination and I copied the dramatic muscle bound heroes with my pencils and crayons, even Mickey and Donald and Goofy were worthy. Nothing to do with art, strictly adulation. The expressions, the movement, all the things that still entice me... sheer joy! All my school textbooks were covered with drawings and doodles and I didn't have much interest in anything else, yet I didn't do particularly well in school art classes, apparently I made the colour of the water in the lake where I swam brown, when every self respecting art class teacher informed me, to my amazement that in actuality it was blue. Although they caused me some doubt as to my own perceptions and sanity, I never really believed them and always trusted my own judgements, even though they gave me failing grades. You see, I was already a full fledged artist. At this point I was only eight or nine years of age.
It wasn't until much later that I found out that I had two uncles connected to art. One, a sewing machine mechanic by trade had pursued sculpture as an avocation for years, realistic busts and portraits abounded in his home, they weren't that interesting to me and didn't have the same effect that the comics did. I learned later that his political leanings had made him friends with some of the mexican muralists (like Sequeiros) and if I look at his work now, it's fairly impressive, somewhat amateurish ( because he didn't have the time or luxury to rid himself of the academic) but quite ambitious and serious in his later years. Also much later, I found out that another uncle had actually attended art college, not that he was able to make a career of it, but he did pick it up again in his retirement years.
Actually if I think about it, it was probably my Dad where I actually get it from and he didn't have an aesthetic bone in his body. If anything he was so non-aesthetic, it was an aesthetic. But as I said before he was an electrician and he was passionate about his work (like an artist), he loved it and he wasn't just a practitioner and master electrician but had studied every aspect of electrical theory and the science of lighting and despite working all the time found time to attend night classes every year to upgrade his knowledge. His forte was transformation. Manufacturers were buying and importing equipment from Europe and the Orient yet couldn't run the costly equipment they had purchased because of the differences in voltage and all kinds of things I still don't understand and were stymied, even after consultation with engineers as to how make them run and not explode in their new environment, of course they wanted to make do with existing transformers so as not to spend additional fortunes of money. And that's where my Dad came in and he wouldn't quit until he made things work. Everywhere he went he left a trail of strange looking schematics with little squiggly symbols and markings that looked like some language used by Martians. And I mean everywhere, on the insides of matchbooks and cigar boxes, napkins and anywhere you could make a mark but he wouldn't quit until he could configure the thing so it worked and he had a special talent that enabled him, where others had failed to do just that, at least that's what I've been told told by countless people who worked in industry at that time.
Well that sure sounds like an artist to me, completely obsessed and thinking in some convoluted manner of abstract and instinctual mathematics. So I've come to the conclusion that whatever "the gift or talent" is that I possess (I prefer "way of thinking") I inherited from my old man. So I'd have to answer my initial question with "It's just in one's nature and it's probably some kind of genetic defect, like a predisposition for cancer or schizophrenia". Now that's my story and answer... what's yours ?
24 Feb 08 01:10
I was 12 when we moved ,rather immigrated to the states.The only english Iknew at the time was 'this is a dog and this is a cat.'Luckily at school I was placed in an art course and as I already had an inclination to drawing ,the art class became the only place in my world where I didn't feel a fool in.Somehow the frigtening new world began to make sense and the ground under my feet steadied again.So I think that my art bug was already there but it needed the right conditions to be nurtured and grow.The fact that I was so frightened because I could't communicate with words pushed me to energize other means.Hillel,I too inherited my bug from father who was a tailor and he freqently made some small drawings but life didn't give him the space to continue.
01 Mar 08 18:05
Fotini , thanks for taking the time to answer the question. I love your story about being an immigrant kid and your inherent art being the bridge to your new environment. That's terrific stuff and speaks of the fact that all of us here talk an uniquely universal language that goes beyond words. I especially love that you honour your daddy who was a tailor and you recognize the connection between your occupations.That was especially the point I was trying to get at. I've never thought of us artists as all that special, we've always identified ourselves with the tradesmen and masons whose unions or guilds we belonged to. We've certainly never been part of the intelligentsia or elite circles until very recently when art (both the history of and the making of) became part of University curricula. So what I'm trying to express is that there are people, I call them artists and please understand, this is my particular stance on the whole thing, who have an innate gift for measurement. By that I don't mean that they simply know how to use a ruler or scale or other device but their brains are wired in such a way that they observe the relationships of things and can instinctually analyze and construct in their mind's eye. These people recognize their connection to their fellow workmen and artisans.
And then I suspect there are those for whom these things don't matter a hoot and these folks might well come out of today's universities' art history and fine art programs. I would really love to hear from these people, particularly because my understanding and their's might prove to be so divergent.
Well from what I get from your answer and once again I thank you for answering and not being just another art wimp, is another resounding "yes" for nature versus nurture... you got it from your dad, a tailor ("measurerer" and artist). Thank you for that. Now howzabout someone else... please tell us your stories, you must have thought about it. Was it inherent and in your family? You've now heard from two different people who say, basically "Yeah it was the family". That's where they got their bug from. Any one else? I'd love to hear more, yet somehow doubt that I will. How about someone with no visual art genetic connections who just became inspired from out of the blue that they wanted to be an artist.
02 Mar 08 17:18
The first drawings I made were of ice scatters when I was five. From TV - living in Greece you don’t get to see frozen lakes quite that often. I was fascinated by the movement of their skirts made of waving strips of cloth and the way their bodies slid weightless on ice.Actually, before that, I had once drawn a rider on a horse and my mother rushed me to this art teacher lady, as she was impressed by the fact that one of the rider’s legs was actually drawn behind the horse’s body. I ended up getting really angry at this teacher and thought all artists were conceited old bustards. At the time I thought that that lady had been very rude to turn my mom down by saying that a three-year-old is far too young for art lessons. Plus I thought she had no taste whatsoever for dining room table cloths.
The story after that is more or less common to most of us. Went on drawing and painting and was made to draw all the posters for school parties and eventually got a teacher and so on. But to add to Hillel’s point of view I would like to say that yes it is indeed about this special gift to observe the relationships of things and instinctually analyze and construct in the mind's eye, and yes, in my case too it came from the family. There were people in the family who drew all right, but when I look for someone to attribute the special way of conceiving things, I end up with my grand father’s figure. He was not a craftsman or artisan or such. He was an ophthalmologist; an eye surgeon. But he was wise. He was wise when it came to the harmony of things and necessary balance. And he was on a constant quest for the most complete way of tasting life. He had a taste for good food and good drink and good smoke and good sex and good, intelligent, interesting conversation. And justice. Not in the moral sense of the word but in the sense of natural law. The world goes round still because of a certain way things connect. He who opens his chest to the rhythm of natural balance can eventually compose uncountable new melodies. In any sort of medium.
As there are good and bad artisans, there are good and bad artists. Likewise, there are people who live their lives and people who miss the whole point of it. In my family there are both kinds. Fortunately I have lately come in touch with a branch of my grandfather’s side I didn’t quite know. There have been some deaths - others recent and others happened years ago. The relics of these people’s lives have reached me in form of old libraries, and poetry manuscripts and musical instruments in need of dusting and care. I have lately become aware of the presence of certain beings who must have formed my genetic code or at least must have enriched the back of my childhood’s head with the eco of their thoughts.
I have come to believe that things always happen when the right time comes to attentive people’s lives. I am grateful for that. And, yes, my dearest Hillel, I do feel special. So do you.
10 Mar 08 18:39
Hillel and all, I loved to read your stories!!! That’s phantastic. When reading about your dad being so involved into electrics the novels of Phillip Roth came to my mind. All the stories about those fathers being experts in making gloves or whatever else and of course the way they were seeing what they were doing as a kind of art. And in the meaning of the word it actually describes something being done expertly and with much skill.Looking back on my own story there is no doubt about it for me that it is one’s nature, the given skills and as the most important thing the way af thinking or feeling that makes one an artist in the first place just as you have said.
Well, in my subjective feeling I have been drawing from the first day of my life. Not with a pencil of course but with my eyes in just following the lines of all things surrounding me with my eyes as with a pencil, writing them into my mind this way and trying to understand them this way.
I haven’t really grown up in a family but in an endless line of orphanages or other institutions one worse that the other. No one ever talked to me exept instructing me to behave or to wash my hands before dinner or just to be at the table in time. And I had no friends, for changing those institutions that often I always was the new one that hat to be tested out physically what meant to be knocked down or being held in headlock for what seemed to be hours and this every single day. So the only way to survive all this ordeal was to withdraw into my skull, my mind, my submarine building my own world in copying everything I saw with drawings or building little models of ships or carryages or whatever. And I had to it often for within hours everything I had done so far was being destroyed by the other boys or those catholic nuns who run those homes and who thought all what I did as being pure nonsense and a wast of time.
The rare moments I spent in my family I was attracted by my grandfather. A small thin man (who was being seen as a fool hinself by the other members of the family as well) who was a clerk in some state institution but in his private time wrote about history. Not the world history about kings and their wars but the history of his home town. And he made drawings. That were mostly coats of arms which he did very precisely. So I spent lots of time in his odeur of glue and paper and I loved it.
When I finally came back into my family permanently when I was twelfe I found a model in my uncle who was an ingenieer working at a shipyard. Of course I never did see what he was doing there but I witnessed what he did at home, in his very small cellar room. There he worked as a goldsmith and very early I learned lots of things about working with metal in just copying him. And he did photographs with all the develloping and printmaking etc. he was also interested in poetry (later I found out that he had a very kitschy taste). Well and he had a huge print in his living room: Ta Matete from Gauguin. Gauguin! Whow! So this was my version of Maria’s uncle. And I learned that there was another uncle or granduncle who had been an architect and I spent lots of lots of time in front of those three small watercolour landscapes he had done that hung in my grandfathers room and from which I thought that it was neary impossible to such a thing.
Well, my school career was very similar to what has been described from you already. The only things that were bearable were the art classes, the history classes and biology. Of course I too had to do all the drawings for my classmates and producing all the invitation cards or placards or making nice drawings for those little albums all the girls had at that time.
So for to cut a long story short it was my nature in the first place, that what I had inherited from some members in my family, that made me want to be at places or in situations or with people that had to do with someting close to art or craft. I never really got an education in this exept when I finally attended art school. But even then it was only for to enhance what was already there. And I didn’t exactly learn from being told but from practising and doing it by myself. It’s the way you look at things, the way you understand them, the way you feel about what is surrounding you what makes you an artist. The craft only helps you making it become real. And theory ... well that’s just theory.
10 Mar 08 20:17
I think that it is both nature and nurture that creates the artist in us. We are all inherently part of nature. We can't deny it. It is in our nature to want to create whether it be to create a family or to create a place for ourselves in this universe. We all have this desire. Whether that instinct is nurtured in us or not creates the outcome. I was lucky. My parents saw in me the need to create (I watched Bob Ross every Saturday morning when I was 7-10). My parents finally bought me the complete Bob Ross kit and the spark started there. I was faithful and every Saturday I would set up my easel in front of the T.V. and do exactly as he did with cadmium yellow, thalo blue, etc. I had my fan brush at the ready, and I had so much fun... it didn't matter then how they turned out. So for me it was in my nature to create and that creative outlet was painting. It started with an interest in the television show, and my parents nurtured that spark in me. I suppose we should all be so lucky to have such supportive parents. Sometimes the nurture doesn't need to be supportive. In some cases it could be a rebellion that is nurtured in the soul to create... for example if society, as it often does, shuns artistic ability; or if your parents tell you you can't paint; or if everyone you encounter pushes you down, that can be the catalyst that makes you create art despite what you are told by others. You can be your own nurturer as long as you recognize the nature in you to create and act on it.Just some ideas, spur of the moment.
Peace
Abby
11 Mar 08 17:49
Its very gratifying to see some terrific responses to this topic. Maria I love your story about being rushed to an art teacher (some very funny stuff). I like the link you make between what your grandfather valued as being good in life and what you desire from your life as an artist. I can feel your grandfather's tactile yet profound enjoyment of life in your work.People of your generation and I think this includes Abby, were given I suspect, and as you both seem to confirm, a certain permission that wasn't there when and I was young. I think Hanjo will agree with this, art school and the pursuit of a career in art was generally viewed as a complete waste of time, for crazy people only. Not only "useless", Hanjo's nuns might have even said " the devil's work". That your parents didn't try to dissuade you and even encouraged you is very interesting to me.
Hanjo's writes poignantly of his early youth, of course I don't know the circumstances, but the orphanages, the loneliness and bullying in the early years have to have a lifelong effect. The sadness never leaves but its probably what also gives power to Hanjo's work. And it occurs to me that something like that and the need to express or visualize certain feelings could easily be a factor in sparking the inner artist. Artists are for whatever reason extremely sensitive people. And in that way (I agree with you, Maria) we are "special". We have lively minds and we recognize each other when we see each other. But just as manic depressives pay for their highs with extreme lows, we pay a heavy price for our hyper sensitivity. We absorb all of our experiences, the good and the bad, very deeply. All these stories are fascinating and I think we have to keep telling them to each other because they are what connect us to each other and enrich our art. All you others out there, please join this conversation, let's hear your opinions and stories.
13 Mar 08 00:43
I was supported in doing art and being creative by my parents, but they supported me in so far as it was a hobby. My parents had artistic hobbies too, but they always maintained that it was not a viable source of steady income. I needed to have something to fall back on. I was not encouraged to go to art school... I was encouraged to at least teach. Uggg. So my nurturing parents only took me so far. I had a drive to break out and not do what was expected of me. I had to become my best supporter. There have been times where there were obstacles to overcome. Not having the money for canvas, but I always found a way to continue painting. That part of me was my nature.Peace Abby
13 Mar 08 16:55
Well, Hillel’s initiative to go back into one’s own past did not only made me chewing on my memory but also painting a triptych today (Quick brush action). He’s absolutely right that the past has it’s effects on our every days life. So the painting, that can be seen in the portfolio section, is a very personal statement about sadness. So thank you Hillel for igniting some brushwork.
19 Mar 08 19:47
Glad to have been of service, Hanjo. The main thing I was trying to say was that we are the sum of our experiences that have shaped our personalities. These deeply felt feelings, often arise from our earliest and formative encounters with some outstanding event. That sense of tragedy, happiness, impending doom or contented security and so on, is so much a part of us that it becomes the main focus of our expression. I'm not implying that we need to illustrate or reconstruct particular events. The feelings is so strong it will come through in anything we do, there is no hiding it or masking it. A while back I seem to remember some talk amongst yourself, Karen and Maria about the use of narrative in art and perhaps your Madrid "Paula Rego" experience was causing you to rethink the issue. Personally I don't concern myself with narrative because my story will come through unconsciously in any case. Some people look at art, abstract or realistic, constantly seeking narrative interpretation. The meanings and allusions they find always surprise me because I just look at a painting as a painting, formally I suppose, feelings arise but they're usually wordless. Then again I only listen to instrumental music, lyrics annoy me.
20 Mar 08 17:20
I'm a Fine Artist from N.W.England. I've lived in rural Scotland for the last 5yrs but I'm moving to Lancaster, England in the next few weeks. I like to think I am a serious artist - art is my life. I've racked my brains to think of a way to describe my art but all I can come up with is that it is just me. I am basically a painter (and "drawer") but I like all visual art. After painting and drawing I'm most interested in textiles or "fibre art." Before I was a painter I did street theatre, community work, t.v.and films and taught adults. Painting is the hardest thing I've ever done, and the best.
08 Nov 07 13:54
For someone new to art process you've already made more comments than some old hands. Obviously you want to make contact with fellow artists and that's great and just what this site is meant for. Please be patient because you will find, if you haven't already, that most artists are fairly non verbal people. If you don't get immediate response or for that matter any response, don't be discouraged, just keep trying... eventually you'll get some meaningful dialogue going with a peer or peers who relate to what you're up to.
Once again, welcome and thanks for the contribution of your unique voice and works.
08 Nov 07 22:49
Hillel is right. Anyway, Anne, welcome abord. It is nice to have one more eager voice here.
10 Nov 07 21:34
i don't know how to start talking to you all actually i think istopped talking to other artists a very long time ago even when i meet artists on different occassions we say very little and we're always on guard and what makes me really mad is the fact that very few people will say what they think about what we're doing so i'm glad to hear you talking
22 Feb 08 21:14
Welcome to the forum. I've found it supportive but people do say what they think. Maybe conversation is less inhibited when it's not face to face.
23 Feb 08 17:52
Guys, see what I was talking about? Maybe it is a Greek fenomenon. Fotini says that artists seem to be on guard when they talk with other artists here. That is exactly how I feel too. Nevermind, we have this place now.
P.S Where exactly do you live Fotini?
23 Feb 08 19:55
i.live in veria but i meet people in thessaloniki in openings and the artists union we have here but unfortunately even friends don't dare any thing provocative i wish they did cause i know it would help
23 Feb 08 20:26
i'm an Artist from West Africa, basically living in Ghana. my life is simply define as Arts.i do paintings,drawing,shading,curving and likes trying my hands on anything that depicts Arts.i am new on this site and don't know how things are done here.i love to meet other Artist and talk,share ideal,comment on work of fellow Artist...then maybe i will pick up from there.i'm not much into computer/nets so am a little bit behind.A friend advise me to try combining views and enthusiastic ideal from every corner of the world.i hope i will be welcome here and teach me what as to do here to make me a better Artist.
19 Nov 09 20:07
it will take sometime for you guys to see my works,i will have to organize them and capture the works unto a camera for me to be able to upload them...some of my works are not with me at the moment so it will be a matter of time...but i will definitely post them here.And thanks Maria for welcoming me i have to say,you've got a wonderful work,they are esthetically pleasing to the eyes.Thanks to you all.
20 Nov 09 19:07
hello everyone, I am new too. Live in Spain but traveled a while.Hard to be an artist alone at your studio. hope this will help improve that!
11 Dec 09 15:16
hi everyone, my name is raquel i uploaded my artwork one week ago, i studied advertising and graphic design but ended up sculpting and painting.
10 Mar 10 14:41
This is a great site. Why?You can see other artists' work - you can TALK to them about it.
You can ask for help.
You can get together and exhibit.
It is international.
It's not as good as actually painting but then nothing is. It beats staring at the rain on a dreek day in deepest rural Scotland.
Lighten up you lot!
best wishes,
Anne
26 Oct 07 18:23
Anne you've hit upon a great topic for this forum and possibly just in the nick of time. You're absolutely correct in your assessment, this is an unique site, unfortunately you're wrong about it being not as good as painting. Actually it's much better, it's not nearly as difficult. I can't say for certain, having never been to Scotland whether it beats staring at the rain on a dreek day (I'm assuming that's scottish for dreck, Hanjo) however I wouldn't doubt it. If you've noticed a kind of blue feeling, you're also correct. For some reason of late, we seem to have lost our raison d'etre, our rudder and leadership. We're afloat at sea with no land in sight. Alright let's forget the cheesy allusions. There does seem to be a rather downcast mood of late.
Let me just correct one other possible misconception. As far as I know, this site from its inception was just intended to be a meeting place for artists, somewhere to exchange ideas and thoughts. The idea of exhibitions, international or other, under the banner of the site was just not part of its mandate. As far as getting together to exhibit just start communicating with people whose work you relate to and who knows, anything is possible.
By the way I reviewed your portfolio and see some very lovely things. Keep uploading images, comment on work that touches you and thanks for starting this forum topic. We do need to lighten up.
29 Oct 07 01:37
Hillel,first, thank you for the nice things you said about my work. Painting is hard, it's like climbing a mountain, you never reach the top, only a higher plateau.(nothing wrong with "cheesy" similies)This site dosn't have to be perfect so long as we are all getting something out of it. I feel it keeps me in touch with other artists, living as I do in a very sparsely populated and isolated region (in terms of the British Isles anyway)
Your advice on getting the most out of the site is good. I intend to have a good rummage round and try to make some intelligent comment on the work. Also, it just gives me a lot of pleasure to look at art, from and by whoever.
There is certainly nothing as dour as a wet day in Scotland but I am happy to say that today is sunny and calm with blue sky and all the beautiful colours of October.
best wishes from Anne
29 Oct 07 14:34
Two things I'm taking from this: Cheerful and floating. The latter means we haven't sunk (though we came close), the former brings a welcome breath of relief. I second Hillel's thanks to Anne for her opportune intervention, and thanks also to Karen, Maria, Hanjo, Hillel, Elizabetta, Antonio, Jacques et al for steering the ship in the past months.Actually, what really made me decide to write this was Hillel's mention of leadership - he knows me well enough to provoke this reaction - personally, I'm firmly against the idea of leadership, and espouse more the idea of participation, with different individuals stepping in to take the lead when and where necessary, depending on what they can offer at the time. And of course the project should remain open to everyone. I'm not sure if that's enough to make a successful online entity, but at least we have proved that it can help lessen the isolation of the artist, and forge new connections that stretch beyond national boundaries.
We don't need a leader, we do need participation, debate, argument.
Welcome Anne, to art process.
01 Nov 07 14:31
Just another thought...It can be daunting to join in an established forum. How about a "Welcome" section where new members can announce their prescence? Even if some-one says something as simple as "Hi, I'm Joe Bloggs from Britain" it will get the ball rolling.
07 Nov 07 14:23
Very good idea Anne. I've added the "New to art process?" forum as you suggested. Perhaps you'd care to try it out?
Many thanks,
/j-p.
08 Nov 07 12:33
Domani cerchero’ di scrivere anche la traduzione in Italiano. Portate pazienza ...Since most of us seem to be more than willing to go on with the ArtProcess international meetings-shows, it might be wise to decide first on the inside procedure. Given the fact that every year we will have a different hosting city, it is understood that it is not possible for the same people to organize it, since physical presence of at least some of the organizers is essential. So, I suggest to discuss on a standard procedure to follow for the years to come.
Some suggestions just to put something on the table:
1. I suppose that as time passes, we will have more than one option regarding the host city. My suggestion is to create a page on the site where the different options can be presented (with information on the place, photos, eventual contacts that may have already been made regarding the organization of the event, etc.). The website administrator could precise a formula for this kind of presentation. After that, a deadline could be set for members to vote.
2. At the meeting that was held in Trapani on 08/07/2007, the following idea was thought worth discussing once we would all be back at home: It is essential to avoid chaos and be able to practice some quality control since ArtProcess members are increasing day after day. So it could be wise, once the host town is decided, to vote for a committee of five among ArtProcess members, that will undertake the organization of the show. This committee will be different each year, for each different show, always voted for by all artists.
3. Once the committee is formed, they will have to go through the site, choose among the artists and deliver invitations. The decision should be based on pre - agreed criteria such as coherence of the work, activity on the site, suitability if there are any restrictions due to space or other factors depending on each venue etc. (this is a rough description; we can all come up with ideas and criteria that can protect democratic procedures as well as guarantee quality).
4. The committee should be responsible to keep the artists informed at all times and the artists will be responsible to let the committee know (in time) of the special requirements of their work e.g. lighting, sound or other equipment. In case too many technical difficulties arise for the exhibition of a particular work at the particular venue, the committee will have to inform the artist on time (at least two months before) and he/she will have to comply and propose another work or withdraw in time for another artist to be invited.
5. The committee will be responsible of contacting sponsors or suggesting other financing methods, at least three months before the opening.
6. They will also be responsible of having a catalogue published by the opening.
7. To avoid pressings by local artists, it was discussed at the meeting of the 08/07 that there should be a rule set that if they want to participate, they should join ArtProcess from the beginning of the project. I personally think that the committee could either be strict and let everybody out, or invite specific local artists to join from the beginning and then close the door.
I don’t want to tire you with a longer comment. This is an account of some ideas discussed in Trapani, and some of my own. Of course there are many more things to consider. Let’s talk about it.
11 Aug 07 16:56
ArtProcesstrasformazione
da dialogo virtuale a dialogo fisico.
il website creato da JP Delany ha acquisito una particolare attenzione appena si e' rivelato capace di produrre una mostra "fisica" come pensato da JP su suggerimento di Antonio Sammartano a Trapani.
Questa possibilita' e' stata presa da molti sul sito con entusiasmo per questo o quel motivo, e ci sono state adesioni anche da molto lontano.
Trovandomi proprio alla conclusione di un mio lungo processo narrativo, ho pensato di condividere con gli artisti il prodotto di questi anni di ricerca appena confezionato in un video-documentario.
Nonostante la mia intenzione di presentarmi in anticipo per prendermi le mie responsabilita' nell'allestimento e assicurarmi la dignita' della mia esposizione pero', appena raggiunto Trapani, ho avuto una senzazione molto differente dalle mie aspettative.
Il primo impatto e' stato con la Chiesa.
Sapevo che avrei dormito in quello che e' stato chiamato Seminario Vescovile e che c'era una struttura ecclesiastica di mezzo, ma non avevo affatto pensato che il progetto fosse proprio supportato da una organizzazione religiosa.
Invece questa e' stata la realta', cosi' come realta' e' stata la certezza che la maggior parte degli artisti con cui ho parlato si sono trovati almeno per un certo momento nella mia stessa difficolta'.
Dal punto di vista delle mie scelte questo elemento poteva comunque giocare a favore, in quanto le tematiche che ho affrontato in questi anni sono molte vaste ed inerenti a temi filosofici e spirituali cosi' come affrontati da diverse culture occidentali in diversi periodi storici, laddove ideali e credenze producono restrizioni o limiti ovunque e in continuazione.
Dunque ho pensato che questo potesse diventare un punto favorevole o uno stimolo ad aprire il dialogo e un dibattito.
Ma non ho avuto granche' modo di verificare alcun dibattito ne' un confronto in termini approfonditi e proficui.
Trasformazione
dal dibattito sull'arte alla pulizia dei pavimenti, come forma di espressione totale e asservimento all'arte
Subito le problematiche della mia permanenza a Trapani, infatti, diventano solo strumentali per altri, da quando, il giorno stesso che sono arrivata, vengo coinvolta in un viaggio "politico" a Erice dove mi si propone di partecipare, senza sapere chi sono ne' cosa faccio e da dove vengo, gia' a una seconda collettiva da inaugurare il giorno dopo di quella di Trapani (?) e di cui nessuno ha sentito parlare.
Ancora ignara delle dinamiche e delle confusioni mi lascio affascinare delle stanze abbandonate, delle pareti scrostate, degli oggetti coperti da muffa e detriti di questo convento/orfanatrofio messo a nostra disposizione e ipotizzo di trasferire il mio set di 6 elementi solo li'...
Non avevo ancora capito che, laddove aggiungeva elementi su elementi da curare con una forma piu' da collezionista che da organizzatore, Antonio Sammartano non aveva ancora elaborato alcun piano pratico di lavoro sulle essenziali incombenze da risolvere:
una lista dei lavori da esporre, una presentazione degli artisti con i loro contatti, una dinamica della mostra, un manifesto? un catalogo (a seguito della gran quantita' di materiale spedito li' abbandonato) un comunicato stampa che spiegasse la funzione e specificita' dell'incontro e soprattutto (molto soggettivamente) il luogo adatto per la mia proiezione con il supporto necessario affinche' essa potesse avvenire, come promesso ben prima della mia partenza per Trapani e motivo specifico del mio viaggio.
Fra tutti i vari contrattempi, un paio di giorni sono andati dunque appesi tra attese sotto il sole al bar, viaggi dispersivi e manovalanze generiche dove concludere di non poter combinare un bel niente sul mio lavoro in quel contesto (come infatti e' successo)
Anche il porgetto di Erice sfuma su storie politiche e contraddizioni che lo rendono meno intrigante e piacevole e che si riduce per me ad un'inutile perdita di tempo ed energia in cui nulla si risolve.
A forza di guardare un paio di altri artisti super laboriosi che lavorano dalla mattina alla sera, mentre scopro altri in evidente difficolta' con attrezzature da falegnameria, mi sento in dovere di prendere in mano gli attrezzi e supplire a questa carenza per rispolvere alcuni problemi di costruzione, scordandomi chiaramente, come mio solito, di ogni controindicazione medica, della mia assoluta necessita' di stendermi al sole e rilassarmi, della mia chiara idea di avere fatto un viaggio in cui ricaricare energie ed elaborare nuove idee da scambiare con persone nuove e di insistere perche' si trovi una soluzione al mio problema specifico.
Impossibile. Questo obiettivo non si e' proprio verificato.
Ogni sera cado a dormire in preda a incubi dati dallo sbalzo climatico, dalla assoluta stanchezza, dalla polvere e dalla mancanza d'aria e dallo stress per la mancanza di rapporti dignitosi con l'organizzazione locale.
Non mi sto riposando affatto. Non sto neanche arricchendo il mio bagaglio con scambi intellettuali con gli artisti. Non incontro nessuno che non sia per pulire, mangiare, spostarsi con la macchina.
Mi vedo partecipe di storie gia' vissute, mai piaciute, di routine politiche e perdite di tempo evitati in passato, giri viziosi, diplomazie viscide e inconcludenti, aria fritta vista e rivista in tutti i luoghi del mondo e laddove vedo che non si trova appoggio ne' negli altri artisti, ne dai promotori della mostra, con pochi volontari continuo a lavorare improvvisando e sbagliando! perche' stupidamente tolgo il grosso del lavoro dalle spalle di coloro che si erano incaricati di seguirlo...
Dunque la mostra grazie a questo numero di persone masochiste si realizza.
Grazie a Jean Paul, a Christina, a Patrizia a Federico, a Sandra, ad Hanjo, a Jacques ad Andrea, a Vito, a Giampiero, e a me ( ed altri probabilmente di cui non so il nome essendo impossibile conversare in quel contesto e di cui mi scuso di non nominare).
Grazie ad estemporanee disponibilita' delle strutture di supporto come il Seminario Vescovile con Pippo, don Vito, Salvo etc alcuni problemi pratici per volantini e altri dettagli sono stati salvati all'ultimo momento e ho visto la possibilita' temporanea di risolvere le mie problematiche come una chimera.
Le istituzioni principali, come la Provincia e il Comune hanno fatto un paio di mosse formali per la cerimonia finale, un paio di tecnici, i pasticcini all'inaugurazione e uno striscione all'ultimo momento e la conferenza stampa col Sindaco a coperire bene la facciata, seppure di tre articoli solo uno ha centrato il tema e ha parlato di quello che succedeva...
Il tutto ha preso il sapore della mancanza di coordinamento, della mancanza di esplorazione tra gli artisti, di sempre maggiore predita di rispetto o attenzione per il lavoro individuale o di curiosita' di approfondire le storie e le relazioni.
Un motivo di fondo per questo naufragio e' da cercarsi nella posizione di Antonio Sammartano rispetto alla mostra.
Antonio ha chiaramente visto questa occasione come una sua possibilita' imperdibile di creare una sua mostra in cui intervenire come curatore in un territorio che gli sfugge da tempo e, al di la' di ogni sistema web e internazionalita', ha avuto un'urgenza di predominare suquesto suo territorio a favore dei suoi locali partecipanti, primo referente per la sua personale carriera.
Per molti di noi essere a Trapani o andare a Parigi aveva un senso relativo, per lui e per tutti coloro che sono stati coinvolti localmente al di fuori della lista specifica di ArtProcess, arbitrariamente, questo momento ha avuto un valore assoluto.
Questa arbitrarieta' e specifica intenzionalita' non richiesta e non discussa ha determinato il fallimento a mio avviso di un progetto molto particolare e piu' delicato, molto piu' innovativo di quello in cui siamo stati coinvolti a cui il lavoro di Sammmartano ha dato solo un pugno in faccia e che era stato creato con grande attenzione e fatica da John Paul Delany, che e' a mio parere l'unica persona che poteva intervenire in questo senso, avendo dimostrato di avere la capacita' dialettica per relazionarsi a questo tipo di sistema.
Per varie circostanze il lavoro "fisico" per JP e' stato molto difficile e spesso le dinamiche locali si sono rivelate completamente incomprensibili alla sua diversa cultura, fin quando non uscivano esplodendo e drammaticamente dannose, e questo ha pesato sulla caduta dalla parte sbagliata del progetto.
Se e' vero che molta gente cercava un'occasione per farsi vedere in una collettiva come idea superficiale e di base, moltre altre aspettative piu' profonde sono state disilluse totalmente e senza nessun bisogno che questo accadesse, e certamente questo non era nel mio interesse come si puo' verificare sia dal mio passato che dalle mie prospettive.
Con questo viaggio ho la certezza di avere perso una profonda occasione di confronto con altri artisti di cui commenti e opinioni ero in cerca e mi pento di avere ceduto alla necessita' di risolvere problemi che non mi riguardavano a favore di altri perche' ho contribuito come molti altri a nascondere la problematica invece di evidenziarla.
Ho scelto di ritirare i miei lavori dalla mostra dato che non ho trovato alcuno stimolo o ragione per cui lasciarli, laddove sarebbero stati trascurati, non visti e forse anche danneggiati, come ho potuto assistere dal giorno dell'inaugurazione in poi.
Di questa scelta sono contenta e mi ha fatto solo piacere avere avuto l'occasione di un fugace scambio con quegli artisti il cui dialogo e' stato profondo vivace ed attinente ai temi portati in campo.
Rimprovero a questo avvenimento la mancanza di cura reale del gruppo, di momenti di dibattito formale, motivo per cui il sito ArtProcess credo sia nato ed esista. Rimprovero una troppa perdita di tempo e attenzione (neppure soddisfatta da risultati decenti) per pacchetti e fiocchetti, conversazioni diplomatiche, cene e altre inutilita' che sono di solito le cose che io evito in qualsiasi contesto artistico e che ho sempre evitato nel mio passato anche di organizzatrice.
Ricordo che un gruppo complesso come il nostro ha diritto a un diverso rispetto, a un fondo economico di sostegno, a un catalogo, a una presentazione dignitosa, a spazi allestiti con personale tecnico a disposizione, attrezzature e cosi' via.
Pretendere di avere organizzato una iniziativa come questa di Trapani senza queste basi tecniche minime alla base, solo nella presunzione di una direzione artistica mai richiesta e non necessaria, che ha anzi sviato tutto il senso dell'incontro, e' stata una manovra contraria al mio punto di vista e che mi ha fatto sentire sfruttata al di la' della mia volonta' e di cui avrei piacere di discutere con coloro che hanno condiviso questi momenti in maniera diversa per vedere la dimensione di questo arbitrio se portera' conseguenze nel sito e nel dibattito.
Alla luce degli avvenimenti infatti posso affermare senza pentirmi che non avrei mai mosso un dito per trovarmi a Trapani per vedere e vivere quello che ho avuto la sfortuna di incontrare, avendo molte altre cose piu' urgenti da seguire e che per questa buffonata ho dovuto trascurare.
Spero solo che per altri qualcosa sia tornata e che la realta' del dibattito scaturisca sul web.
spedisco questo testo in italiano e presto sara' tradotto anche in inglese.
dall'interesse per questo dibattito scaturira' il mio interesse per continuare la mia presenza su questo sito o per uscirne.
A buon pro
McBett
15 Jul 07 15:19
English it follows in Italian(including mistakes)
ArtProcess
transformation from a virtual dialogue to a physical dialogue
the website created by JP Delaney acquired particular attention as soon as it revealed its capacity to produce a "physical" exhibition as JP thought after suggestion by Antonio Sammartano in Trapani.
This opportunity has been caught by many from the site with enthusiasm for this or that reason, and people signed in even from really far away countries.
Just on the conclusion of a long narrative process, I thought to share with artists the result of these research years as just produced in a video-documentary.
Despite my wish to present myself earlier to get all my duties in the settings and to assure the dignity of my exhibit, instead, as soon as I reached Trapani, I got an impression really different from what I expected.
The first impact came with the Church.
I knew I was going to sleep in what was called " Bishops seminar" end that an ecclesiastic structure was giving some support, but I didn't absolutely realized that the whole project was just totally supported by a religious organization.
Instead this have been the reality, so as reality has been the certainty that a judge number of artists I have been able to speak with have got at least for a while my own same difficulty.
Referring to my choices this element could anyway play in favor, where the faced themes in these last years are widespread and matching philosophical and spiritual queries so as faced by different western cultures in various historical periods, where ideals and believes produce restrictions and limits everywhere and continuously.
So i thought that this may become a favorable matter or a stimulation to open the dialogue and a debate.
But I got no great occasion to verify any debate nor a deep and enriching face to face.
Transformation from the Debate about Art to the floor cleaning, as total form of expression and submission to the Art
Soon the queries about my staying in Trapani, indeed, became just pretentious for others, since when, the same day I arrived, I am involved in a "political" travel to Erice, where I am offered to participate , not knowing who I am what I do and where I come from, already to a second group show to be opened the day after Trapani's one (?) of which nobody heard about before.
Still unaware of the dynamics and confusions I let myself to get amused by the abandoned rooms, the rotten walls, the moulded debris and objects of this orphanage/convent given to the availability of the artists and start planning to transfer there my whole set of 6 elements...
I had not yet realized that, where he was adding curatorial elements on elements in a form closer to the collector than to the organizer, Antonio "Santa Klaus" Sammartano had not yet arranged a practical working plan on the essential urges to be resolved:
a list of the exhibited works, a presentation of the artists with their contacts, a dynamic explanation and planning of the exhibition, a poster? a catalogue (following the judge quantity of delivered documentation there abandoned) a press release to explain the function and specificity of the meeting and above all (selfishly) the right location for my projection with the needed support to make it happen, as I got promised really before my leaving to Trapani and specific reason of my travel.
Between all these unforeseen problems a couple o days have been lost anyway lingering on under the sun at the nearby cafe', disorganized travels and generic unskilled works where to conclude to being there achieving a great nothing about my work in that context (as it indeed happened).
Even Erice idea get lost on political contradictions and confusion to make it less intriguing and amusing so it becomes for me a further waste of time and energy where nothing happened too.
Insisting in looking at other Hyper active artists working from down to dusk, as I discover others in difficulties with construction tools, I feel myself in duty to get the tools and to help this lack to resolve few construction problems, forgetting off course, as usual, of every medical warning, of my absolute need of laying into the sun and relax, of my clear idea of having accepted a travel where to recharge energies and to elaborate new ideas to exchange with new persons and to insist to find a solution to my specific problem.
Impossible. This goal has just not happened.
Each night I fall asleep through nightmares given from the temperature gap, the absolute tiredness, the dust and the lack of air and from the general stress given by the lack of dignifying interchanges with the local organization.
I am not getting any rest. I am not even enriching my knowledge with intellectual exchanges with the other artists.
I meet nobody rather than to clean, eat, move with the car.
I see myself part of already lived, never liked stories, of political routines, waste of time already avoided in the past, twisted wonderings, slippery and not concluding diplomacies, "fried air" well known and seen all over the world where I understand that there is neither support form the artists neither from the exhibition promoters with few volunteers I continue to work improvising and ...mistaking! because with our naive support we lighten from the biggest tasks those who where in charge to resolve them.
So it is thanks to this masochists the exhibition can be achieved:
thanks to John Paul, to Christina, Patrizia, Federico, Sandra, Hanjo, Jacques and Andrea, Vito, Giampiero and me (and a couple of others who probably I have not their name having been impossible to converse in that context and with which I excuse myself for the omission).
Thanks to extemporary availability of the supporting structures of the Bishop Seminar with Pippo, Don Vito, Salvo etc, some practical problems for leaflets and others have been saved at the last minute and I saw the temporary possibility to resolve my troubles as a chimera.
The main institutions as the County and the Council made a couple of last minute passages for the final ceremony, a pair of technicians, the pastry for the opening and a last minute banner, so as the press conference by the major to cover the facade, despite of tree articles just one centered the theme and spoke of the reality of what was happening...
Everything got the increasing taste of the lack of coordination, lack of exploration between the artists, growing lack of respect and attention for the individual artwork or curiosity to deepen stories and relations.
A deep reason for this cast away has to be searched in the position Antonio Sammartano got about the exhibition.
Antonio clearly saw this occasion as a personal not to be missed possibility to create an art exhibition curated by himself on a ground always slippery.
Beyond any web system and internationality he got urge to predominate on this landscape in favor of those participating locals, first reference for his personal career.
fOr the most of us to be in Trapani or to be in Paris had a relative sense, for him and for those who have been locally involved outside the specific ArtProcess list, arbitrary, this moment had an absolute value.
This not required and not discussed arbitrary and specific aim determined the failure from my point of view of a very particular and more delicate project, a more challenging possibility of that one we have been finally involved in - to which Sammartano's contribution just gave a kick on the face.
It had been instead created with great care and attention by John Paul Delany, who is in my opinion the only person who should have interact in this sense, having demonstrated the dialectic skills to relate to this kind of system.
For various circumstances the "physical" work has been for JP really difficult and often the local interactions revealed totally not comprehensible to his different culture, till when they sprang out exploding and dramatically dangerous, and this weighted on falling to the wrong side of the project.
If it is true that many artists looked for a chance to be seen in a group show as shallow and basic idea, many other deeper expectancies has been totally disillused and with no need this to happen, and this certainly was not in my interest as it can be verified both from my past than in my prospectives.
With this trip I got the certainty to have lost a deep occasion of comparison with other artists whose comments and opinions I was in search of and I regret to have given up to the urge to resolve someone else troubles in favor of others because i supported as many others to hide the problem instead to underline it.
I choose then to remove my own works from that exhibit as I found no reason or stimulation for leaving them there, where they would have been disregarded, not seen and eventually even damaged, as I could notice from the opening day onwards.
with this choice I am happy and I just enjoyed to have got a quick exchange with those artists whose dialogue has been deep and lively and focused on the themes treated in the art context.
I rebuke to this event the lack of a real cure of the group, of real moment of formal debate, reason why I believe ArtProcess may be born and to exist, I remark a too wide loss of time and attention (not even satisfied by dignifying results) for wraps and laces, diplomatic conversations, dinners and other useless things that are usually things I avoid in every art context and that I always avoided even in my past as organiser.
I like to remember that a complex group as ours requires as right of a difefrent respect, of an ecomomical budget in substain, a catalogue, a dignifying presentation, venues set with technical staff to be available as equipment, tools and so on.
To pretend to have organized an event like this in Trapani without these minimal technical bases, only in the presuncion of an artistic direction never required and not needed, that actually twisted the sense of the whole gathering, has been a movement contrary from my point of view which made me feel exploited in beyond my will and to which I had pleasure to discuss with those who shared these moments in adiverse manner to see the dimension of this arbiter if it will bring consiquences in the site and in the debate.
On the light of the events indeed I can assert with no regret that I would have never moved one finger to find myself in Trapani to see and to live what I had the misfortune to meet, having plenty of other more urgent problems to resolve and that for this parade I had to take apart.
I only hope that for others something would return and that the reality of the debate would generate on the web.
By the interest for this debate will generate my interest to continue my presence on this site or to get out of it.
All the best
McBett
----------------------
Italiano. Above into English (including mistakes)
ArtProcess
Trasformazione da dialogo virtuale a dialogo fisico.
il website creato da JP Delany ha acquisito una particolare attenzione appena si e' rivelato capace di produrre una mostra "fisica" come pensato da JP su suggerimento di Antonio Sammartano a Trapani.
Questa possibilita' e' stata presa da molti sul sito con entusiasmo per questo o quel motivo, e ci sono state adesioni anche da molto lontano.
Trovandomi proprio alla conclusione di un mio lungo processo narrativo, ho pensato di condividere con gli artisti il prodotto di questi anni di ricerca appena confezionato in un video-documentario.
Nonostante la mia intenzione di presentarmi in anticipo per prendermi le mie responsabilita' nell'allestimento e assicurarmi la dignita' della mia esposizione pero', appena raggiunto Trapani, ho avuto una senzazione molto differente dalle mie aspettative.
Il primo impatto e' stato con la Chiesa.
Sapevo che avrei dormito in quello che e' stato chiamato Seminario Vescovile e che c'era una struttura ecclesiastica di mezzo, ma non avevo affatto pensato che il progetto fosse proprio supportato da una organizzazione religiosa.
Invece questa e' stata la realta', cosi' come realta' e' stata la certezza che la maggior parte degli artisti con cui ho parlato si sono trovati almeno per un certo momento nella mia stessa difficolta'.
Dal punto di vista delle mie scelte questo elemento poteva comunque giocare a favore, in quanto le tematiche che ho affrontato in questi anni sono molte vaste ed inerenti a temi filosofici e spirituali cosi' come affrontati da diverse culture occidentali in diversi periodi storici, laddove ideali e credenze producono restrizioni o limiti ovunque e in continuazione.
Dunque ho pensato che questo potesse diventare un punto favorevole o uno stimolo ad aprire il dialogo e un dibattito.
Ma non ho avuto granche' modo di verificare alcun dibattito ne' un confronto in termini approfonditi e proficui.
Trasformazione
dal dibattito sull'arte alla pulizia dei pavimenti, come forma di espressione totale e asservimento all' Arte
Subito le problematiche della mia permanenza a Trapani, infatti, diventano solo strumentali per altri, da quando, il giorno stesso che sono arrivata, vengo coinvolta in un viaggio "politico" a Erice dove mi si propone di partecipare, senza sapere chi sono ne' cosa faccio e da dove vengo, gia' a una seconda collettiva da inaugurare il giorno dopo di quella di Trapani (?) e di cui nessuno ha sentito parlare.
Ancora ignara delle dinamiche e delle confusioni mi lascio affascinare delle stanze abbandonate, delle pareti scrostate, degli oggetti coperti da muffa e detriti di questo convento/orfanatrofio messo a nostra disposizione e ipotizzo di trasferire il mio set di 6 elementi solo li'...
Non avevo ancora capito che, laddove aggiungeva elementi su elementi da curare con una forma piu' da collezionista che da organizzatore, Antonio Sammartano non aveva ancora elaborato alcun piano pratico di lavoro sulle essenziali incombenze da risolvere:
una lista dei lavori da esporre, una presentazione degli artisti con i loro contatti, una dinamica della mostra, un manifesto? un catalogo (a seguito della gran quantita' di materiale spedito li' abbandonato) un comunicato stampa che spiegasse la funzione e specificita' dell'incontro e soprattutto (molto soggettivamente) il luogo adatto per la mia proiezione con il supporto necessario affinche' essa potesse avvenire, come promesso ben prima della mia partenza per Trapani e motivo specifico del mio viaggio.
Fra tutti i vari contrattempi, un paio di giorni sono andati dunque appesi tra attese sotto il sole al bar, viaggi dispersivi e manovalanze generiche dove concludere di non poter combinare un bel niente sul mio lavoro in quel contesto (come infatti e' successo)
Anche il porgetto di Erice sfuma su storie politiche e contraddizioni che lo rendono meno intrigante e piacevole e che si riduce per me ad un'inutile perdita di tempo ed energia in cui nulla si risolve.
A forza di guardare un paio di altri artisti super laboriosi che lavorano dalla mattina alla sera, mentre scopro altri in evidente difficolta' con attrezzature da falegnameria, mi sento in dovere di prendere in mano gli attrezzi e supplire a questa carenza per rispolvere alcuni problemi di costruzione, scordandomi chiaramente, come mio solito, di ogni controindicazione medica, della mia assoluta necessita' di stendermi al sole e rilassarmi, della mia chiara idea di avere fatto un viaggio in cui ricaricare energie ed elaborare nuove idee da scambiare con persone nuove e di insistere perche' si trovi una soluzione al mio problema specifico.
Impossibile. Questo obiettivo non si e' proprio verificato.
Ogni sera cado a dormire in preda a incubi dati dallo sbalzo climatico, dalla assoluta stanchezza, dalla polvere e dalla mancanza d'aria e dallo stress per la mancanza di rapporti dignitosi con l'organizzazione locale.
Non mi sto riposando affatto. Non sto neanche arricchendo il mio bagaglio con scambi intellettuali con gli artisti. Non incontro nessuno che non sia per pulire, mangiare, spostarsi con la macchina.
Mi vedo partecipe di storie gia' vissute, mai piaciute, di routine politiche e perdite di tempo evitati in passato, giri viziosi, diplomazie viscide e inconcludenti, aria fritta vista e rivista in tutti i luoghi del mondo e laddove vedo che non si trova appoggio ne' negli altri artisti, ne dai promotori della mostra, con pochi volontari continuo a lavorare improvvisando e sbagliando! perche' stupidamente tolgo il grosso del lavoro dalle spalle di coloro che si erano incaricati di seguirlo...
Dunque la mostra grazie a questo numero di persone masochiste si realizza.
Grazie a John Paul, a Christina, a Patrizia a Federico, a Sandra, ad Hanjo, a Jacques ad Andrea, a Vito, a Giampiero, e a me ( ed altri probabilmente di cui non so il nome essendo impossibile conversare in quel contesto e di cui mi scuso di non nominare).
Grazie ad estemporanee disponibilita' delle strutture di supporto come il Seminario Vescovile con Pippo, don Vito, Salvo etc alcuni problemi pratici per volantini e altri dettagli sono stati salvati all'ultimo momento e ho visto la possibilita' temporanea di risolvere le mie problematiche come una chimera.
Le istituzioni principali, come la Provincia e il Comune hanno fatto un paio di mosse formali per la cerimonia finale, un paio di tecnici, i pasticcini all'inaugurazione e uno striscione all'ultimo momento e la conferenza stampa col Sindaco a coperire bene la facciata, seppure di tre articoli solo uno ha centrato il tema e ha parlato di quello che succedeva...
Il tutto ha preso il sapore della mancanza di coordinamento, della mancanza di esplorazione tra gli artisti, di sempre maggiore predita di rispetto o attenzione per il lavoro individuale o di curiosita' di approfondire le storie e le relazioni.
Un motivo di fondo per questo naufragio e' da cercarsi nella posizione di Antonio Sammartano rispetto alla mostra.
Antonio ha chiaramente visto questa occasione come una sua possibilita' imperdibile di creare una sua mostra in cui intervenire come curatore in un territorio che gli sfugge da tempo e, al di la' di ogni sistema web e internazionalita', ha avuto un'urgenza di predominare suquesto suo territorio a favore dei suoi locali partecipanti, primo referente per la sua personale carriera.
Per molti di noi essere a Trapani o andare a Parigi aveva un senso relativo, per lui e per tutti coloro che sono stati coinvolti localmente al di fuori della lista specifica di ArtProcess, arbitrariamente, questo momento ha avuto un valore assoluto.
Questa arbitrarieta' e specifica intenzionalita' non richiesta e non discussa ha determinato il fallimento a mio avviso di un progetto molto particolare e piu' delicato, molto piu' innovativo di quello in cui siamo stati coinvolti a cui il lavoro di Sammmartano ha dato solo un pugno in faccia e che era stato creato con grande attenzione e fatica da John Paul Delany, che e' a mio parere l'unica persona che poteva intervenire in questo senso, avendo dimostrato di avere la capacita' dialettica per relazionarsi a questo tipo di sistema.
Per varie circostanze il lavoro "fisico" per JP e' stato molto difficile e spesso le dinamiche locali si sono rivelate completamente incomprensibili alla sua diversa cultura, fin quando non uscivano esplodendo e drammaticamente dannose, e questo ha pesato sulla caduta dalla parte sbagliata del progetto.
Se e' vero che molta gente cercava un'occasione per farsi vedere in una collettiva come idea superficiale e di base, moltre altre aspettative piu' profonde sono state disilluse totalmente e senza nessun bisogno che questo accadesse, e certamente questo non era nel mio interesse come si puo' verificare sia dal mio passato che dalle mie prospettive.
Con questo viaggio ho la certezza di avere perso una profonda occasione di confronto con altri artisti di cui commenti e opinioni ero in cerca e mi pento di avere ceduto alla necessita' di risolvere problemi che non mi riguardavano a favore di altri perche' ho contribuito come molti altri a nascondere la problematica invece di evidenziarla.
Ho scelto di ritirare i miei lavori dalla mostra dato che non ho trovato alcuno stimolo o ragione per cui lasciarli, laddove sarebbero stati trascurati, non visti e forse anche danneggiati, come ho potuto assistere dal giorno dell'inaugurazione in poi.
Di questa scelta sono contenta e mi ha fatto solo piacere avere avuto l'occasione di un fugace scambio con quegli artisti il cui dialogo e' stato profondo vivace ed attinente ai temi portati in campo.
Rimprovero a questo avvenimento la mancanza di cura reale del gruppo, di momenti di dibattito formale, motivo per cui il sito ArtProcess credo sia nato ed esista. Rimprovero una troppa perdita di tempo e attenzione (neppure soddisfatta da risultati decenti) per pacchetti e fiocchetti, conversazioni diplomatiche, cene e altre inutilita' che sono di solito le cose che io evito in qualsiasi contesto artistico e che ho sempre evitato nel mio passato anche di organizzatrice.
Ricordo che un gruppo complesso come il nostro ha diritto a un diverso rispetto, a un fondo economico di sostegno, a un catalogo, a una presentazione dignitosa, a spazi allestiti con personale tecnico a disposizione, attrezzature e cosi' via.
Pretendere di avere organizzato una iniziativa come questa di Trapani senza queste basi tecniche minime alla base, solo nella presunzione di una direzione artistica mai richiesta e non necessaria, che ha anzi sviato tutto il senso dell'incontro, e' stata una manovra contraria al mio punto di vista e che mi ha fatto sentire sfruttata al di la' della mia volonta' e di cui avrei piacere di discutere con coloro che hanno condiviso questi momenti in maniera diversa per vedere la dimensione di questo arbitrio se portera' conseguenze nel sito e nel dibattito.
Alla luce degli avvenimenti infatti posso affermare senza pentirmi che non avrei mai mosso un dito per trovarmi a Trapani per vedere e vivere quello che ho avuto la sfortuna di incontrare, avendo molte altre cose piu' urgenti da seguire e che per questa buffonata ho dovuto trascurare.
Spero solo che per altri qualcosa sia tornata e che la realta' del dibattito scaturisca sul web.
spedisco questo testo in italiano e presto sara' tradotto anche in inglese.
dall'interesse per questo dibattito scaturira' il mio interesse per continuare la mia presenza su questo sito o per uscirne.
A buon pro
McBett
16 Jul 07 15:39
As one who travelled a great distance to participate and be in attendance I must concur somewhat with Eli. One could say "Come now Eli, you're taking yourself and your work much too seriously." but I congratulate her for that, if she doesn't make her art an important and serious endeavor, who will? I was disappointed at the lack of planning and foresight that had gone into this event but neither was I completely surprised. The issue of curatorial responsibility had come up many times on the mail site yet it was sluffed over, no curator was needed this being a completely democratic process. So I came to Trapani expecting to do some work in hanging an exhibition and working improvisationally as I have many times before but I thought the general walls and spaces would have been worked out by then. We do know from the last of our correspondence on the mail site that additional venues had been added in the last minutes.The way things turned out I could have arrived four days later and it would have made no difference. The show was put up with but moments to go and democracy was foregone for the sake of expediency. In the end a few made the decisions for the whole, no meetings or discussions, perhaps the best strategy under the circumstances. This is not a personal complaint about where or how my works were displayed. My main disappointment was with the loss of the whole "Art Process" concept which was as far as I was concerned key to the individuality of the event. The studio logs that were not reproduced from the site, or interesting and relevant quotations from the "forums" and "comments" pages that I thought would have accompanied work. In my mind that was the very concept of the show. In the end the works were left hanging without even titles. Just the artists' names and e-mail addresses. (That was a great disappointment.) Was the show hi-jacked as I think Eli asserts? I don't particularly want to go there because I really don't know what happened or why.
What was the necessity of getting work to Trapani by March 15 or if you were coming with the work, being there at least by July 1 but making sure high quality images for reproduction on cds were sent by the March 15 date, it truly didn't matter and in the end it wasn't an an Art Process show but a show of artists from all over (how and why they got there, I don't know or particularly care, apparently there was space to fill. How these particular artists were invited I haven't the foggiest notion but we keep getting further and further away from our initial democratic notions). None of it, beyond the fact that the works weren't even labeled correctly truly bothers me. Things happen that are beyond our control. Had I known the way things would work out I probably wouldn't have gone to the great expense I did to attend but I was curious to meet certain people and I'm not unhappy for the experience. None of us know what the final result will be or where things will lead to so the story's not over yet.
I can certainly understand Eli's reasons for taking her work and leaving but I think it would be sad for her to give up on Art Process just as I think it sad that so many artists joined the site upon hearing of the possibility of showing. Will Art Process survive its excursion into reality? I think that's the question.
18 Jul 07 01:23
well, I didn't really take seriously my work in itself, dear Hillel, as, if you had the chance to see the documentary, I show other problematics more serious to me, as people opinion and feedback about art in contexts or out of their contexts, basic elements for my growth and development.Indeed it is thanks to common people comments that I "dematerialized" nearly all my works part of the last S-Kips experience...
This is part of a practice requiring a direct exchange and this is what i liked to tell in fact.
A work in progress that is Art Process.
Missing that, I had no other tasks to achieve in that situation.
In this particular case my first target was the Art Processing community from which I was in search of acknowledgments and opinions and that I missed, more than a general audience or charming politicians to please me as individual.
There was a good number of us physically there indeed that I would have liked to involve in a conversation.
Given to the rare occasion, I know it would have been a great experience, as I tasted from the few who I could share this experience with. But, as I said to Hanjo in a conversation, the presentation of a video, better a documentary, is a delicate issue asking specific requirements and this created the my radical decision.
This has a little possibility to be discussed on line despite I feel it totally fitting the Art Process contents, but this can be a further point to be faced.
The matters that made the chaos overwhelm the creation and the debate have now been quite explained, but the missing for me have been a fact and I have been ashamed for the missing everyone got.
I appreciate to hear that these issues have been felt by others in different ways so as you make the point about organizing dismissed requests and I think it's in respect to everyone's work and efforts,inside and outside the website, that I needed to underline rather than omit them.
I will take care to provide a better documentation on line, now that I left the editing work behind and I have more time for it, but I also liked to spend more time with you artists discussing your works and practice live, once we where there and this is the other lack...
A very important point rather emerged later, conversing with the locals involved.
I discovered indeed that many they had no idea about this Art Process specificity as web site as some of them defined an "Art Process project" what for them has been the name a whatever title for the group show.
Most of them had no clue what I was talking about when trying to explain this sort of debate.
were they updated on this system and participating, I would have felt less problem indeed to have to bear some extras.
Possibly them will not even participate in the future to this or other comments as they can't get this method.
Does it make any sense?
On which basis can I imagine a further attempt to meet in the flesh? To prepare the settings for others' exhibitions again?
I suggest people in this aim to invite persons individually to exhibitions to call with a different title then. It would be more clear and less ambiguous.
Thinking on this I would only accept and understand a public forum, then, mainly aimed to the group to discuss some issues related to their art practice and possibly organized on a same collective residence where to have space and time to meet and discuss, where to let each artist introduce his own work to the others and that would give just a secondary importance to a public still exhibition, but would it be of interest for anyone to participate?
If I intend this as my own work, and it matches, then I take it seriously indeed, and I guess to not be the only one and not to think it only for my personal sake as I am quite busy already in that sense!!
18 Jul 07 03:52
Presto ci sara' traduzione in Italiano. Dear friends,
my opinion may not be as valid as yours because I was able to be there only for four days. So I missed much of what you saw and did at the beginning. I do agree with much said about lack of organization and I will not repeat everything here. Some of it I did expect, to tell you the truth, and maybe this is the reason why it didn’t seem as grave to me as it did to others. Anyway, the reason why I spent more than (very hard earned) 1000€ to attend was to meet certain people and discover others. Yes, you are right: we didn’t get the chance to say what we longed to say. If you noticed Eli, I was in tears when I joined you with Karen at that pizzeria the night of the opening. And that was because after three days that I was there, having one more to go, I had the chance to exchange three or four words of vital importance to me with Hillel, and he was fucking leaving in few hours! And then this local irrelevant guy sat in front of me asking stupid questions about my favourite great masters and I got real close to breaking his arrogant, ignorant nose.
I am very sorry for all this but honestly I do not regret being there. I am happy I did. And I don’t feel like accusing anyone of anything either. Just because this ArtProcess thing is of much greater importance to me than any first, improvised show. It is important because it makes us interact and because it gives the chance to young artists to show their work without begging the galleries and maybe get guidance by more experienced artists, when well programmed (to begin with next time hopefully), it can give us the opportunity to act independently as artists, outside the compromise that the art world often imposes, it is, to cut a long story short, an important tool without precedence.
So, I beg you all, apart from all negative aspects you may have experienced, do not through this away. I am asking this at least as a personal favour. In this world where artists seldom talk of things other than how to get promotion and become famous if they ever talk to each other at all, it has become my castaway’s life raft.
At the meeting that took place on the 8th there was discussed the idea to vote for a committee among our members, different people each time we plan a show. This committee would be responsible for inviting artists from the site to participate (we are becoming too many) and would also be responsible for organizing everything. It was also discussed that keeping local “outsiders” out each time lies merely on being firm and organized. There are some ideas to be put up for voting as soon as JP comes back and as soon as everyone takes a rest. I do trust that with the valid contribution of our members this ArtProcess annual show can only improve in the years to come.
P.S. I am sorry I didn’t have the chance to watch the whole of Eli’s work. I only found out it was there at the opening and as you all know, at openings one has difficulty seeing paintings let alone an 80min video. I would have liked to take my time, sit down and watch it the next day but…
18 Jul 07 10:31
English version above.Cari amici,
La mia opinione puo’ anche non essere valida quanto la vostra perche’ ho solo avuto la possibilita’ di esserci per 4 giorni. Quindi ho perso molto di quello che avete visto e fatto i primi giorni. Sono daccordo con tante delle cose dette, e non mi mettero’ a ripeterle. Onestamente un po’ di disorganizazione me l’ aspettavo, ed e’ forse questo il motivo per cui non mi e’ sembrata poi cosi’ grave. Comunque il motivo per cui ho speso piu di 1000€ (guadagnati con tanta fatica) per esserci, era di conoscere certe persone e scoprire delle altre. Si, avete raggione, non abbiamo avuto la possibilita’ di dire tutto cio’ che speravamo tanto di dire. Se hai notato Eli, ero in lacrime quando insieme a Karen vi ho raggiunti in quella pizzeria la sera dell’ apertura. Ed era perche dopo tre giorni che ero li, avendo ancora solo uno, avevo finalmente scambiato tre o quattro parole di vitale importanza per me con Hillel, e lui, per la miseria, partiva fra poche ore. E poi si e’ seduto di fronte a me quel tizio irrelevante che mi faceva delle domande idiote sui miei maestri preferiti, che nelle mie condizioni emotive per poco non gli spaccavo il suo arrogante naso ignorante.
Sono dispiaciuta per tutto questo ma non mi pento affatto di essere stata li. Anzi, ne sono felice. E non me la sento nemmeno di accusare nessuno di niente. Perche’ per me ArtProcess e’ di importanza molto piu grande di qualsiasi prima mostra improvisata. E’ importante perche ci fa interagire, perche da’ la possibilita’ ai giovani artisti di mostrare il proprio lavoro senza pregare un gallerista e magari poter avere la guida di artisti con piu esperienza, quando sara’ ben programmato ci puo dare l’ oportunita’ di agire indipendentemente come artisti senza i compromessi che spesso impone il mondo dell’ arte, e per farla corta, ArtProcess e’ un attrezzo senza precedendi nelle nostre mani.
Per tutto questo, vi prego, aparte gli eventuali aspeti negativi che avete affrontanto, non buttate via tutto. Ve lo chiedo come un favore personale. In questo mondo dove gli artisti raramente parlano d’altro che come promuoversi e diventare famosi, se dovessero mai parlare, ArtProcess e’ diventata la mia scialupa di salvataggio.
Alla riunione del 8/07 e’ stata discussa l’ idea di votare per formare una comissione fatta di alcuni nostri membri, gente diversa per ogni volta che stiamo per programmare una mostra. Queste persone sarebbero incaricate ad invitare artisti dal sito (stiamo diventando troppi per essere invitati sempre tutti) e anche organizare la mostra. L’ evitare il fenomeno degli infiltrati locali non invitati di ogni posto, resta sulla nostra fermezza e buona organizazione. Sono varie idee su le quali discutere e votare quando J.P sara’ tornato e tutti avremo ripreso fiato. Io credo fortemente che con il contributo dei nostri membri valorosi la mostra annuale di ArtProcess puo solo migliorare negli anni.
P.S Mi dispiace di non aver avuto l’occasione di vedere il lavoro di Eli dal inizio alla fine. Ho saputo della sua esistenza solo il giorno dell’ inaugurazione, e come si sa, gia e’ difficile vedere dei quadri i giorni di apertura delle mostre, figuriamoci un video di 80 minuti. Avrei voluto sedermi con calma a vederlo il giorno dopo ma...
18 Jul 07 11:26
Cara Eli,ho letto con attenzione le tue "riflessioni".
Personalemente le trovo esagerate,
sopratutto trovo esagerate le critiche che hai mosso nei confronti della figura di Antonio Sammartano.
L'evento Trapani è stato il primo evento, alcune cose hanno funzionato altre meno.
Trovo ingiusto accusare Antonio che in prima persona ha cercato con i pochi mezzi messi a sua disposizione di stare "dietro" a tutti noi...così come ho trovato sbagliata la tua scelta di ritirare l'opera.
Invito te e tutti quanti a essere non solo critici ma anche propositivi e nell'affrontare con "amore" e non con insulti le difficoltà o problematiche che tale primo evento ha messo in luce.
con affetto,
massimo.
18 Jul 07 18:23
english version belowCaro Massimo, grazie di portare in campo il tuo ulteriore punto di vista, ma i miei commenti non nascono da rancore e non da stati emozionali diretti a individui singoli, al di la' della loro funzione.
Sarebbe facile, un capro espiatorio semplice, ma non reale.
Invece voglio analizzare cosa e' successo collettivamente.
Il realismo o l'esagerazione di un problema dipendono dai punti di vista e dalle condizioni personali da cui si considera il contesto e le testimonianze individuali portano esempi pratici.
Quello che dico vale per me.
Ma mi prendo la briga di provocare dei punti per evidenziare un'infezione sotterranea che potrebbe portare coneguenze peggiori e sono convinta ancora dell'importanza di prendere una ferita per tempo, con un certo allarme, prima che dilaghi l'infezione e ci si allontani definitivamente dalle motivazioni di fondo di queste iniziative senza accorgersene.
Antonio ovviamente e' un punto cardine da discutere, in quanto responsabile del contesto in cui siamo stati invitati, ma non credo sia il "problema" di Trapani e credo abbi agito in buona fede.
Non ho ancora tratto conclusioni, solo quelle di riportarmi a casa dei lavori per necessita' pratica e sono contenta della decisione presa con cui ho intanto archiviato la mia preoccupazione materiale rispetto a questo evento ambiguo.
Diversi miei amici passeranno quest'estate a Trapani.
Non mi interessa che vedano il mio lavoro in questo contesto di cui non sono convinta.
Comunque li ho invitati a visitare la mostra - sperando che la trovino aperta e senza grossi ulteriori sorprese- perche' certamente vale la pena di essere visitata.
Per accennare a un punto per me fondamentale, pero', si e' rivelato il fatto che esistono nella mente dei partecipanti due differenti Art Process che puntano a obiettivi totalmente diversi.
Questo e' un dato fondamentale non trascurabile, per esempio e da analizzare subito.
Io posso gia' affermare di essere solo e specificamente interessata a quell' AP nato per aprire il dialogo e il dibattito via web o in carne ed ossa, e non sono interessata affatto a quell'AP legalmente istituzionalizzato al fine di organizzare mostre collettive di artisti vari, locali, internazionali, raggruppati qui e la' o pescando dal ricco pozzo di un comodo sito web e basta.Non e' parte della mia etica artistica e le condizioni offerte in questo momento sono fuori delle mie possibilita' fisiche ed economiche in quanto devo concentrarmi su progetti a lungo termine che conduco gia' soprattutto a mie spese da diversi anni.
Per questi lavori sono aiutata da istituzioni che hanno necessita' di una serie di garanzie per coprirmi certe spese. Quindi devo scegliere con attenzione cosa faccio e come lo faccio.
Ogni spostamento per me e' un passo importante che esclude altre cose.
Si tratta di incastri delicati e non tutti si ritroveranno in questo problema, ma non si puo' dare per scontato che ognuno non abbia niente di meglio da fare che andare a costruire pannelli e pulire stanze mancando le basi fondamenatali perche' l'evento sia presentato come si deve...
Quindi ben vengano dal mio punto di vista il dibattito e la messa in luce delle contraddizioni anche laddove la forma possa sembrare esasperata. E' solo un modo. E portero' ulteriori punti in analisi.
Dear Massimo, thanks for the answer and to examine your further point of view, but my comments don't take place not from grudge neither from emotions directed to single individuals, beyond their own function.
It would be easy, an easy escape goat, but not real.
Instead I like to analyze what happened collectively.
the realism or amplification of a problem depend from points of view and from personal conditions from where the context is considered and the individual stories bring practical examples.
What I see is worth for myself first.
But I get the task to provoke some points to underline a hidden infection that could bring worst consequences and I am still sure of the value of gettinga wound in time, with a certain alarm, before the infection spread and we could definitely take off from the basic meanings of this enterprises, unconsciously.
Antonio is obviously a central point to discuss, as responsible of the context we have been invited in, but I don't think he to be the "problem" of Trapani and I believe he worked aimed by a good will.
I still got no conclusions, just to return with me my works for practical need and I am satisfied of this decision that at least helped me to achieve the practical worries about this ambiguous situation.
Few friends of mine will be in Trapani this summer.
I am not interested them to see my work within this context that is not convincing me.
However I invited them to see the exhibition - in hope the doors will be open in the proper opening hours and without big surprises - as certainly the show is worth to be seen.
To face a point very dear to me, instead, I revealed the fact that in the participants' minds exist two different Art Process aiming to totally different goals.
this is a not avoidable point, for example, to be discussed soon.
I can already confirm to be only and specifically interested in that AP born to open a dialogue and a debate by web or flesh and I am not interested at all in the institutionalized AP finalized to arrange group exhibitions with local or international artists collected here and there or fishing from the rich well of a handy website and stop.
It is not part of my art endeavor and the offered conditions in this moment are below my physical and economical possibilities where I have to concentrate on long term projects that I promote mostly on my own already from few years.
For these works in progress I am supported by institutions requiring a number of warranties to cover some of my costs, so I need to choose with care what I do and how I do it.
Every movement is for me an important step excluding other possibilities.
They are delicate gig-saws and not everybody will meet within this same problem, but it can't be given for granted that everyone has nothing better to do than to go around building panels and cleaning rooms where there are missing the fundaments for an event to succeed properly...
So welcome from my point of view debates and underlining of contradictions even where the form would appear extreme. It's just a way.
And I will bring later more points in analysis.
18 Jul 07 23:59
English version bellow.Comincio a credere che questo argomento si stia esaurendo. Nessuno vorebbe vedere ArtProcess fare la fine che descrivi, Eli. L’ abbiamo detto tutti in un modo o un altro, e credo che nessuno di noi abbia intenzione di permettere che cio accada, anche se non mi permetterei mai a parlare di cio che essiste nella mente dei partecipanti. Quindi punto.
Per quanto riguarda il fatto che ogni spostamento sia un passo importante che esclude altre cose, ne puoi essere certa che vale per tutti noi (pensa per esempio a Hyesoo Park che poi e’ dovuta restare per un mese per custodire la sua istalazione e assicurarsi del suo funzionamento). Mi meraviglio che tu possa sottovalutare le cose che hanno dovuto escludere gli altri per partecipare. E mi meraviglio ancora di piu che continui ad andare avanti con questa polemica quando vedi che altre persone che magari non sono state pienamente sodisfate dal risultato di Trapani cercano di contribuire per il miglioramento futuro. Oppure hanno scelto di non parlarne quindi non posso sapere se sarebbero disponibili di riprovare.
Riguardo allo sponsoring ottenuto da istituzioni non ti posso dire piu di tanto perche non sono al corrente della tua corrispondenza con Antonio e quindi non so fino a che punto lo avevi informato che ti serviva il logo di Culture Ireland messo in evidenza, ma almeno io non ricordo che tu abbia detto niente mentre si votava per la locandina e l’ invito, che tutti noi abbiamo visto bene. Il catalogo non e’ stato ancora stampato percio’ ci sarebbe ancora tempo di mettere il logo in questione e anche documentare l’ impatto del video alla gente, il quale sono certa che si sarebbe visto da tanti, me compresa, se fosse ancora li. Ma tu lo hai ritirato...
Guarda Eli, hai tutto il mio rispetto per il tuo lavoro e mi auguro ti potter rifare delle cose insieme in futuro. Ma quando e’ troppo, e’ troppo. Se ti interessa davvero ArtProcess perche’ non provi a contribuire con spirito meno negattivo?
English Version
I am beginning to think that this subject has been exhausted. Nobody would like to see ArtProcess ending up the way you describe, Eli. We have all said so one way or another and I don’t think anyone is willing to allow it. Even if I must say I wouldn’t dare speak on behalf of the other participants and what is going on in their minds.
Therefore, period.
As far as “every movement being an important step excluding others” is concerned, you can be certain that this goes for every one of us (take Hyesoo Park for example who came from Korea and had to stay for a month to make sure her installation works safely and properly). I am surprised that you underestimate the things other people had to exclude in order to take part in this. I find even more surprising the fact that you intend to insist on this argument when others, who may as well not have been fully satisfied by the outcome of the show, are trying to contribute to future improvements. Or they have chosen to remain silent so I cannot tell whether they would be available for another go.
Concerning sponsoring by institutions I can’t tell much because I am not at all aware of your private correspondence with Antonio and to what extent did he know how important it was for you to have Culture Ireland logo shown. However, I do not recall you saying anything to the list while we were all voting for the poster, invitation etc. The catalogue has not been yet published so there would still be time to insert the logo, plus document the impact of your video to the people (which I am sure would have been watched by many, including myself, if it had remained where it was) but you withdrew it…
Listen Eli, you have all my respect for your work and I sincerely hope to have a chance to do things together in the future. But enough is enough. If ArtProcess is really so dear to you as you say, why not try to contribute to its improvement with a little less negative thinking?
19 Jul 07 08:59
Follows englishHo parlato con vari artisti che hanno avuto un buon ruolo nella mostra e che non avevano idea del sito ArtProcess in questo senso.
Questo mi ha scioccato.
Non parlo di quelli che "vengono dal sito" naturalmente, dunque nessuno di coloro che mi sta rispondendo qui.
Se non ascolti cio' che cerco di dire, davvero non ha senso parlare piu'.
Mi fa piacere sapere che ci sara' un catalogo, questo potrebbe risolvere dei problemi.
Non sono qui per distruggere nulla e se avessi avuto un video-proiettore e qualcuno che garantisse gli orari di proiezione avrei certamente lasciato il video. Che altro?
I spoke with artists who have been part of the exhibition big time and who had no clue of the Art Process website in this sense!
This was shocking to me.
I don't talk about "those who come from the site" off course, so nobody of those who is answering me.
If you don't listen to what I try to explain, there is no sense for me to talk...
I am glad to say that there will be a catalogue, this may help.
I am not here to destroy enything and if I had a video-projector and someone to guarantee the projection timescale I had left the video.
What else?
19 Jul 07 11:02
Hi As some of you knows already i am not a a man of speech…but
I have been reading all this comments and complaining etc etc and i can agree with some small parts of it.
And i think some of us have forgotten why we went there and the reason for it.
So……..
I went to Trapani with open eyes and mind, i live in Sweden where i have regularly exhibitions.
Sweden is a country well organized, i would say even to much to be healthy…believe me.
When you exhibit in Sweden you know from the first contact to the end of the exhib whats going to happen…every single min.
In a way this is very professional and extremely well organised, and is great when you have spend a lots of time on your work that someone fix the exhib and all around it.
Catalogues, meetings,press,etc.
I believe its the same all over the world when you want a professional exhibition.
When i heard about ArtProcess and the whole idea, why Antonio and JP wanted to have this exhib, i saw a lots of possibilities and problems.
I knew there will be difficulties and arguing and all other small problems coming up during the built of the exhib.
Hey.....more then 60 artists!!!
It would be naiv to think there will not be any problems...
So when i came to Trapani the 2 of June and was looking inside the church, seeing a big mess with paintings all over the place half ready constructions and so on……i couldn't stop smiling.
I just realized something at that moment……all my thoughts before i leaved Sweden was confirmed.
No organisation at all……
That we all went to Trapani for one reason:
Meeting other artists and have some nice time, work and change experiences with each other and make an exhibition together.
Who said it would be an easy and professional exhibition?
Not JP and not Antonio.
I thought we all agree with the intention of ArtProcess exhibition in Trapani.
So my question is:
Have we all forgot it?
So, please let this be an event we can learn from and do something really great of in the future.
My time here is not waisted…i got a lots of new friends, new experiences and in the end….a functional exhibition.
I am not here to be famous, or selling my work……..but if it will come at that point well….thanks.
I will not start to complain now about all the problems coming up during the built, but i have make some notes witch i think its important to have for the future.
So when the time is right, when the exhib is over and i start to look back in a couple of weeks, i could be able to sort out whats good or bad. And then share it with you.
Ok enough..hope some of you understand what i am talking about and maybe gives all these (problems) during the time here a second thought.
Oh by the way.......i miss you all!!!
And Eli...I want to see the whole video, so if there is a possibility to do so, let me know.
Jacques
19 Jul 07 11:21
Good to hear from you Jacques!Well, I suggest people not to answer directly to me anymore here that gets a bit odd... but just to bring in their own ideas and feed back as this was my intention from the beginning just to HEAR everyone rather than to have personal dialogues.
I will return with my points then also later on, after we have a wider comment list to discuss, and there I will talk also of the positive developments of my Trapani experience, as in my land nothing is thrown, but rather recycled...
Ben risentito, jacues!
bene, suggerisco che non si risponda a me cosa che diventa alquanto noiosa... ma che si porti in campo ognuno la propria esperienza al di la' di quello che dico io e questo era nelle mie intenzioni dall'inizio, per ASCOLTARE ogni commento piuttosto che per trovarmi in dialoghi diretti.
Tornero' con i miei punti in seguito, quando si sara' creata una lista di commenti da discutere piu' vasta, e allora parlero' anche degli arricchimenti positivi tratti da questa esperienza, dato che dalle mie parti non si butta niente, ma piuttosto si ricicla...
19 Jul 07 11:46
Hi there, everyone.I’m trying to follow along this discussion and pick out the positive points. There are some lesser fun issues that need to be taken care for the next show, and I think the idea of selecting a new committee for each new show is a great idea… something to discuss at the appropriate time.
I must say that my experience in Trapani was rather fantastic; however, I must admit upon my first arrival at the church and seeing the state it was in rather worried me. Then I met JP, and he told me that the show would go on and for me not to worry. I did offer to help more than a few times, but after awhile I gave up. I had to trust him. I let go because at some points in our lives we must let go and let things take shape the way they are going to take shape, want to take shape and will take shape.
We can learn from this experience. Of course, there were mistakes but nothing to fret upon and let them stir in our soul, doing that will only manifest anger and sickness I ourselves.
Like Hillel mentioned, there should have been plates stating the title of the work and such. Next time we can appoint one person to take care of that. Lesson learned. I agree…let’s move on.
This may not have been the great show that some of us had imagined, but then again the show was not at the Guggenheim, MOCA or Pompidou, etc. For goodness sakes, we were in Sicily, which a local had told me that some are still living in the “old world” style of things.
As for me I gathered some much needed sunshine, drank good wine and had great conversation. I saw some laughs and tears, fears and bravery. What else could an artist want? Emotion… that’s what an artist needs for survival.
And I miss you to, Jaques… even though we spoke only shortly a few times. And I miss everyone else too.
Let’s learn from what we experienced, turn it into positive thinking and KEEP MAKING ART!
Corbett
19 Jul 07 12:49
hi all, just a quick message as i have just arrived back from italy, interesting to read about everyones experiences at trapani,and yes it was funded mostly by us the artists, but that was our choice which we knew beforehand. the artists i met and conversed with was what i hoped for, but short tim e to really socialise in the 4 days i was there to have included deep discussion with everyone, i see this as a start and hopefully a way forward for future exhibitions and a way of us artists to keep in touch, much love to eli and jp especially. and others i talked with, if i didnt chat in person then i saw your work face to face, and that is communication to me, as an artist, a great show of workand a high standard of technic in varied areas
21 Jul 07 01:28
Oh Jacques, you are not a man of speech??? You put everything in wonderful words and there is nothing I could add to it. So thank you very much for this warmhearted speech you have just delivered.I’m looking forward of meeting you again in 20 days in Trapani.
Be well
Hanjo
21 Jul 07 16:59
I agree with Hanjo, Jacques, you have written in a very clear way what I wanted to write as soon as I could sit down and take some time, no use repeating the same things.Lets just learn from all this and appreciate what Has been done and start thinking of the future.
My personal objective coming to Trapani was to meet certain friends I had talked to on the artprocess forum, and to get to know and talk to other artists, which I did. Art conversations did take place although in an informal manner, over a table as we mediterraneans normally do. I would have liked to spend more time with you Hillel, but somehow you withdrew inside yourself , or maybe you just weren’t feeling that comfortable in the sicilian heat. I feel sure I would have enjoyed talking to Donna also, but we needed more time.
I did see Eli’s video, and I can say it is one of the most interesting works to be seen in the exhibition, its a pity that more artists, and let alone the people coming into the chiesa didnt see it. But I guess it was just a group of circumstances that went wrong in this particular case ( I was told that they had offered you to show the video in the Vicaria and in the Mercato del pesche and you refused is that right, Eli?) I hope all of us can see it the next time we meet.
I was glad to stay a few more days after the opening, it gave me the opportunity to talk to the organizers with more ease and understand that it hasnt been easy for them either, I had plenty of time to see all the artworks, take care of the chiesa once in a while, see the rest of Trapany and meet trapanese friends that I will never forget.Talk to Jacques (even knowing that he is a not a man of speech, which makes it much more fun ) and notice that nobody left the price of their work , people were asking and we didnt know what to say..........
So I have to say that the event has been positive in a general sense although certain things could have been organized better. Its the first time, first times are always complicated.
23 Jul 07 10:03
I wrote a long reply to this but went lost since the session timed out.well not so bad since no I am forced to be more concise
my lost post started with my disappointment.
I thought I came here prepared to find a nice topic with a nice title "Trapani 2007 Artist blogs" or somithing similar
my disapponitment is to read here comments back on the event under the negative perspective triggered by Eli.
but one could also read it differently.
she felt the motiviation to write here first, and using strong arguments.
very different from my relaxed approach passing by after 4 week and expecting to read "blogs".
I wanted to pass by and drop my impression and my personal view but I see here we jumped already on a more detailed discussion on the "What went wrong" part.
apart from probably having to write those under a more appropriate title (but that is just a formal issue) I believe that issue can and should be discussed but trying to avoid two fundamental mistakes:
1. focusing too much on all negative points Eli brought
2. ignoring all negative points Eli brought
I would also move out from the "personal" perception since keeping the discussion at "personal" level such discussion usually does not bring groups anywhere.
and by reading back this has been realised.
The initial disappointment has then be eased up by seeing we are widening up the view, taking in account those points raised by each of us.
as concerning my personal impression, after such introduction I better postpone it to another day.
but I worn you already, I won´t be problem-centric, but rather experience-centric.
cheers
28 Jul 07 09:43
"I won´t be problem-centric, but rather experience-centric".good statement.
Thanks for those sharing their own experience then, in positive and negative.
To let people to be aware of mistakes or problems is the only way to be ABSOLUTELY POSITIVE without putting others at risk without any logic reason.
to karen:
even if they tell you to use Notre Dame de Paris as venue, with no video-projector you can't see any DVD...
(the one I obtained after about four days of messing around and getting crazy, was due to return on my leave, that is three days after the show started)... hope the problem I was facing is clear now.
I was not leaving that dvd to get dust on the shelf, and my sculptures, related to it, had no sense to stay there lonesome...
Sorry to insist: I prefer to know rather than not to know about difficulties and in time,thanks, because it's the only way I can DO something to help...
For those who thought that everything went out well "anyway" on its own, without any effort:
If there was not there a couple of persons insisting on DOING some works, despite it was dementially not asked help to anyone nor explained anything, you had not gained the same experience of exhibition at all, NOTHING of what you have been able to see would have been there, including art exhibition in itself, labels with names and addresses,banner, presentation.
If some crazy ones where not there trapped in working for you there for weeks there was no show as nobody was MAKING it...
I am happy for those who had great time and a great show.
I personally had not both.
I found clear the need to make things happen as there was no action for them to happen by those who were talking about it since one year, so this is something I can say I achieved.
But I don't like to be heroic, I really preferred this experience to be shared with more people.
But I would have preferred to arrive and see that things were there ready since one month rather than to have to make them.
This having been impossible, I would have liked to see a team of artists working together in a timescale for few days with someone to co-ordinate them, so I could have been around looking at the city and monuments too at least one day and to have a real rest, reason why I decided to move for that period of 10 days, not to hung out nervous and anxious in a hot cafe' waiting for a solution of my requirements presented months earlier...
Off course this is NOT a negative point of view, it is just a negative feed back from an incredebly positive person, that is a slight difference.
I have been really bpositive, giving up with my plans and making things happen where needed and everyone enjoyed it, but I have not liked after this, to have a terrible setting for my exhibition, nobody there to fasten my problems and in conclusion also to realise that my personal information had been actually ERASED from the main list of the participants in the exhibition as soon as I said that I had to bring the works away with me!!!
So, certainly next time the exhibition will happen thanks to the miracles of someone else...
I am already very busy up here where I set events on weekly basis in my studio than to go suicide for others sake around the world!!...
www.mcbett.com/mcbett
ps for giampiero
per non perdere i tuoi commenti, scrivi, poi, seleziona tutto e copia o taglia, poi log-in e subito reply e incolla il testo e spediscilo subito...
it's a tricky thing.
28 Jul 07 14:25
I must be missing something here.I can still see Eli's every single personal information where it has always been before. What exactly was erased and from where?
28 Jul 07 19:17
myArtProcess 2007I wanted to be experience centric, but since the discussion keep going in a different direction I will start from the problems trying however to a way out .
I believe Eli statements deserve respect because of following aspects:
she had clearly pointed her finger and shout her frustration without ambiguity in the direction of a number of problems.
Having been present in some of the situation she reported and having seen her in those moment, the only think I can advocate is: she is sincere and she does not change version depending on the contest. She has just moved her words and thoughts in writing.
.She has named a problem (or all those problems she has perceived) as such. She has colored the problems with the actual words. Her words, reflecting her perception (right or wrong this might be)
But if I fully share with Eli most of the evidence of the problems faced by her and by the group of people who has contributed to solve all those problems, I do not share at all the conclusions she jumped upon.
I am not an expert in art group exhibition, as this was my first one.
So I will try to analyse backward what I have seen.
We have subscribed an initiative launched on the web and for which upfront we have not asked for any financial contribution neither as free willy basis nor in term of subscription fees.
Well… since we all live in this world since a number of years, we all should now by now
that when a project starts without a clear, solid, approved, financial coverage … well I am not saying it is going to fail (fortunately human being are still capable to face contingencies), but certainly it´s going to face troubles.
I have not participated a lot to preparation talk (or writing) which took place prior the event, but I have read a lot of it.
And by reading those, one could have already imagined the situation going to materialise the week before the events was due to start.
When I arrived at Sant´Alberto Church and that was the Monday before the 7th July the situation I was confronted was close enough to very one I had imagined. Or let´s say even .. a bit worst then I would have imagined.
Now… I could certainly asked AS and JP … how it can be that the show space is not yet ready and has to be built up by the artist, I could have asked about the catalogue and promotional material, about the planned artwork location and about many other issues…
But asking all those question would have not helped to solve the contingency.
So the only way to contribute was to dedicate a couple of hours (that was the maximum I could do those days) to carry out different kind of logistic and preparation work.
To cut it short… if we really want to find the reason why ArtProcess 2007 faced those problems reported by Eli in the last minute preparation phase, by pointing the fingers to a single person, we add another big mistake to the original sin: the lack of planning upfront.
And the lack of planning which includes also the most important prerequisite (yes folks… the money) is something to which directly or indirectly each of us has contributed, or each of us has explicitly or implicitly accepted among the risk.
Eli is the one who has been most penalised by the situation I believe for the peculiarity of her artwork which of course presents additional problematic.
A painting can be moved around in location and can even be hanged up 3 hours before the event starts. A video installation requires more adequate preparation. And if that is not located and set up days before … adieu!
We were not prepared to that. This complexity, together with other major aspects, has been overlooked. As simple as that.
As well as one should also recognised that other major aspects of the event have been successfully chased and achieved ad contributed to the success the exhibition is having.
Considering that all this has been done with 0 budget …
Of course it is 200% true what Eli points in one of last post: without a group of ten people who arrived there casually 4 days before the 7 July and who start working as “heavy gang”, ArtProcess2007 would have not take place. This is the key issue we all shall keep in mind and avoid for the next venue. In working language it is one of the item we can include in the “lesson learnt” this year.
Although those couple of hours per day spent with that group of people have been among the most pleasant I had recently.
29 Jul 07 09:20
This will be LO..ONG but definitely is ALL what I have to say on this matter and then I will pass to other things...It includes: answers, good comments and brain-storming
(all personal ideas though sometimes translated in Italian)
About Maria's question:
Nothing to do with the website, Maria, thanks.
I have no negative comments about the site and what is going on line, too.
I actually will talk about the website in future to say all the best I can about this system and JP's opportunity offered to people.
Many sites and magazines publicize images or give you space, but this is a complete different experience that we are gaining here now.
If we can do this discussion in these terms, isn't it thanks to Art-Process? In other situations we had to lick our wounds alone and get frustrated (similar things happen all the time). this is a big difference.
What I meant was to say that the list of all participants attached in St Alberto - the only possible way we found to supply the general lack of information - after two days from the opening had been altered and my name (and another artist at least) had been removed from there.
I was not in the condition to check if other names were missing though.
JP was there and agreed that all names of those who subscribed to the exhibition, including those who had no chance to deliver their artworks, where supposed to appear on that list.
I wrote my name and email address back down by pen, and the other artist did it too.
Hope someone had reprinted the copy in the following days bringing the corrections, but I doubt.
A stupid detail, maybe? but been it the only presence left of my being in Trapani, after all this mess, I felt disappointed, after few coincidences there quite strange:
the curtain at the way to the video been closed like at the opening (I had nailed it!): the passage was missed;
the opening party moving to the Vicaria just at the time my the projection was planned, (to celebrate what? all the locals? the second big outdoor installation of Non-ArtProcess Mazzucchelli, well mentioned on each newspapers and well helped by artists in all his setting troubles, but never moving a finger to give some help!?Why don't say that?);
Tommaso trying to see the video on the opening night coming back to me saying he was stopped by a person who insisted him not to go upstairs at the video-room (was he inventing it?),
and then few others continuous and silly obstacles that really made me loose my temper after all the efforts done to have just a decent projector and few guaranteed days of projection at least before leaving, and inventing the venue to let participants to share this experience with me and to discuss it...END
After this..., on Giampiero's reflections (particular thanks to you for having been the main person physically helping my situation, in your precious "couple of hours" + something more... for few days!!...) I said all what I could about my Hyper-Critical feed back for which I am internationally infamous, now.
If there was no budget for the artists offered anyway, I was convinced in my sort of rationality that facilities and basic tech had to be certainly provided by someone to invite about 100 artists (?) to exhibit traveling all around the world...
I had the idea it had to be the ONLY possibility to be able to call people in...
Would it happen again?!
If this was not it leaks between dream and reality, wish and responsability!
This there is something to be admired and shocked too in this, but...
The promise and the reassurance that everything was going well has been the main danger, though, more than the same troubles, and this is what I think should never happen again... so, below I describe what I found usefull to avoid a next similar madhouse, whenever something would happen again, or wherever anyone else would have the feeling to join the band ...
But now I like to talk about my positive feed back, nothing to do with the achievements of the "exhibition", but with the achievements of Art-Process and human relationships that - wildly and between a disaster and another - I assured myself with greed as war loot grabbing them even in the worst moments! and as Giampiero said, they have been great.
At first, thanks for all those who had the constance and wish to see the documentary in full and waited an occasion to do it!
To discuss my video with the few "leftovers" artists before I had to leave gave me great joy and some answers I was looking for (in the criticism).
I find important people to know what I am talking about!
I found really important to see some artworks live then: Hillel's, Hanjo's paintings, to know Giampiero paintings...
JP's sculptures told me much more than on web and also Theresa's and Manuela's 3d works have been pleasant to be seen live.
I found the works in Erice show all very suggestive though, and the venue too (maybe being a sculptor I appreciate most 3D forms than colors and they are the hard sometimes to be seen by web).
the raw materials for Maurizio and Pino and the fossil archetype forms on JP's
There are few artists whose "art practice" has been really interesting for me, and close to mine, so I am writing a travel note about them soon for a friend 'zine, in relation with their practice to work in "extended human environments".
They are JP (for the website), HeeSoo (with her delicate attention for individual biorhythms), Tommaso (in his different projects has very close issues, splitting heads apart to give birth to something), Sandra (her worldly keys experience, the Biennale and her magazine) and Mario Cassisa (with his travels and totems - whose studio visit delighted me and nearly made me loose my flight back).
I also, as I already said, found a challenging beginning of conversation with Diart promoter Don Liborio in particular, on my own faced themes, but I hoped it to be more developed, challenged to explore the deep different approaches we have on similar issues.
I like to challenge people thinking differently from me...
I am glad that through Theresa I spent some time with her amazing daughter Kaya, who restored my good mood in the last days and which songs I registered in hope to create something for a next project. thanks Kaya, I will not eat you this time!
From the human point of view it was great to work with Patricia and Christina (they have been responsible to mAKE me feel guilty not working as I arrived.
The world was totally upside down at that time and they where really restless to fix the situation with JP).
Federico and Jacques: without F support, my computer and J softwear there was not even the leaflet on the door, no banner, no labels -
Then our brief chats with JP, Hillel+companion, Vito, Giampiero, Karen, Helen, Peppe, Margie, Alida, Rosario, Trisha, Mauro, Maurizio, Pino, Manuela, Elke & Co on different issues made the energies flow (sorry having not spoken that much about our works though the given the circumstances it will happen later through the comments pages though).
No chance to really talk in peace with Maria of her visions, then, nor with Corbett of his inkspots.
The quality of the artwork of the local artists from Trapani was really interesting, and it was a pity to have been reduced to such thigh struggling conditions and not to see them meeting with all the group as part of a whole context,
so as it has been another great shame that, given the situation, Antonio itself had no chance to present his own artwork (on the same wave as I have been penalized), should have it been a sound installation? ...and this must be underlined as an important negative fact not to ignore at all.
This is a consequence of being naive and too available to others problems, to be keen to accomodate where there is no possibility, hopefully never to be repeated again!
It would have been important to meet Antonio in his artwork and to be able to spend time discussing it with him.
Was this his wish though?
I will need to translate this is Italian sometimes to get an answer by him I guess...
I think that the institutions left Antonio alone in his good, but dangerous aim to make it well and effective as possible.
All the sponsors had to guarantee absolutely better the proposed support to the event, once they accepted to have it done, at least to not put in danger all the persons who naively moved in there!
This support has nothing to do with big cash money.
A strong technical infrastructure is needed in each event, even smaller than this.
Antonio gave too much credit to his own personal resistance possibilities, to his own ideas and will, rather than to involve a greater willing and experienced group and trying to avoid considering real facts.
Time has been wasted looking after these absorbing bureaucrats-chatterboxes and their wish to talk of themselves all the time.
For those not used to deal with institutions, the lesson is that they require to be fastly pushed into the corner of their function and responsibility, as they are in fact functionaries in offices.
After they make an agreement, then, no fear to hurt them -as they get a regular fee for their job- its important to force them to maintain their tasks!... as they are supposed to make. The best way to make them achieve their tasks is to ask them soon to sign a piece of paper, and then tey are real friends.
To loose contacts with someone who is not maintaining his promises is an advantage though, not a loss.
I consider my supporters from those giving more real support, not those speaking better.
We don't need carrots in front of the chart, we need to be able to chew something, being hungry.
I can move over, so, -sure!- to give some personal ideas for the future, to think about, in hope this to be my positive contribution in my loss, and my achievement, whatever may I plan for my future...
This is indeed a Brain-Storming gained just from all this black-book written till now.
Hope it may be usefull
*
to focus on the idea of meeting and on the studio-log/art-process rather than o strange ideas of art fairs where people sell their own works:
you need particular venues with specific curators thinking in these terms to be a selling group, someone has to find buyers, to plan the artworks to be sold and they are not certainly happening on the main course of Trapani, in an opening arranged as it was, by unknown people...
not with no prices on the pictures neither a catalogue, no publications...
*
a single residence for all the artists to stay, meet and possibly to exhibit where to do the main "work"
*
a good meeting-point at least, a meeting or conference room
*
the planning of meetings where artists could introduce themselves to their works to others
*
the new venue should be clearly identified in advance and all requirements must be clearly described to everyone.
*
Artists should be able to freely apply as before.
*
Closing dates have to be carefully respected, with great time in advance and with a clear description of specific requirements.
*
If some works don't suite the venue/s, they have to be soon excluded, with no dramatic attempts to make them suitable, this will help artists to present only very suitable proposals and to avoid the troubles I and others got -Knowing the complications about the video I would have worked it in very different ways, indeed...-
*
the organizing group should be a team of professionals, volunteering if there are no money, paid if there are some, but under written agreement. conscious to be working under pressure.
*
all artists have to be aware of the list of requirements and needs few months before, to search through participants or others on the site some collaborations.
*
Some extra necessities can be resolved abroad.
For example:
if there is the chance to have a catalogue printed on site, but the problem is who wills to create the artwork: copies of artists' documents could be sent wherever in the world to an artists offering to make it, or the web can be used.
A designer can bring or send the artwork ready to be printed at the exhibition on a cd, saving precious time and giving the quality of the work.
The same for labels with names and prices and other data.
All these silly things could have been done three months before coming to Trapani by Federico or me or many others I am sure.
There is always time to correct few wrong details on site on a main prepared work, but there is no time to make a catalogue for 100 artists in one day before an opening.
*
Please take care on the quality of printed outlets.
The poster could have been decent if printed properly and at least in A3, as A4 it was nearly insulting.
*
An office for technical needs has to be available with computers, internet and printers etc during the settings
If we had that instead of recycling my computer and begging around for printers to Diart, we may have done a fast catalogue and I could have time to work on my own stuff too...
*
A technical director for the exhibition on site is needed, caring only about the site and to coordinate present artists who like to help for the settings.
This person should speak at least English, if the show happens in a different languages countries, or here must be people able to understand different languages to help on site.
Maria, it is for you who hoped to do something in Greece... imagine the same story of Trapany in Greece, with locals speaking in Greeck and catalogue to be translated in Greek...
*
There should be a professional crew including electricians, designers and constructors ready to plan the space as needed for the show physically, and it can be also made with volunteering artists with professional skills in that fields as agreed in time.
the site director has to coordinate them
they have to stay one month before the show on site and to end the fixing at least one week before the show opens to let a week time to study the settings (it is not only hanging pictures!).
This crew could be provided by the local institutions or sponsors, where they have no cash to pay for the exhibition as a god deal.
(This time the institutions gave just the venues for free,the print of the banner, few sweets for the opening and their personal names on the newspapers for a show they had no idea what it was about, reading at the reports and listening to them at the press meeting.
Nothing strange, it's normal, it's everywhere the same kind of stuff, they don't deal with art for the most of the time, and not in the sturmundrang sense we mean artistically art... they wish us to buy local houses, bring families in holidays there, and to bring our good foreigner money to the local community pleasure, this is their art wish... next time they have to be seriously interested in the process, they have to print posters and to send people on the show, otherwise we don't need their logos on posters. we can invite them to the show, instead)
*
The show should be totally ready a couple of days at least before the general opening to provide a preview to the same participating to meet, to the press office or to some invited personalities who would like to talk about it to know what to say at the opening.
Little tips to not generate a total chaos as it was last opening night and presentation
*
artists should be able to reach the meeting place independently, with no need for people to collect them at airports or in other cities, and they have to calculate that movements as part of their travel.
It's the artists tasks to reach the place and to stay there.
*
the organizers have to be always on site available for every convenience
*
in advance and with clear motivations explained travels could be sponsored by local institutions as art in residences, travel awards or other similar things
don't feel strange to enquiry about these possibilities as they may apply to your country too and you don't know...
If we had applied a collective application form together from Ireland I am sure someone else would have got more support for those who asked, including JP.
*
there should be somebody exclusively looking after the new arrivals, as they arrive, to explain them the situation and to update on the events, without some key people having to leave their main others tasks for each individual arrival putting all the rest in madly in hold.
these can also bee artists who have nothing better to do or who speak the language.
*
if the local host has the funny idea to open the meeting/exhibition to extra locals or guests, it has to be clearly planned and it should be fair to say that they are external-guests, or to explain them all the rules to be part of Art-Process in time, inviting them, and to make of them some effective participants, they have to participate with some exchange, work and so on.
*
Please invite people with some sense of Art-process or wish to explore the Internet! don't invite people just because they are friends!
*
Rules for every art-process participant have to be applied for extra-guests.
They have to be included only if they are within closing dates and technical requirements, no matters about mistakes, who likes to make it finds his way.
*
to pretend to give away free art venues, within a very restricted and specific group show as an Art-process show, calling people around as at the market, is insane and where it is aimed by a good will to give occasions to people in need, it becomes a crime against those who have been regular.
We already had good smoke-mongers on power thanks, we don't need these sales to happen again... there is no need to make a charity art in these conditions.
Better to use this exploded issue to make some local deals with institutions for the future of the locals!!
*
participant names have to be given as a whole list to the press.
there is no sense to underline someone from the group except those who host.
*
as already said by Hillel too, there should be no need for a curator, but who is setting the show has to be experienced in displaying the artworks
*
if someone wishes to organize a curated show inviting a selected range of artists it should not be called Art-Process, as I have the feeling it would respond to something different
*
Something as an art in residence where to create art in context, possibly as group - only few artists have been able to achieve in Trapani for themselves (HeeSoo and Patricia & Christina for instance, made a residencial project, I loved them)- it would be a very Art-process development though...
*
Artists should participate on the basis that they can attend or support the exhibition setting in someway, as the best part of this experience was already said to be the meeting and also the work together if coordinated, and more people are at work, the better will be the results.
*
If someone can't attend shuld not participate then, it is easier for the others to arrange the event with less items, and they will participate to a following one or take more time to develop their website in the meantime...
...." ...qualities, rather than ever greater quantities"... Yves Klein would suggest in its school of sensitivity...
*
selective elements may occur as themes, media or other elements.
In this exhibition the element of the video as media was just disturbing the whole settings, for instance.
I found myself to be an hassle with this problem.
(Knowing it, I had not participated with it, but with something else.
there is no sense to arrive as a bother through a situation already in pain. It is necessary someone able to valuate these issues with no fear to explain them. It happened with my previous proposal and that was sensible to not let me bring that in...
*
If it's said "we will find a solution" there must be at least one solution clear ready, and then better alternatives can be found.
Don't say that if you have no solution in mind with all details
*
Terms of agreement with supporting institutions have to be assured in writing, to be sure to obtain what required in reality and in time
*
better less persons with a better show than everyone in and nobody relaxed or getting proper respect to his work.
*
All artists have to assure their availability in covering some tasks as needed under certain working hours
*
Organizers have to be able to employ the available to help artists under a schedule and a list of priorities.
*
Every time a need explodes someone has to list it on the blackboard and so others will know they can help to resolve it
*
...others to come as you like.
no other ideas at the moment
I don't know when I will get time to translate it in Italian...I will...
Cheers and love
30 Jul 07 13:28
So many words Eli, so many words.As the „angel of melancholy“, watching the scene my chin on my hand, i would like to ask a simple question. What was your part in the process?
For example was it wise to chose a video for the trapani show that needs a separate room for showing and occupies the attention for one and a half hour? A video that is not precisely an artwork of it’s own but the documentation of an installation and a performance shown in Dublin. A video that does not only last long but is a purgatory as well.
Given that everything would have been organized very well would there have been more people having seen the entire video than the four that actually have?
Like all the other participants I too felt disappointment and anger about the chaos that we met in trapani. But thinking it over and over during the last weeks I found that it is unjustice to only blame the organizers. We all have been very very naive thinking that such an event could be organized with sending some encouraging emails. So let’s start to think about what we missed to do to make the next show less chaotic. And by the way, what I really like and appreciate is the attitude of Jacques.
Cordially Hanjo
04 Aug 07 16:05
Thanks for deepening the analysis.Delicate points to elaborate and some strict answers though:
No, I am not personally against the organizers or accusing anyone outside the whole context, you should know that I don't think in this way.
The not containment of problems and overloading of extra difficulties is the matter and the factors are many and many.
I thought to have been slightly more articulated than "accusing" whoever person and I talked about naive behavior starting from myself.
I was so busy editing full time before I left that I had no time to follow web conversations, most of them also happening when I was in Rome and I had no computer.
In that moment my old email address got bugged too, so I lost a lot of these passages happening through people.
I finished editing the copy of the DVD the night before I was leaving though...
Yes, Certainly more people would have seen the video if it was there well exhibited, with a good presentation explaining it in its modalities, if the church doors were open at projection times and especially if I had an available video projector since when I arrived.
It was not a choice to bring the documentary, though, but a deep wish - a preview just for Artprocess - that I applied to Antonio in advance explaining carefully all modalities in time and problems.
I could be warned of the difficulties, instead I got answered in a good advance that a solution should be easily found.
From my way to understand I then expected on my arrival to be told (there was time for the solution to be found before my arrival):
this is your space for the video and here is the video-projector, enjoy your settings - as others did...
It didn't go in this way, as I was at the airport and I was told that my booked room was not reserved for a mistake, so I started panic to have to find an accommodation at 11pm ready even to sleep into my just rented car...
I insist that it should not have been gone as it did, especially as I own a video projector and I could bring it with me to be sure of the proper achievement -at first- of my own proposal, to enjoy better, then, to help others in their sudden problems or to enjoy the city and the sun with no regret.
I thought you appreciated earlier that I stated that good and evil can be flexible depending on circumstances, so I hoped to examine these circumstances mostly.
If it needs to be cleared again:
No, I was not "accusing" persons, and this is not a trial.
I was warmly trying to underline an unpleasant situation I found myself in and I got the responsibility doing this as a task in respect of the whole situation to appear unpleasant myself.
People are named as they are part of these circumstances and I think that Antonio can't avoid to be named in this, but I guess he got his responsibility to do this, in good and in bad.
My attempt was to try to find out bugs in wish to help some understanding after someone said the exhibition to be a starting point, not an arrival.
Everyone may do this not in the sense of inquisition or trial, but in the sense of exploration with no shame and no wish to insult anyone for free.
If we are here just to exchange compliments, well, there are also many nice things to be said as I did and I hope you read them, but critic helps more the growth, from my point of view, so I found right to get the task to do it having the wish to help the case, not to revenge.
this is what I expect from friends and from enemies too.
I understand that because only negative points have been presented the whole analysis appears exaggerated as Maria pointed at the beginning, but I introduced the comments explaining that I was trying to discuss only the negative matters in that occasion, I never said that the experience was only negative for me.
If you want to say that I meant there are no good issues to achieve, it is not true, there were many positive issues as well, mostly for others, but many for me too, and they made the success - we can't discuss that the exhibition in itself was a positive success- of the whole event.
Then if you want to say that the negative issues were not that negative, I don't agree, they have been negative.
But I participated to many other organized events, and I organized events myself too - with or without money - and I can say that the difficulties in this case have been in the average of other similar situations internationally.
I can say also that, were difficulties I found were not helpful to my own proposal to be presented in its best standards I then refused to take part of that events again to skip a further trauma, or I adapted proposals to the situation.
An example is the Dublin Fringe Festival, that is not an improvised group of visionaries, but whose art policies don't correspond to my way to present events.
When I got the possibility to work together with that group a year after what I considered a bad experience, I asked the new director to guarantee that such accidents wouldn't happen again and he honestly said he couldn't promise, I friendly decided to withdraw from them and to present my exhibition (the one of the catalogue) independently from them.
It was a positive decision.
No anger and no failure. Still in good contacts with the Festival.
It would have not been if I was participating to get all mistaken again.
So, let's keep the hard critic for what it is:
a positive effort to avoid further damages.
I wrote out suggestions for ideas in hope they can help in the future, now I can continue to be constructive in that way.
My story is known enough, I feel no need to explore it again...
06 Aug 07 17:27
so, after all these thousands and thousands of words I read through the last days, some simple thoughts:I´m in art for about 30 years and was able to see the whole possibility of making exhibitions - as jaques said, totally professionally made ones, and total chaos on the other hand side!
for me - I had three or four exhibitions in trapani, at a very small but very professional gallery, he quadreria del lotto - the art process exhibition was an experiment from the first minute on; after may five or six stays in trapani and many many beautiful discussions with artists from trapani as well as guests, maybe I sort of expected, that this won´t be a professional event, but kind of a - "process" - and so it was.
there were some things I was embarrased of, the display of my own work too, that there was only one, the second missing and so on; but, as I said, I sort of expected these things.
nevertheless I must say, that antonio is a man very well able to perform professional exhibitions, but you can´t blame it all on him!
I only had ten days in trapani this time, but I liked it - also the exhibition, as a big experiment.
next time will be more professional, or maybe more - chaotic.
enjoy life - make art!
michael oberlik
09 Aug 07 13:36
I think it has all been said by now, but just to let you know that mentally I have been following the discussion, and the blows for and against.Just a few remarks:
-I too was rather shocked by the initial mess in the church.
-Pleased that so many people were willing to help.
- disapointed that there was no-one to take charge of the physical work.
- Impressed that a few people who made a fantastic team pulled everything together in the end
- Surprised that there was no catalogue prepared before the exhibition
- Regretted that the artists could not get together, except informally to share ideas
- Sympathetic to Eli especially who was expecting so much more
- Feel that the energies, both negative and positive should be channelled into something more constructive next time! If there is an next time?
- Want to express a very big thanks to John-Psul and to the wonderful team who did pull it together
- Great to meet you all!
Sheila
09 Aug 07 15:01
Ok, now that everything has been said, why don’t we start talking about the next event?? Is there going to be a next event? Where is it going to be ? How can we ALL help from the start.? Now we have time enough to organize it well, and we all know it can’t be done only by two or three persons that get all the problems and all the responsibilities, we have an idea of the difficulties so we’ve learned something. John Paul I think you should have written your impression or your version of what happened, and in any case why not write now and let us know your plans, so we can all participate this time ?
11 Aug 07 08:59
Karen wrote: How can we ALL help from the start.? Now we have time enough to organize it well, and we all know it can’t be done only by two or three persons that get all the problems and all the responsibilities, we have an idea of the difficulties so we’ve learned something.
I would also question:
is this the approach to follow?
one could rather prefer not to have to organise anything since organise events require time I can spend to do other things.
as matter of facts one could also say, rather contributing with my time, I would rahther contribute with other resources (money) and that would do the job for me.
so probably before talking of the organization as such a new starting point for the discussion might be:
how could ArtProcess 2008 be organised?
A) full home-made approach? same as 2007
(cost limited to art work shipping and artist travel, but high risk of getting into those kind of problems we have seen in 2007)
B) partial home made approach? we (meaning all of us) keep our hands in the organization to some extend, contributing to discussion, but we plan to outsourse parts of the work to be done.
I am thinking of
- catalogues preparation
- exposition logistics (reception of artwork, preparation of the show area, installations etc)
- any other?
of corse this would imply costs we did not have to face this year
B) task an art event specialised company to carry out the job for us
and this would costs much more than option B above
prompted just as point to think about
11 Aug 07 14:10
Now we’re talking. I propose to change channel and move this conversation, which might be a long one, under another topic. What about The Art Community “The 2008 plan”? I thought of starting the topic with a first comment.
11 Aug 07 16:55
I agree Maria, if someone like you will get the task to copy and paste that individual comments including practical positive proposals for the future on the starting point page.But after, possibly, that few others have said something about the past and their future aims in this black pages, including JP, Antonio (we are speaking english, but...) and few others who are part of that ARTPROCESS "registered company", which is the structure applying for the Trapani show (including Mauro, Vito, and whoever else...) that is a different thing from the Artprocess website... and that, as Karen noted, are slightly silent...
11 Aug 07 18:18
Dear colleagues, for I’m not so good in English I’ve asked Hanjo to do the translation for me.
Well, as far as I could follow the discussion many of you found fault with the artprocess exhibition. I guess that all this has it’s right and I can understand Eli’s complaint as well. But how her ill-humour was handled at the site I cannot judge. I too could name some points to be criticized but I will not for I guess that all the main issues have been discussed already. I would rather try to look forward and contemplate on how to better organize a possible next exhibition. Here are some suggestions:
1. I do agree with Karen that organising such an exhibition cannot really be done by only two or three people.
So as a consequence there should be teams to share the work.
For example one group to do the press campaign, one group to do the catalog, one team that does the hanging and last but not least one group for coordinating all this.
The coordination isn’t quite a simple thing for many problems have to be solved at the set. But a poster one can print everywhere.
2. Well, I prefer the democratic process so as one finds it in this forum. But from experience I know that one cannot deal with 60 different opinions while doing the hanging of an exhibition. These decisions should be done by an elected board. And their decisions should be accepted. I think one cannot do it in another way.
3. One thing should be thought about very seriously. That is to demand a certain fee from every participating artist. This will make sure that fundamental needs can be paid for like printing big enough posters etc. I know that such a thing isn’t very popular but if we want to do it professionally we couldn’t do without.
4. After the Trapani experience with local artists we should consider to perhaps let some local artists participate, say 10 %. So in advance there should be clear who is going to be invited and of course who does that decision.
By the way, I think that all the venues should be treated with the same engagement not only the place for the opening reception.
Well, to end with I want to add that many things depend on ones own expectations. The highter the expectation the bigger the disappointment. My own expectations in the exhibition weren’t that high for I did not believe that two or three people could properly organize it. So I guessed that there would be great difficulties. But nevertheless I enjoyed my time in Trapani a lot and would be unhappy if I missed this experience. Therefore I would like to thank John-Paul and Antonio to have made all this happen and who worked so hard for it. I’m sure that sometimes in their heads the thought emerged „Oh if I only had never started this“.
We all should never forget that Trapani was an unique event organized by a few idealists out of nothing. With no organizational or financial background. So many thanks again and to all the artists that contributed to it as well. I’m glad to have met you.
And Eli ... I would really like to watch your video some day.
Best regards from Germany
Rainer
21 Aug 07 18:19
Cari amici,A distanza di 2 mesi circa, ho riflettuto molto sull’esposizione di trapani e credo di poter fare alcune brevi considerazioni.
Quando è nata l’idea della mostra ( tra me e JP e nessun altro!) eravamo talmente entusiasti che verosimilmente forse sapevamo gia’ in cuor nostro di dover far fronte a problematiche enormi e fuori dalla nostra capacità.
Nonostante cio’ ci siamo imbarcati in un’avventura che abbiamo condiviso con tutti voi nella buona e nella cattiva sorte ( come un matrimonio praticamente…. )
Adesso non staro’ a tediarvi raccontandovi delle avventure con politici, sacerdoti, pseudo artisti, pseudo amanti dell’arte, e altro ancora.
Non staro’ a raccontarvi delle giornate ( e mesi) perse a vuoto rincorrendo quello o quell’altro nella speranza di avere
Un minimo di supporto ( come vi può raccontare bene Park Hye Soo nella sua breve esperienza con gli uffici della provincia di Trapani)
Certamente questo stress non ha fatto bene ne a me ne a JP che come avete notato dopo quest’esperienza sta cercando di riprendersi e di capire quello che è andato male.
Alcune cose è vero sono andate sicuramente male.
Per esempio credo ( è una mia opinione ) che la cosa che ha danneggiato di piu’ l’esposizione sia stata la scelta di far partecipare tutti. Nella mia carriera artistica solo una volta mi era capitata un’esperienza del genere e fu assolutamente fallimentare.
Per un certo periodo eravamo dell’idea di organizzare l’esposizione solo per inviti , ma questa proposta si scontrava decisamente con lo spirito unico di artprocess: la comunicazione tra artista e artista .
Nella grande comunita’ virtuale dove ognuno di noi ha inserito i suoi lavori in diversi siti d’arte piccoli e grandi ( come la Saatchi Gallery ) mi domando quanti di questi siti siano stati poi utili ( sotto il profilo emozionale ) al lavoro di ognuno di noi.
Forse nessuno a parte artprocess.
Forse mi sbaglio…. questo me lo direte voi se ne avrete voglia.
Certo è che nel giorno dell’inaugurazione quando ho visto cosi’ tante persone entusiaste ( e solo qualcuno irritato) per un’attimo sono stato davvero felice di aver avuto la possibilità di partecipare e non avrei perso l’occasione per nessun motivo al mondo.
Alla fine della mostra erano passati circa 5000 visitatori (grazie anche agli artisti locali che hanno fatto una grossa pubblicita ) , la stampa locale ha dato ampio risalto all’evento, alcuni giornali stranieri ne avevano parlato ( grazie all’interessamento di JP, Maria, Michael, Sandra ) e anche la televisione italiana aveva passato la notizia.
Dopo la mostra sono arrivati i vari commenti ( qualcuno abbastanza ironico….) su come doveva essere organizzata la mostra, su come non si parlava d’arte ma si mangiava soltanto e si andava a zonzo per la città , su come doveva essere fatta la pubblicità, su come e su come……all’infinito.
Tutte situazioni che sicuramente a New York o a Berlino o a Londra o in qualche altra città del nord non si sarebbero mai verificate !!!! ( evidentemente a trapani si mangia talmente bene che tutto passa in secondo piano…. anche se la tavola è sempre stata luogo deputato al discorrere d’arte e cultura dal 1000 A.C. in poi…. )
Probabilmente però nessun altra città del mondo avrebbe offerto ( se non a pagamento ) degli spazi importanti e una partecipazione attiva ( seppur tardiva) delle autorità del luogo ( religiose e non )
Per organizzare una mostra come artprocess Trapani in altro luogo ci sarebbero voluti almeno 30-40mila euro e forse piu’.
JP è stato eccezionale perché per ben due o tre volte ( ho perso il conto ) è venuto in macchina da Roma per portare alcune opere , ha lavorato come un pazzo senza dormire e ha contribuito economicamente in maniera determinante .
Devo dirvi in tutta sincerità che alcune critiche mosse in maniera evidentemente affrettata mi hanno un po’ deluso ( alcuni dettagli sicuramente potevano essere sviluppati meglio ma nella fretta era impossibile curarli )
D’altra parte mi ha fatto veramente piacere conoscere molti di voi , con alcuni si è instaurato un vero rapporto di amicizia con altri forse non ci siamo conosciuti abbastanza, ma questo è nell’ordine delle cose.
Credo che Jacques ( senza fare torto a nessuno per carita…..) abbia capito fino in fondo lo spirito del progetto, e che abbia a sua volta ricevuto da trapani energia positiva per il suo lavoro.
Spero che ArtProcess non finisca qui come forse si augura qualcuno ( nelle migliori famiglie c’e’ sempre l’uccello del malaugurio…) , e spero che ognuno di voi abbia ricevuto da questa esperienza la forza per continuare a migliorare nel proprio lavoro per raggiungere nuovi e gratificanti risultati.
Ad maiora!
Grazie a tutti.
Antonio
18 Sep 07 16:36
Cari amici,A distanza di 2 mesi circa, ho riflettuto molto sull’esposizione di trapani e credo di poter fare alcune brevi considerazioni.
Quando è nata l’idea della mostra ( tra me e JP e nessun altro!) eravamo talmente entusiasti che verosimilmente forse sapevamo gia’ in cuor nostro di dover far fronte a problematiche enormi e fuori dalla nostra capacità.
Nonostante cio’ ci siamo imbarcati in un’avventura che abbiamo condiviso con tutti voi nella buona e nella cattiva sorte ( come un matrimonio praticamente…. )
Adesso non staro’ a tediarvi raccontandovi delle avventure con politici, sacerdoti, pseudo artisti, pseudo amanti dell’arte, e altro ancora.
Non staro’ a raccontarvi delle giornate ( e mesi) perse a vuoto rincorrendo quello o quell’altro nella speranza di avere
Un minimo di supporto ( come vi può raccontare bene Park Hye Soo nella sua breve esperienza con gli uffici della provincia di Trapani)
Certamente questo stress non ha fatto bene ne a me ne a JP che come avete notato dopo quest’esperienza sta cercando di riprendersi e di capire quello che è andato male.
Alcune cose è vero sono andate sicuramente male.
Per esempio credo ( è una mia opinione ) che la cosa che ha danneggiato di piu’ l’esposizione sia stata la scelta di far partecipare tutti. Nella mia carriera artistica solo una volta mi era capitata un’esperienza del genere e fu assolutamente fallimentare.
Per un certo periodo eravamo dell’idea di organizzare l’esposizione solo per inviti , ma questa proposta si scontrava decisamente con lo spirito unico di artprocess: la comunicazione tra artista e artista .
Nella grande comunita’ virtuale dove ognuno di noi ha inserito i suoi lavori in diversi siti d’arte piccoli e grandi ( come la Saatchi Gallery ) mi domando quanti di questi siti siano stati poi utili ( sotto il profilo emozionale ) al lavoro di ognuno di noi.
Forse nessuno a parte artprocess.
Forse mi sbaglio…. questo me lo direte voi se ne avrete voglia.
Certo è che nel giorno dell’inaugurazione quando ho visto cosi’ tante persone entusiaste ( e solo qualcuno irritato) per un’attimo sono stato davvero felice di aver avuto la possibilità di partecipare e non avrei perso l’occasione per nessun motivo al mondo.
Alla fine della mostra erano passati circa 5000 visitatori (grazie anche agli artisti locali che hanno fatto una grossa pubblicita ) , la stampa locale ha dato ampio risalto all’evento, alcuni giornali stranieri ne avevano parlato ( grazie all’interessamento di JP, Maria, Michael, Sandra ) e anche la televisione italiana aveva passato la notizia.
Dopo la mostra sono arrivati i vari commenti ( qualcuno abbastanza ironico….) su come doveva essere organizzata la mostra, su come non si parlava d’arte ma si mangiava soltanto e si andava a zonzo per la città , su come doveva essere fatta la pubblicità, su come e su come……all’infinito.
Tutte situazioni che sicuramente a New York o a Berlino o a Londra o in qualche altra città del nord non si sarebbero mai verificate !!!! ( evidentemente a trapani si mangia talmente bene che tutto passa in secondo piano…. anche se la tavola è sempre stata luogo deputato al discorrere d’arte e cultura dal 1000 A.C. in poi…. )
Probabilmente però nessun altra città del mondo avrebbe offerto ( se non a pagamento ) degli spazi importanti e una partecipazione attiva ( seppur tardiva) delle autorità del luogo ( religiose e non )
Per organizzare una mostra come artprocess Trapani in altro luogo ci sarebbero voluti almeno 30-40mila euro e forse piu’.
JP è stato eccezionale perché per ben due o tre volte ( ho perso il conto ) è venuto in macchina da Roma per portare alcune opere , ha lavorato come un pazzo senza dormire e ha contribuito economicamente in maniera determinante .
Devo dirvi in tutta sincerità che alcune critiche mosse in maniera evidentemente affrettata mi hanno un po’ deluso ( alcuni dettagli sicuramente potevano essere sviluppati meglio ma nella fretta era impossibile curarli )
D’altra parte mi ha fatto veramente piacere conoscere molti di voi , con alcuni si è instaurato un vero rapporto di amicizia con altri forse non ci siamo conosciuti abbastanza, ma questo è nell’ordine delle cose.
Credo che Jacques ( senza fare torto a nessuno per carita…..) abbia capito fino in fondo lo spirito del progetto, e che abbia a sua volta ricevuto da trapani energia positiva per il suo lavoro.
Spero che ArtProcess non finisca qui come forse si augura qualcuno ( nelle migliori famiglie c’e’ sempre l’uccello del malaugurio…) , e spero che ognuno di voi abbia ricevuto da questa esperienza la forza per continuare a migliorare nel proprio lavoro per raggiungere nuovi e gratificanti risultati.
Ad maiora!
Grazie a tutti.
Antonio
18 Sep 07 16:37
ANtonio non ho alcuna notizia del mio pezzo che è arrivato in ritardo che quindi nn è stato esposto che jean paul mi ha detto che era nelle tue mani stazione centrale stampa su carta fotografica 70x100 cortesemente me lo spedite? ho compilato il modulo per la restituzione qualche tempo fafatemi sapere
vincenzo lucio Mattaliano
lucio_designer@yaho.it
saluti
21 Sep 07 16:52
TRANSLATION OF ANTONIO’S MESSAGEDear friends,
At a two months’ distance, I have given the Trapani show a lot of consideration and I think I can express a few thoughts.
When the idea of the show was conceived (by J.P and myself and no one else!) we were so enthusiastic that we may have known deep in our hearts that we should have to face problems beyond our capacities. Nevertheless, we entered this adventure which we shared with all of you for the better or worse (like a marriage so to speak…)
Now I will not bore you narrating all the adventures with politicians, priests, pseudo artists, pseudo art lovers and others. I will not tell you about the days (and months) wasted running after this or that hoping to obtain basic support (as you can be assured by Park Hye Soo with her brief experience at the offices of Trapani province.)
Certainly this stress didn’t do any good neither to me nor J.P who, as you have noticed, after this experience is trying to recover and realize what went wrong. Some things certainly did go wrong. For example, I believe (this is just my opinion) that what was really bad for the show was the decision to let everybody participate. In my artistic carrier I have only seen this happen once and it was a failure.
For some time we had the idea of organizing the show based only on invitations, but this was contrary to the unique spirit of ArtProcess: artist to artist communication. In the vast virtual community where each of us has uploaded works in web sites smaller or larger (like Saatchi Gallery) I wonder how many of these sites proved to be useful (in an emotional sense) to the work of each one of us.
Maybe none except artprocess.
I may be mistaken… you tell me if you want.
For sure, on the opening day when I saw so many enthousiastic people (and only just a few irritated) I was really happy for a moment to have participated and I wouldn’t have missed that for the world.
By the end of the show there had passed more than 5000 visitors (also thanks to local artists who publicized the event), local press gave large coverage, some foreign newspapers wrote about it (thanks to interest on the part of JP, Maria, Michael, Sandra) and also Italian TV mentioned it.
After the show there came various comments (some really sarcastic…) on how the organization should have been, on how there was only eating and strolling and no art talking taking place, on how advertising should have been done, on how this and that and so on…infinitely.
All situations that in New York or Berlin or any other northern city surely wouldn’t have ever happened!!! (evidently, food is so good at Trapani that everything else comes second… even if the dinner table has always been the place to talk about art and culture since 1000 BC)
Maybe though, no other city in the world would have offered (if not for a lot of money) important venues and active participation (even if late) of the local authorities (clerical or not). To organize a show like ArtProcess Trapani anywhere else there would have been necessary 30-40 thousand euros if not more.
JP has been wonderful because two or three times (I lost track) he came to Trapani by his car only to bring some works, he worked like crazy without sleep and his financial contribution was determinative.
I must tell you frankly, that some evidently hasty criticism has disappointed me (some details could have been seen to better but with all the haste they were impossible to be taken care of). On the other hand, it was a real pleasure to meet many of you, with some of whom a relationship of real friendship was formed, with some others we may have not had the chance to get to know each other well enough, but this is part of the course of things.
I believe that Jacques (with all respect to others) has deeply comprehended the spirit of the project and in exchange he received from Trapani positive energy for his work. I hope that ArtProcess won’t finish here as some may wish (even among the best families there is always the bird that brings bad news {this frase has been translated to the letter and I don’t think it is the most accurate possible. Sorry}) and I hope that each and every one of you has received out of this experience the strength to improve one’s work and reach new, gratifying accomplishments.
Ad maiora
Thank you all,
Antonio
21 Sep 07 19:59
ignorando....
Antonio dice: Devo dirvi in tutta sincerità che alcune critiche mosse in maniera evidentemente affrettata mi hanno un po’ deluso ( alcuni dettagli sicuramente potevano essere sviluppati meglio ma nella fretta era impossibile curarli )
ops... mi dispiace per averti deluso, Antonio, ti riferisci probabilmente a me che ho iniziato questo forum e mi farebbe piacere essere citata direttamente (anche se un'azione diretta é impossibile per te) ma mi sarei aspettata delle scuse per non aver realizzato le promesse fatte ad alcuni artisti invece...
Immagina come sono dispiaciuta nel realizzare che non riesci neppure a chiedere scusa per coloro che ti sei perso per strada durante la mostra segnalandoli come CRITICISMO AFFRETTATO solo per avere fatto sapere il loro problema.
Non c'é stato criticismo a parte che informare le persone che per qualcuno questa mostra non ha funzionato grazie a una ORGANIZZAZIONE APPROSSIMATIVA
e quando qualcosa fallisce (anche se solo in alcuni dettagli) non c'é nulla di cui essere orgogliosi, a meno che non sia voluto.
Io speravo onestamente che qualcosa di meglio sarebbe uscito come analisi dopo due mesi dalla mostra.
questa presentazione educata e politica é quasi un insulto e non c'é bisogno di sentirsi colpiti.
Se il tuo obiettivo erano 5000 visitatori la prossima volta é davvero meglio che tu faccia la tua mostra solo con i tuoi artisti locali che ti hanno portato il pubblico e te li inviti come ti pare
tra l'altro non tutti gli artiststi non hanno alternative che pagare gallerie private per fare le loro mostre!
alcuni generalmente sono pagati quando presentano i loro eventi, dunque dovresti considerare anche questo fatto, quando ti apri a un raggio ampio di persone.
Vuoi intendere con le tue conclusioni che gli artisti di ArtProcess sono solo persone solitamente incapaci di gestirsi la propria attivitá professionalmente?
Io non parlerei per altri e forse questo é la tua proposta.
Sí meglio non includere tutti gli artisti
Invita prossimamente solo quelli che fanno arte come Hobby e non hanno altre opportunitá.
Non riesco a capire con chi te la stia prendendo e chi sia il tuo obiettivo in questo commento...
É importante comunque realizzare che ció che leggo qui é semplicemente la risposta personale di Antonio, il quale fa parte di questa esperienza allo stesso livello di chiunque altro.
Nota per Vincenzolucio: per favore sii meno distruttivo nelle tue conclusioni veloci, infatti il povero signore Antonio potrebbe sentirsi deluso dalle tue domande impertinenti!. potresti essere chiamato uccellaccio del malaugurio!!
Io comunque credo che un'opera d'arte non esposta o non propriamente esposta in una mostra sia un fatto molto grave da non omettere anche di fronte a diecimila opere esposte con successo.
Ignoring....
antonio sais: I must tell you frankly, that some evidently hasty criticism has disappointed me (some details could have been seen to better but with all the haste they were impossible to be taken care of)
ops... sorry for having disappointed you, Antonio, probably you refer to me who started the forum and I would appreciate you to name directly people (even if direct action is impossible to you), but there should have been some excuses for not fulfilling the promises to SOME artists.
Imagine how I am disappointed myself to realise that you are not even apologising for those you left behind during this exhibition signing them with HASTE CRITICISM only for pointing the problem.
there was no criticism rather than to let people know that for someone this show didn't work thanks to some ROUGH ORGANIZATION.
and when something fails (even if just for some details) there is nothing to be proud of, except if that is intentional.
I honestly hoped something better getting out as analisys after two months from the exhibition.
this polite political presentation is quite an insult and there is no need to feel hurt.
and if your aim was 5000 visitors next time it's better you make exhibition just with your local artists who brought you that audience and you can invite them as you like
also not all artists have as only alternative to pay a private gallery to make their art exhibition!
someone get generally paid when they present their event, so you should consider also this fact, when you are open to a wider range of people.
Do you like to intend with your assertions that ArtProcess artists are only people usually unable to manage their art activity professionally?
I have no idea who you like to point or who is the target of this comment.
It is good to realize that this I read is just Antonio's personal answer, who is part of this experience on the same level of everyone else though.
note for Vincenzolucio:
please be less destructive in your fast conclusions, indeed poor Mister Antonio can be disappointed in your inappropriate questions!... you can be called the misfortune bird!!
I however believe that a single artwork not exhibited or badly exhibited in an art exhibition is a real problem not to be omitted even in front of ten thousand successful exhibits.
22 Sep 07 11:28
I dislike arguments of any kind. They are always vulgar, and often convincing.Oscar Wilde
22 Sep 07 16:32
Credo che non possiamo continuare con questa farsa.In ogni caso tutte le affermazioni che ho fatto non sono in alcun modo riferite all'artista Eli
e con questo chiudo DEFINITIVAMENTE la questione
.
22 Sep 07 16:50
Antonio, I beg your pardon, but your so called analysis indeed can be seen as being arrogant and insulting and the way you treat people who criticize you, in particular Eli, is absolutely not acceptable.
24 Sep 07 16:10
Caro Hanjo il tuo pensiero e il commento è fuori luogoperchè io non mi riferivo assolutamente a eli quando parlavo
delle persone che hanno tentato di fare fallire l'iniziativa di artprocess.
25 Sep 07 11:19
PREMIO ARTEINGENUA 2008CONCORSO INTERNAZIONALE DI PITTURA, SCULTURA E FOTOGRAFIA PER GIOVANI ARTISTI
“ IMPATTO_ ARTE
luogo + relazioni ”
REGOLAMENTO
Articolo 1
Scopi e finalità
Nel quadro delle iniziative e delle modalità operative individuate e perseguite da ARTEINGENUA Spa (di seguito denominata ARTEINGENUA) si inserisce l’organizzazione del primo Concorso Internazionale “Premio ARTEINGENUA 2008” (di seguito il Concorso) con il seguente montepremi:
primo premio 30.000,00 euro
secondo premio 7.000,00 euro
terzo premio 3.000,00 euro
per un totale di 40.000,00 euro.
Il Concorso prevede altresì la realizzazione di un evento espositivo e di un ampio catalogo ove saranno pubblicate le opere ammesse al Concorso stesso illustrate a colori e testi critici.
L’esposizione delle opere, la votazione e l’aggiudicazione dei premi si svolgeranno in un luogo importante da definirsi.
Una Giuria composta da personalità di spicco scelte fra le seguenti categorie:
• Critica d’arte
• Giornalismo
• Collezionismo
• Impresa
• Architettura e design
• Poesia e letteratura
• Musica
• Moda
PREMIO ARTEINGENUA 2008
• Teatro
• New-Media
sarà la garanzia per evidenziare in ciascun artista le effettive capacità, fornendogli concrete possibilità di emergere e di qualificarsi.
Articolo 2
Tema del Concorso
Il tema che il Concorso Internazionale “Premio ARTEINGENUA 2008” propone è:
IMPATTO_ ARTE
luogo + relazioni
• Concetti:
IMPATTO (im-pàt-to) – s.m. – dal latino impactus, participio passato di impingēre, ovvero: spingere contro.
L’IMPATTO è il punto d’incontro del proiettile – l’opera d’arte – col bersaglio – il luogo, l’uomo.
La presa di contatto o, più comunemente, lo scontro, l’urto – la relazione violenta.
Ma IMPATTO è anche influsso, influenza – complesso di trasformazioni indotte da un intervento esterno, artificiale – artistico – in uno spazio, in un contesto.
Trasformazioni ora innescate ora abbandonate, suggerite e gridate, raggiunte e negate… Ma l’opera d’arte, oggi, può ancora essere IMPATTO?
È con una provocazione, più che una proposta / con un attacco, più che con un invito, che ARTEINGENUA si rivolge oggi ai giovani artisti contemporanei ed emergenti, chiamandoli a partecipare ad un concorso che, per primo, vuol essere IMPATTO con i nuovi linguaggi espressivi, con le forme artistiche ancora nascoste…
• Intrecci:
IMPATTO luogo relazioni
incontro spazio inventare
scontro ambiente scoprire
contatto posto raccontare
incrocio punto interagire
collisione forma esprimere
PREMIO ARTEINGENUA 2008
violenza linea comprendere
choc cerchio legare
influsso posizione stringere
influenza realtà lasciare
intervento utopia entrare
azione non luogo attraversare
dipendenza territorio oltrepassare
trasformazione deserto immergersi
evoluzione continente inoltrarsi
progresso arcipelago sognare
degrado percorso dimenticare
fatto qui comunicare
evento ora amare
accaduto altrove vivere
istante ovunque sentire
ARTEINGENUA definisce le linee di massima entro le quali si intrecciano le tre tematiche centrali del Concorso, lasciando che gli artisti possano trarre da queste libera ispirazione per le loro opere e/o rifacendosi ad alcune delle indicazioni-relazioni qui sopra suggerite.
Articolo 3
Condizioni di partecipazione 3.1 Al Concorso possono partecipare tutti gli artisti, singolarmente o in forma associata, di qualunque nazionalità e di età compresa tra i 20 e i 40 anni (tra l’1 gennaio 1968 e il 31 dicembre 1988), che abbiano partecipato almeno ad una mostra d’arte personale e/o collettiva.
Ciascun artista, singolarmente o in gruppo, potrà presentare una sola domanda di partecipazione al Concorso.
Non possono partecipare al concorso: i componenti della Giuria e coloro che siano uniti da vincolo di matrimonio, di convivenza, ovvero da vincolo di parentela o affinità fino al 4° grado compreso con i componenti della Giuria.
3.2 La partecipazione al Concorso è gratuita.
PREMIO ARTEINGENUA 2008
3.3 Ogni artista che intenda concorrere dovrà presentare una o due opere a sua discrezione inedite o realizzate entro i dodici mesi precedenti solo se mai esposte precedentemente.
Le opere dovranno avere tassativamente le seguenti caratteristiche:
• Appartenere ai linguaggi della pittura, della scultura e della fotografia.
I. Le opere pittoriche potranno essere realizzate con qualsiasi utilizzo manuale di: olio, acrilico, inchiostro, vinile, acquarello, grafite, matita, vernici industriali, ecc, su qualsiasi supporto: tela, carta, legno, plastica, ferro, ecc.
II. Le opere fotografiche potranno essere digitali e tradizionali. Sono ammesse anche le contaminazioni fra pittura e tecniche sia meccaniche che digitali, dalla fotografia alle molteplici manipolazioni digitali, dalla cosiddetta web-art agli utilizzi di software in chiave artistica. Vengono ammessi anche gli still da video, polaroid, foto da telefonino e tutti i prelievi che abbiano una finalità bidimensionale.
III. Le opere scultoree potranno essere realizzate in qualsiasi materiale durevole: legno, materiali lapidei, terre (argilla), cera, gesso, cemento, materie plastiche, metalli ecc., o essere composte dall’assemblaggio di materiali diversi.
• Avere dimensioni massime comprese fra i cm. 200 x 200 per le opere bidimensionali (pittura e fotografia) e i cm. 200 x 150 x 150 per le opere tridimensionali (scultura).
• Essere realizzate con materiali idonei tali da non recare danni fisici alle cose ed alle persone.
• Essere collocate su supporti o meccanismi che ne convalidino la stabilità e la sicurezza; tutte le opere bidimensionali che necessiteranno di essere collocate su supporti verticali – pareti, pannelli – dovranno già essere dotate di attaccaglie e ganci appositi. Le opere scultoree dovranno essere accompagnate da un elaborato grafico che ne ricostruisca le misure, i termini e i mezzi di allestimento.
ARTEINGENUA si riserva insindacabilmente di accettare l’iscrizione degli artisti al Concorso.
I costi di realizzazione delle opere sono totalmente a carico dell’artista.
PREMIO ARTEINGENUA 2008
3.4 Documentazione
L’artista che intende partecipare al Concorso deve consegnare entro e non oltre venerdì 18 gennaio 2008 il materiale qui di seguito richiesto:
• Regolamento del Concorso – scaricabile in PDF dal sito www.arteingenua.it – firmato e accettato in tutte le sue parti.
• Scheda di adesione e allegati (trattamento dei dati personali; liberatoria per le riproduzioni delle opere) compilati in tutte le loro parti e firmati (scaricabili in PDF dal sito www.arteingenua.it).
• Fotocopia del documento di IDENTITÁ in corso di validità.
• Curriculum Vitae dell’artista con percorso formativo ed espositivo – per questo documento si richiede oltre al formato cartaceo quello digitale.
• Stampa fotografica delle opere a colori, dimensioni cm. 18 x 24 e loro riproduzione digitale in formato TIFF o JPEG, con risoluzione a 600 dpi. Ciascuna opera deve essere corredata – etichetta sulle riproduzioni fotografiche, allegato digitale – dai seguenti dati: Nome dell’artista; Titolo dell’opera; Data di esecuzione; Tecnica; Dimensioni.
• Motivazione e poetica di ciascuna opera – non oltre 1000 battute spazi inclusi.
• È obbligatorio, in aggiunta al materiale cartaceo, un CD contenente tutta la documentazione di cui sopra in formato digitale.
• La responsabilità dei dati forniti ricadrà sull’artista dichiarante.
3.5 Termini di partecipazione
La documentazione di cui al punto 3.4 dovrà pervenire, esclusivamente per posta raccomandata A/R, in un unico plico, entro e non oltre venerdì 18 gennaio 2008 – farà fede il timbro postale o la ricevuta del corriere – alla Segreteria Organizzativa di ARTEINGENUA e dovranno riportare la seguente dicitura:
ARTEINGENUA SPA
Concorso Internazionale “Premio ARTEINGENUA 2008”
Richiesta di partecipazione
Ufficio Segreteria Organizzativa
Via Corfù n. 106 CAP 25124 Brescia (ITALY)
PREMIO ARTEINGENUA 2008
Le spese di spedizione sono interamente a carico dell’artista.
Non sarà accettato alcun materiale inviato via e-mail.
Non saranno esaminati i materiali non espressamente richiesti ai punti di cui sopra (cataloghi, brochure, dépliants ecc.).
Il materiale inviato non sarà restituito e rimarrà a disposizione dell’Archivio di ARTEINGENUA.
Articolo 4
Prima Selezione delle opere ammesse al Concorso
Il materiale inviato per la partecipazione al Concorso “Premio ARTEINGENUA 2008” e pervenuto alla Segreteria Organizzativa ARTEINGENUA come indicato all’articolo 3, sarà sottoposto al Comitato di Selezione di ARTEINGENUA.
Il Comitato di Selezione individuerà, a suo insindacabile giudizio, le opere ammesse al Concorso. Il giudizio formulato dal Comitato di Selezione è insindacabile.
Gli artisti scelti dal Comitato di Selezione saranno contattati direttamente dall’Organizzazione ARTEINGENUA entro e non oltre venerdì 15 febbraio 2008 e saranno invitati a recapitare le opere presso un luogo appositamente predisposto – che verrà indicato entro lunedì 31 marzo 2008 – entro e non oltre venerdì 18 aprile 2008.
Le opere pervenute oltre tale data non saranno prese in consegna e non parteciperanno al Concorso.
Tutte le opere selezionate diventeranno di proprietà di ARTEINGENUA, al momento stesso in cui ARTEINGENUA le riceverà per la selezione.
Le spese di trasporto, imballaggio ed assicurazione per l’invio delle opere sono a carico dei partecipanti. Gli imballi delle opere sono a perdere.
Le opere inviate saranno prese in consegna solo se inviate con spese a carico dell’artista.
Le opere giunte dall’estero saranno prese in consegna solo se inviate con spese di spedizione, di importazione, ed ogni altra spesa o tassa, se dovuta, a carico dell’artista.
Eventuali dazi doganali saranno a carico di ARTEINGENUA.
Si esentano la Segreteria Organizzativa ARTEINGENUA e l’Ufficio preposto al ricevimento delle opere ed alla loro presa in consegna da qualunque responsabilità.
Articolo 5
PREMIO ARTEINGENUA 2008
Esposizione e Selezione delle opere in vista della Premiazione
Tra le opere ammesse al Concorso, la Giuria del “Premio ARTEINGENUA 2008” (composta delle persone di cui all’articolo 1) selezionerà una “short list” di 40 opere che verranno presentate all’Esposizione e concorreranno all’assegnazione dei tre premi finali.
Il giudizio della Giuria è insindacabile.
L’Esposizione delle prime 40 opere e la presentazione di tutte le altre opere ammesse al Concorso, in formato multimediale e sul catalogo (vedere articolo 8), si terrà in una location importante, da definirsi, da venerdì 9 maggio a venerdì 16 maggio 2008 con orario di apertura al pubblico da definirsi.
L’ingresso all’Esposizione è gratuito.
L’allestimento dell’Esposizione verrà affidato ad una ditta specializzata in installazioni museografiche e museotecniche.
L’Esposizione di ciascuna opera sarà accompagnata dalla sua descrizione in dati – comprensiva dell’indicazione dell’artista – così come forniti dall’artista stesso.
Articolo 6
Premiazione
Il giorno venerdì 9 maggio 2008 all’interno della location dell’Esposizione avverrà la Cerimonia di Premiazione.
Tra la “short list” delle 40 opere selezionate dalla Giuria saranno scelte tre opere vincitrici cui verranno corrisposti i seguenti premi quale riconoscimento del merito personale e del valore artistico:
Primo premio: 30.000,00 euro
Secondo premio: 7.000,00 euro
Terzo premio: 3.000,00 euro
La Selezione delle tre opere vincitrici così come l’assegnazione dei premi effettuate dalla Giuria è insindacabile.
La Giuria formulerà le motivazioni critiche della propria scelta durante la Cerimonia di Premiazione.
Articolo 7
PREMIO ARTEINGENUA 2008
Pubblicazione e Comunicazione del Concorso
Il Concorso sarà pubblicato attraverso canali media. Il Bando di Concorso è disponibile sul sito di ARTEINGENUA (www.arteingenua.it).
L’Esposizione delle 40 opere selezionate come all’articolo 5, sarà aperta a tutti, così come la Cerimonia di Premiazione.
Articolo 8
Catalogo
ARTEINGENUA provvederà alla realizzazione di un catalogo ove saranno pubblicate tutte le opere ammesse al Concorso, accompagnate dalla relativa descrizione, dall’indicazione dell’artista e dal suo percorso espositivo così come forniti dall’artista stesso.
Il catalogo sarà presentato in occasione della serata inaugurale di venerdì 9 maggio 2008.
Due copie del catalogo saranno messe a disposizione di tutti gli artisti che saranno stati ammessi al Concorso. Le opere ammesse al Concorso, accompagnate dalla relativa descrizione, dall’indicazione dell’artista e dal suo percorso espositivo così come forniti dall’artista stesso saranno inoltre pubblicate sul sito www.arteingenua.it.
Articolo 9
Proprietà ed utilizzo delle opere
Anche in considerazione dell’attività svolta da ARTEINGENUA per la pubblicazione delle opere e la presentazione e promozione degli artisti, le opere ammesse al Concorso non verranno restituite agli artisti e diventeranno proprietà di ARTEINGENUA, come ogni diritto inerente dette opere al momento stesso in cui ARTEINGENUA le riceverà per la selezione.
ARTEINGENUA è autorizzata ad utilizzare la riproduzione delle opere e le relative motivazioni della loro poetica – di cui all’Articolo 3 – nonché i Curricula degli artisti partecipanti all’esposizione per successive manifestazioni e pubblicazioni.
Articolo 10
Accettazioni
Gli artisti che partecipano al Concorso accettano esplicitamente le norme del Bando.
PREMIO ARTEINGENUA 2008
Il mancato rispetto, anche parziale, delle condizioni richieste dall’Articolo 3 Condizioni di Partecipazione comporterà automaticamente l’esclusione dal Concorso stesso.
Fermo quanto sopra previsto, gli artisti concedono ad ARTEINGENUA i diritti di riproduzione delle opere e dei testi consegnati per il Concorso finalizzati alla realizzazione del catalogo, all’archiviazione delle opere, alla diffusione e divulgazione del Concorso e delle opere attraverso tutti i mezzi di comunicazione stabiliti.
Il materiale fotografico e digitale, il Curriculum Vitae ed i testi inviati per la partecipazione al Concorso non saranno restituiti, ma archiviati presso ARTEINGENUA.
L’artista autorizza espressamente ARTEINGENUA a trattare i propri dati personali ai sensi della legge 675/96 (cosiddetta “Legge sulla Privacy”) e successive modifiche.
Il responsabile del trattamento è ARTEINGENUA SPA, con sede legale in via Corfù 106, CAP 25124, Brescia (ITALY).
Articolo 11
Responsabilità e Dichiarazioni
Ogni artista è responsabile del contenuto dell’opera presentata.
I partecipanti al Concorso dichiarano e garantiscono che l’opera presentata è di loro titolarità esclusiva, con riguardo sia al Diritto d’Autore, sia al Diritto di sfruttamento economico, e pertanto non esiste e non lede alcun diritto di privativa da parte di terzi su di essa / essi.
ARTEINGENUA è quindi esonerata, e sarà in ogni caso manlevata, da ogni responsabilità per eventuali contestazioni circa l’originalità e la paternità delle opere e da eventuali imitazioni o copie da parte di terzi delle opere stesse.
Articolo 12
Diritto di Annullamento
ARTEINGENUA si riserva il diritto di annullare il presente Bando entro 15 giorni successivi alla scadenza dell’invio della documentazione richiesta all’articolo 3.
ARTEINGENUA si riserva il diritto di annullare il Concorso e l’Esposizione per gravi motivi. Qualora fossero già pervenute le opere ammesse al Concorso, ARTEINGENUA le terrà in deposito a proprie spese per sessanta giorni dalla data di annullamento del Concorso
PREMIO ARTEINGENUA 2008
stesso, periodo durante il quale gli artisti potranno ritirare le opere a loro cura e spese; trascorso tale termine ARTEINGENUA sarà autorizzata a disporre delle opere non ritirate.
Da compilare e firmare:
Nome e Cognome (in stampatello) ____________________________________________
Data ________________________
Firma ___________________________________________________________________
PREMIO ARTEINGENUA 2008
SCHEDA DI ADESIONE*
DATI PERSONALI
Nome__________________________________________________________
Cognome______________________________________________________
Data di nascita________________________________________________
CodiceFiscale/Partita IVA____________________________________
RESIDENZA
Via_____________________________________________________________
Città_____________________Prov.___________CAP__________________
RECAPITI
e-mail_________________________________________________________
telefono (fisso/mobile)________________________________________
DATI DELL'OPERA*
TITOLO_________________________________________________________________
DATA DI ESECUZIONE_________________________________________________________
TECNICA______________________________________________________________
MOTIVAZIONE E POETICA DI CIASCUNA OPERA: da allegare (non oltre 1000 battute spazi inclusi)
*(SI PREGA DI SCRIVERE IN STAMPATELLO)
PREMIO ARTEINGENUA 2008
LIBERATORIA PER IMMAGINI FOTOGRAFICHE E TESTI
Io sottoscritto_____________________________________________________________
con la presente autorizzo ARTEINGENUA Spa alla riproduzione a titolo gratuito delle fotografie delle mie opere e del testo che le accompagna (motivazione e poetica delle opere – max 1000 battute spazi inclusi) sia per il catalogo del Concorso “PREMIO ARTEINGENUA 2008” che per ogni altra esigenza di pubblicazione.
Luogo e data__________________________________
Firma_____________________________
PREMIO ARTEINGENUA 2008
AUTORIZZAZIONE AL TRATTAMENTO DEI DATI
INFORMATIVA PER IL TRATTAMENTO DEI DATI PERSONALI IDENTIFICATIVI
(art. 13 del Decreto Legislativo n. 196 del 30 giugno 2003 - “Codice in materia di protezione dei dati personali”)
Ai sensi dell’art.13 del Decreto legislativo n. 196 del 30 giugno 2003, La informiamo di quanto segue ed in relazione ai dati personali che si intendono trattare:
1. Fonti e Finalità
Il trattamento cui saranno soggetti i dati personali richiesti o forniti a ARTEINGENUA Spa per la partecipazione al Concorso, compresi quelli risultanti dalla scheda di adesione, e specificati al successivo punto 2, è preordinato alla partecipazione al Concorso.
Tutti i dati forniti verranno conservati secondo i termini stabiliti dall’iniziativa ed eventualmente anche successivamente, qualora ciò sia necessario per l’espletamento di adempimenti connessi o derivanti dalle disposizioni normative.
2. Tipi di dati
Le categorie di dati personali sono i dati comuni – definiti dalla legge “identificativi” e “personali” – relativi a:
- situazione anagrafica;
- precedenti esperienze artistiche e professionali;
- formazione;
- altri dati raccolti che permettono l'identificazione diretta dell'interessato e dell’opera.
3. Trattamento e modalità relative
Per “trattamento di dati personali” si intende qualsiasi operazione eseguita sui dati dal momento della loro raccolta fino alla relativa distruzione. Il trattamento potrà effettuarsi con o senza l’ausilio di mezzi elettronici o comunque automatizzati e comprenderà, nel rispetto dei limiti e delle condizioni posti dall’art 11 del D.Lgs. 196/2003, anche la comunicazione e la diffusione, sempre comunque nel rispetto delle disposizioni di cui agli artt. 19 e 25 del D.Lgs.196/2003.
4. Natura del conferimento dei dati e conseguenza di un eventuale rifiuto a rispondere
PREMIO ARTEINGENUA 2008
Il conferimento dei dati personali relativi al trattamento in parola, di per sè facoltativo, ha natura obbligatoria per la partecipazione al Concorso e, nell’ambito dello stesso, per rispetto degli adempimenti previsti dalle leggi/regolamenti. L’eventuale parziale o totale rifiuto a rispondere o a permettere i trattamenti dei dati comporterà l’impossibilità, da parte di ARTINGENUA Spa, di perseguire le sopraccitate finalità.
5. Comunicazione e diffusione
I dati personali relativi al trattamento verranno comunicati e/o diffusi nel rispetto delle finalità specificate al precedente punto 1) nonché in adempimento degli obblighi di legge.
6. Diritti di cui all’art. 7 D.Lgs 196/2003
All’interessato dal trattamento in questione è riconosciuto l’esercizio dei diritti di cui all’art. 7 del D.Lgs. 196/2003, in particolare, il diritto a richiedere la fonte dei dati ovvero domandarne l’aggiornamento, la rettifica o la cancellazione.
7. Titolare
Titolare del trattamento dei dati è ARTEINGENUA Spa – via Corfù 106 – 25124 Brescia (ITALY)
Accuso ricevuta dell’informativa ex art. 13 del D.Lgs. 196/2003 e AUTORIZZO il trattamento e la comunicazione dei dati.
_____________________________ lì _____/____/_______
Firma________________________________________
11 Oct 07 16:30
ARTEINGENUA PRIZE 2008PAINTING, SCULPTURE, AND PHOTOGRAPHY INTERNATIONAL COMPETITION FOR YOUNG ARTISTS
“IMPACT – ART
place + relationships”
CONDITIONS
Clause 1
Aims
One of the enterprises supported and promoted by ARTEINGENUA S.p.a. (hereafter referred to as ARTEINGENUA) is the organisation of the first International Competition “ARTEINGENUA prize 2008” with the following awards:
first prize 30.000,00 Euros
second prize 7.000,00 Euros
third prize 3.000,00 Euros
for a total of 40.000,00 Euros.
The Competition plans an exhibition, a substantial catalogue with reproductions of all the works admitted to the Competition itself, biographies of the artists, and critical essays.
The exhibition, voting, and the consignment of the prizes will take place in an important venue in Italy yet to be decided on.
The Competition has a carefully selected jury consisting of well-known personalities chosen from the following categories:
• Art criticism
• Journalism
• Collecting
• Industry
• Architecture and design
• Poetry and literature
• Music
• Fashion
ARTEINGENUA PRIZE 2008
• Theatre
• New media
all will be a guarantee for both discovering the artists’ real abilities and for giving them concrete possibilities for becoming known and appreciated.
Clause 2
Theme of the Competition
The theme that the ARTEINGENUA prize 2008 proposes is:
IMPACT – ART
place + relationships
• Concepts:
IMPACT, masculine noun from the Latin impactus, past participle of impingere, or to push against.
THE IMPACT is the contact point between the projectile – the work of art – and the target – the place, humanity.
The moment of contact or, more commonly, the collision, the crash – the violent relationship.
But IMPACT is also an influx, an influence – the complex of transformations induced by an external, artificial (artistic) action in a space or context; transformations at times sparked off, at others simply hinted at or screamed out, accomplished or negated…
But can a work of art today have an IMPACT?
It is with a provocative aim rather than simply a proposal, with an attack rather than an invitation, that ARTEINGENUA addresses young contemporary and emergent artists, inviting them to participate in a competition that, above all, aims at gauging the IMPACT of new expressive languages, with forms of art still unseen…
• Networks:
IMPACT place relationships
meeting space invent
collision environment discover
contact venue recount
ARTEINGENUA PRIZE 2008
intersection point interact
collision form express
violence line understand
shock circle connect
influx position constrict
influence reality leave
intervention utopia enter
action non-place cross
dependence territory go beyond
transformation desert immerse
evolution continent penetrate
progress archipelago dream
decay path forget
fact here communicate
event now love
incident elsewhere live
instant everywhere feel
ARTEINGENUA has here broadly defined the areas within which are interwoven the three central themes of the Competition and leaves it up to the artists to be freely inspired by this for their work and/or to make use of some of these indications-relationships.
Clause 3
Entry Terms and Conditions
3.1 The Competition is open to all artists, either individually or in association, of any nationality and aged between 20 and 40 years (between January 1st 1968 and December 31st 1988) who have taken part in a solo and/or a group show. Artists, either individually or as the representative of a group, can present a single request to take part in the Competition.
ARTEINGENUA PRIZE 2008
The following cannot compete: components of the jury or anyone related to them by marriage, cohabitation, or family ties or friendship to the fourth degree with members of the jury.
3.2 Participation in the Competition is free.
3.3. Each artist who intends to take part must present one or two new works or works created in the previous 12 months, in any case never previously exhibited.
The works must necessarily have the following characteristics:
• Use of the language of painting, sculpture, or photography.
I. Painted works can be made with the any manual use of: oils, acrylics, ink, vinyl, watercolour, graphite, pencil, industrial paint etc. on any kind of support: canvas, paper, wood, plastic, iron etc.
II. Photographic works can be digital or traditional. Also admitted are “contaminations” between painting and mechanical or digital techniques, photography, multiple digital manipulations, web-art, and artistic uses of software. Also permitted are video stills, Polaroid, cell phone photos, and all other systems with two-dimensional aims.
III. Sculptural works can be made from any kind of durable material: wood, stone, earth (clay), wax, plaster, cement, plastics, metal etc., or composed of various materials.
• Maximum dimensions of 200 x 200 cm. for two-dimensional works (painting, photography) and 200 x 150 x 150 cm. for three-dimensional works (sculpture).
• The works must be realised in materials that do not present physical danger either to things or persons.
• They must be placed on supports or mechanisms that ensure their stability and safety; all works that have to be placed on vertical supports – walls or panels – must be supplied with hooks or other attaching devices. The sculptural works must be accompanied by a diagram detailing the measurements, parameters, and means for installation.
ARTEINGENUA PRIZE 2008
ARTEINGENUA reserves the exclusive right to accept inscriptions by artists to the Competition.
The costs for making the works are wholly the responsibility of the artist.
3.4 Documentation
Artists intending to participate in this Competition must consign, before and not after Friday January 18th 2008, the following material:
• the Competition regulations – which can be downloaded in PDF from www.arteingenua.it - signed and completed in detail.
• Participation form and attachments (use of personal data; consent for the reproduction of works) signed and completed in detail (which can be downloaded in PDF from www.arteingenua.it).
• Photocopy of a currently valid identity document.
• CV of the artist indicating studies and exhibitions; this document must be supplied both in a digital and paper format.
• Colour photo of the works, 18 x 24 cm., and their digital reproduction in either TIFF or JPEG form, 600 dpi resolution. Each work must be supplied with the following data (labels for photographs and an attachment for the digital reproductions): name of the artist; title of the work; date of realisation; technique; dimensions.
• Motivation and poetics of the work: maximum 1,000 keystrokes, spaces included.
• As well as the material on paper, it is obligatory to send all the required documentation in a digital format on a CD.
• The artist is responsible for the accuracy of all these data.
3.5 Participation terms
The documentation discussed in Clause 3.4 must arrive, exclusively by registered post with a return receipt and in a single envelope, before and not later than Friday January 18th 2008 – the postmark or the courier receipt will act as a guarantee – to the organisation secretary of ARTEINGENUA and must be addressed as follows:
ARTEINGENUA SPA
Concorso Internazionale “Premio ARTEINGENUA 2008”
ARTEINGENUA PRIZE 2008
Richiesta di partecipazione
Ufficio Segretaria Organizzativa
Via Corfù n.106 25124 Brescia (ITALY)
Mailing expenses are to be paid by the artist.
We cannot accept material sent by email.
We will not examine material not expressly requested above (catalogues, brochures, etc.).
The material sent to us will not be returned and will be kept for use by ARTEINGENUA.
Clause 4
Preliminary selection of works for the exhibition
The material sent for participating in the ARTEINGENUA PRIZE 2008 and that has arrived in the offices of the organisation secretary of ARTEINGENUA as indicated in Clause 3 will be submitted to the ARTEINGENUA selection committee.
The committee will select, according to its incontestable judgement, the works admitted to the Competition. The jury’s decision is final.
The artists chosen by the selection committee will be directly contacted by the ARTEINGENUA organisers before and no later than Friday February 15th 2008 and they will be asked to deliver the works to a specially selected place – which will be made known before Monday March 31st 2008 – before and no later than Friday April 18th 2008.
Works arriving after this date will not be taken into consideration and will not be admitted to the Competition.
All the works selected will become the property of ARTEINGENUA from the moment ARTEINGENUA receives them for selection.
Transport, packing, and insurance expenses will be the responsibility of the participants. Packing materials will not be kept.
The works submitted will be accepted only if expenses have been taken care of by the artist.
Works arriving from abroad will be accepted only if the expenses for transport, importation, and other expenses or taxes, are paid for by the artist.
Eventual customs duties will be paid for by ARTEINGENUA.
ARTEINGENUA PRIZE 2008
The ARTEINGENUA organisation secretary and the office receiving the works are exempted from any responsibility.
Clause 5
Exhibition and Selection of the Works for Prize-giving
The jury of “ARTEINGENUA prize 2008” (consisting of the persons indicated in Clause 1) will choose from the works accepted for the Competition a short list of 40 works which will be presented in the exhibition and will compete for the three final prizes.
The jury’s decision is final and incontestable.
The exhibition of the first forty works and the presentation of all the other works admitted to the competition, in a multimedial format and in the catalogue (see Clause 8), will take place in a venue still to be chosen on Friday May 9th 2008; the opening hours for the public also still have to be decided on.
Entry to the show will be free.
The installation of the exhibition will be organised by a firm specialised in museum graphics and techniques.
Each exhibited work will be provided with a detailed description – including the name of the artist – as supplied by the artist.
Clause 6
Prize - giving
On Friday May 9th 2008 the prize-giving ceremony will be held inside the exhibition hall.
From the short list of 40 works selected by the jury, the three successful works will be chosen and the following prizes will be awarded in recognition of both personal merit and artistic value:
First prize 30.000,00 Euros
Second prize 7.000,00 Euros
Third prize 3.000,00 Euros
The selection of the three successful works and the award of the prizes by the jury is final and incontestable.
The jury will formulate the critical reasons for its choice during the prize-giving ceremony.
ARTEINGENUA PRIZE 2008
Clause 7
Advertisement and Communication of the Competition
The Competition will be advertised in publications and on the web. The publication of the Competition is to be found on the ARTEINGENUA site (www.arteingenua.it).
The Competition exhibition, as explained in Clause 5, will be open to everyone, as will be the prize-giving ceremony.
Clause 8
Catalogue
ARTEINGENUA will publish a catalogue in which will be published all the works admitted to the Competition, together with relative descriptions, the name of the artist and a list of his or her shows as indicated by the artist.
The catalogue will be presented during the opening evening on Friday May 9th 2008.
Two copies of the catalogue will be given to each artist admitted to the Competition. The works admitted to the Competition, together with relative descriptions, the name of the artist and a list of his or her shows as indicated by the artist, will also be published on the site www.arteingenua.it
Clause 9
Ownership and Use of the Works
In view of the fact that the activities undertaken by ARTEINGENUA for the publication of a catalogue and the presentation and promotion of the artists, the works will become the property of ARTEINGENUA, as will the rights accruing to these works from the moment when ARTEINGENUA receives them for selection.
ARTEINGENUA is authorised to use reproductions of the works and their relative motivations and poetics – see Clause 3 – as well as the CVs of the artists participating in the exhibition for later events and publications.
ARTEINGENUA PRIZE 2008
Clause 10
Agreements
The artists taking part in the “ARTEINGENUA prize 2008” explicitly accept the rules and conditions of the Competition.
Failure to respect, even partially, the conditions in Clause 3 (Entry Terms and Conditions) will mean automatic exclusion from the Competition.
The artists grant ARTEINGENUA reproduction rights for the works and texts submitted to the “ARTEINGENUA prize 2008” for the production of the catalogue, archiving the works, advertising and promoting the Competition and the works through the usual means of communications.
The photographic and digital material, the CV and the texts sent for participation in “ARTEINGENUA prize 2008” will not be returned but archived by ARTEINGENUA.
The artist expressly authorises ARTEINGENUA to treat his or her personal data according to the law known as the Privacy Law: Law n. 675/96 and successive modifications.
The proprietor of the data is: ARTEINGENUA SPA, Via Corfù 106, I-25124 Brescia (ITALY).
Clause 11
Responsibility and Statements
Each artist is responsible for the content of the work presented.
The participants in the Competition state and guarantee that the work presented belongs exclusively to them as regards authors’ rights and financial rights and, therefore, that there neither exist nor can be damaged any privative rights by third parties with regard to the artist. ARTEINGENUA is, therefore, exonerated from any responsibility whatsoever for eventual disputation about the originality or authorship of the works, and about possible imitations or copies of the works by third parties.
Clause 12
Cancellation Rights
ARTEINGENUA reserves the right to cancel the present announcement within 15 days after the expiry date for sending the documentation requested in Clause 3.
ARTEINGENUA PRIZE 2008
ARTEINGENUA reserves the right to annul both the Competition and the exhibition for serious reasons. In the case that works admitted for the Competition might already have arrived, ARTEINGENUA will keep them on deposit and at its own expense for sixty days after the annulment of the Competition; during this period the artist can take back the works at their own expense. After this period ARTEINGENUA is authorised to do what it wishes with the works in their keeping.
Complete and sign:
Name and surname (in block capitals)__________________________________________
Date___________________________
Signature________________________________________________________________
ARTEINGENUA PRIZE 2008
ARTEINGENUA PRIZE 2008
AGREEMENT FORM*
PERSONAL INFORMATION
Name___________________________________________________________________
Surname________________________________________________________________
Date of birth_____________________________________________________________
Tax/VAT number_________________________________________________________
RESIDENCE
Street__________________________________________________________________
Town_____________________Zip/postal code____________Country_____________
CONTACT
Email___________________________________________________________________
Telephone (fixed/cell)_____________________________________________________
DETAILS OF THE WORK*
TITLE___________________________________________________________________
DATE___________________________________________________________________
TECHNIQUE_____________________________________________________________
MOTIVATION AND POETICS OF EACH WORK: please attach (no more than 1,000 key strokes, spaces included)
* PLEASE WRITE IN BLOCK CAPITALS
ARTEINGENUA PRIZE 2008
LIABILITY DISCLAIMER FOR PHOTOGRAPHIIC IMAGES AND TEXTS
The undersigned________________________________________________________
authorises ARTEINGENUA Spa to reproduce without cost photographs of my works and the texts that accompany them (motivation and poetics of the works: max. 1,000 keystrokes, spaces included) both for the catalogue of "ARTEINGENUA Competition 2008” and for any other publication needs.
Place and date________________________________________
Signature____________________________
ARTEINGENUA PRIZE 2008
AUTHORISATION FOR DATA TRANSMISSION
INFORMATION REPORT FOR TRANSMISSION OF PERSONAL DATA
(Article 13 of Law n.196 of June 30th 2003: “Code for the Protection of Personal Data”)
According to article 13 of Law n.196 of June 30th 2003, we inform you of the following about the personal data in question:
1. Sources and Aims
The treatment of the personal data requested or supplied to ARTEINGENUA Spa for participation in the Competition, including those supplied for the terms and conditions for entry specified in Clause 3, paragraph 2, is necessary for participation in the Competition.
All data supplied will be kept according to the terms currently established by the initiative and, in the event, successively, if this might be necessary for the fulfilment of requirements regarding or deriving from the regulations.
2. Kinds of Data
The categories of personal data are common data – defined herein as “identifying” laws and “personal” data – regarding:
- registry office data
- preceding artistic or professional experience
- training
- other data allowing the identification of the person concerned and the works
3. Treatment and Relative Conditions
By “Treatment and Relative Conditions” is intended any kind of undertaking with regard to the data from the moment of their acceptance to their destruction. This treatment can be undertaken with or without the use of electronic or, in any case, mechanical means and will also include, within the limits of the conditions imposed by article 11 of Law 196/2003, communications and diffusion always, however, with respect to the indications of articles 19 and 25 of Law 196/2003.
4. Nature of the Contribution of Data and the Consequences of an Eventual Refusal to Reply
ARTEINGENUA PRIZE 2008
The contribution of the personal data of which we are speaking, in itself voluntary, is obligatory for participating in the Competition and, in this context, is in conformity with the laws/regulations. An eventual complete or partial refusal to answer or to permit the transmission of data means the impossibility of ARTEINGENUA Spa to adhere to the abovementioned aims.
5. Communication and Diffusion
The personal data to be treated with will be communicated and/or diffused in agreement with the aims specified in the preceding paragraph 1) and also in agreement with the obligations of the law.
6. Rights Referred to in Article 7 of Law 196/2003
The person concerned with the treatment in question is allowed to avail him or herself of the rights indicated in article 7 of Law 196/2003, in particular, of the right to request the source of the data, to ask for its updating, rectification or annulment.
7. The Holder
The holder of the data treatment is ARTEINGENUA S.p.a, Via Corfù 106, 25124 Brescia, Italy.
I declare I have received the information about article 13 of Law 196/2003 and I AUTHORISE the treatment and transmission of the data.
Place________________________Day__________Month__________Year___________
Signature______________________________________________
11 Oct 07 16:34
Perché non aprire un nuovo forum su questa proposta o spedirla al forum degli eventi?Io non ho piú parole da dire sul passato, ma c'é chi si spiega da solo:
Articolo 9
Proprietà ed utilizzo delle opere
Anche in considerazione dell’attività svolta da ARTEINGENUA per la pubblicazione delle opere e la presentazione e promozione degli artisti, le opere ammesse al Concorso non verranno restituite agli artisti e diventeranno proprietà di ARTEINGENUA, come ogni diritto inerente dette opere al momento stesso in cui ARTEINGENUA le riceverà per la selezione.
tutto presentato senza nomi e cognomi? forse si tratta del gatto e la volpe di Pinocchio?
Buona mostra agli ingenui.
mcbett
...................
Why not to open a new forum on this proposal or to send it to the events forum?
I have no longer words to say on the past, but there is who explains himself:
Clause 9
Ownership and Use of the Works
In view of the fact that the activities undertaken by ARTEINGENUA for the publication of a catalogue and the presentation and promotion of the artists, the works will become the property of ARTEINGENUA, as will the rights accruing to these works from the moment when ARTEINGENUA receives them for selection.
the whole presented with no name and surnames?
who will judge the art?
are they maybe Pinocchio's Cat and Fox?
Good Exhibition to the Ingenuous.
mcbett
14 Oct 07 12:25
C.F.A. ART OPPORTUNITIES NEWSLETTER First section in English - second section in Spanish - third section in Italian
Primera sección en Inglès - segunda sección en Espanol - tercera sección en Italiano
Prima sezione in Inglese - seconda sezione in Spagnolo - terza sezione in Italiano
ENGLISH SECTION - SECCION EN INGLÈS - SEZIONE IN INGLESE:
NATIONAL PRIZE FOR CONTEMPORARY ART- AUSTRALIA
Deadline: 24 october 2007
Typology: any kind of media
The award is fifteen thousand dollars ($15,000), acquisitive, plus a 4-week residency in Alice Springs. The residency is to be taken up within 18 months. It includes accommodation and airfares.
The non-acquisitive people´s choice is one thousand dollars ($1000).
Participants will be selected from artists who have submitted entries to the selection panel. Any artist working in Australia in any medium may enter.
The selected artworks will be exhibited from 2 May to 15 June 2008 at the Alice Springs Cultural Precinct at Araluen, Alice Springs NT.
All works will be offered for sale. The organizing Foundation will deduct a commission of 33.3% for all works sold.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
RESIDENCY PROGRAM - ARGENTINA
Deadline: ongoing
Typology: residency
Required age of 21 to 40 years.
The residency´s objective is to generate and make possible a personalized, and independent artistic exchange. It offers a complete management service and accommodation to artists from other countries who would like to come to La Plata, Buenos Aires, Argentina.
The trip would allow mutual enrichment, a professional and emotive approach towards new experiences and aesthetic realities.
The residency is an independent project with institutional support, but it does not provide financial funding, so the cost of the program must be covered by the artist. The organization offers a complete artistic residency which includes: single accommodation, exhibitions in La Plata-Buenos Aires, studio, art gallery, catalog, diffusion of the artist´s work, studio materials, contact with colleagues, local institutions and general public, visits to the main museums in Argentina, etc.
The service provided does not include airfares and general living cost such as food, health insurance, etc.
The residency is individual so the artist receives an exclusive and highly personalised treatment.
Since 2001, the residency is a living space-gallery art and workshop in the center of La Plata, only at 30 minutes from Buenos Aires, capital of Argentina.
The conditions, duration (1 to 2 months) and price of the residencies will be arranged on a personal basis.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
SCULPTURES FOR BARRACKSES OF URBAN POLICE - ITALY
Deadline: November 11 th 2007
Typology: sculpture
A public institution in Italy announces among artists the following public competitions for the purchase and/or the ordination of the following artistic works to be destined:
1. barracks of urban police "Caserma della Polizia stradale di Policoro (Matera)":
Three "bas-relief" sculptures (cod. id. XI) (ics one). Two of them can have free theme and materials, and dimensions of mt. 2,5 x 1,5 of height; they will be placed on the walls of the "Room seminars", first floor; both must be equipped of fit base for their support; one of them can have free materials, but as theme the following: "the work of the urban Police and the safety on the road". This sculpture must be realized inside the area of an half cylinder with diameter mt. 1,50 and height mt. 1,20. It will have to be placed in the center of the "Hall" of the barracks, equipped of fit base with an height of mt. 1,00.
The weight of every work won't have to overcome the 300 Kgs. The remuneration, for the three works, belonging to the same winning artist, is totally of Euro 58.000,00, more taxes (IVA 10%), all the costs included.
2. barracks of urban police " Caserma della polizia stradale di Matera":
A Sculpture (cod. id. X2) (ics two) to be installed outside the Barracks, along "Via Cererie" (pedestrian area of entry). The work with free theme and free material should be contained in a hypothetical spatial area constituted by a trunk of inverted cone, with maximum dimensions: mt. 2,50 diameter circle of inferior base, mt. 3,50 diameter circle of superior base, mt. 3,50 of height. The work must be installed on a base of height 60 cm. The general remuneration is of Euro 60.000,00 more taxes (IVA 10%), all the expenses included.
Two "bas-relief" Sculptures (cod. id. X3) (ics 3) of the dimensions of mt. 2,5 of width x 1,5 of height, to be placed at the principal entry, at ground floor of the barracks of Matera, both equipped of fit base for their support; the first is with free theme and material and the second must be on the theme "the work of the urban Police and the safety on the road". The weight of every work won't have to overcome the 300 Kgs. The remuneration for the two works is of Euro 32.962,24, more taxes (IVA 10%) all the expenses included.
Artists in possession of the residence or the domicile in Italy can participate to the competition.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
2D ART PRIZE - AUSTRALIA
Deadline for registration: 29 July 2008
Typology: 2d art
Artists and Designers (Australian citizen/ permanent resident who has resided in Australia
for more than the last calendar year) practicing with two dimensional medium are invited to enter the Prize. This is a cross medium competition and we welcome creative practitioners practicing within the following medium to register and make a submission:
Painting, Drawing, Photography, Photomedia, 2D sculpture, Illustration, Mixed Media, Printing, Graphic Design, Environmental Design, Digital Media, Film Still, Still Documentary Glass Stencil.
The closing date for Registration is 5pm, 29/07/2008.
The aim is to create a new iconic, artistic emblem for Melbourne, that gives the city a contemporary image.
The theme for the artists to work with was decided by the public: "Melbourne is Unforgettable... Melbourne is Unforgettable for its fashion, its culture, its lifestyle and unforgettable for Australian Football.
Most importantly, the winning artwork will capture Melbourne´s culture.
This is not just an arts Competition. The winning artist will give Melbourne a lasting icon!
12 finalists will introduce their works at real scale.
Winner: $150000
1st to 11th finalist artists: $2700 as compensation for their effort and production cost.
Top 30 Concept works are exhibited in a public exhibition (details TBA) and published on our official website.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
PAINTING PRIZE 2008 - TASMANIA
Deadline: 25 January 2008
Typology. painting
A Society in Tasmania invites artists to enter paintings for its painting Prize.
The winner will receive $30,000 plus a maquette, bronze sculpture valued $4,000. All other exhibited entries will be eligible for The People´s Choice Award of $3,000.
The exhibition of finalists´ paintings will be held at the Falls Park Pavilion in Evandale, Tasmania.
The winner of the prize will be announced at the official opening on Friday 7 March. The people´s choice award will be announced on the afternoon of Tuesday 11 March.
The exhibition will be open to the public from Saturday 8 to Tuesday 11 March.
Entries close on Friday 25 January 2008 at 5.00pm.
The Prize of $30,000 is open to the public and it is acquisitive. The peoples´ choice prize of $3,000 is non-acquisitive. The entered work must be a titled landscape painting of Tasmania. Seascapes and cityscapes are acceptable within the definition of landscape. The term `landscape´ is to be understood broadly and is not intended as a limitation on style. Medium - oils, acrylic, watercolour, pastel, mixed media.
The entered work must be new (completed in previous 12 months) and must not have been shown previously or entered into any other competition or exhibition. All art works entered by the artist must be the original work and concept of the artist. The finished painting including the frame must be no larger than
190 cm high X 190 cm wide. The artist agrees that all works exhibited shall be for sale.
The organization will retain 30% commission on all artworks sold.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
ARTFICIAL LIFE INTERNATIONAL COMPETITION
Deadline: 22 October 2007
Typology: artistic projects on artificial life
This international competition has been created to reward excellence in artistic creativity in the fields of Artificial Life and related disciplines, such as robotics and Artiftcial Intelligence.The organization is looking for artistic projects that address the interaction between "synthetic" and "organic" life".
In previous years prizes have been awarded to artistic projects using autonomous robots, avatars, recursive chaotic algorithms, knowbots, cellular automata, computer viruses, virtual ecologies that evolve with user participation, and works that highlight the social side of Artificial Life.
Awards to completed projects
There is a total of €20,000 in prizes for the three projects selected by the jury:
First prize: €10,000
Second prize: €7,000
Third prize: €3,000
Awarded projects may be exhibited in projects organized by the organizing Foundation, related to new media art.
This part of the competition is open to participants from all over the world; however, each participant may present only one project.
Incentive for iberoamerican productions:
This second category of the competition will help finance artistic projects exploring Artificial Life (and related disciplines) that still have not been produced. In order to apply, applicants must be from South America, Spain or Portugal.
With awards totaling €20,000 (*), this category includes prizes meeting the following criteria: relevant concept, proven quality in previous works and evidence of the artist's ability to produce the piece.
The prize is an incentive for production, not a subsidy to cover the total expenses of a project. Consequently, value is placed on the participant's capacity to secure the technical, financial and logistic infrastructure needed to produce the piece.
A DVD on the event will be broadcast on specialized programs, shown at festivals and distributed to libraries and university around the world.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
DESIGN COMPETITION - FRANCE
Deadline for registration: 30 November 2007
Typology: design
From 15 September 2007, a French company is organising a European competition for the creation of innovative objects with the theme: "La légèreté au quotidien" (Everyday lightness), applied to objects for travel and for the home.
The competition is open to any person (and not to any legal entity) of less than 40 years of age on the registration closing date, who falls into any of the following categories:
o professional designers, graduates from a design, architecture, plastic arts or applied arts school,
o professional designers without a degree, who can prove a minimum of 3 years experience in the world of design.
o students in their final year at a design, architecture, plastic arts or applied arts school. On the date on which they send in their entries, entrants must be effectively resident in one of the European countries in which the company has a commercial base:, Austria, Belgium, Czech Republic, Denmark, France, Germany, Greece, Holland, Ireland, Italy, Luxembourg, Portugal, Spain, Sweden, Switzerland and United Kingdom.
Selected entrants will be informed of their nomination by way of publication on the website of the competition and by an e-mail sent to them directly. The organization undertakes to pay the cost of making two prototypes of each selected entry´s project, upon presentation of supporting documents and up to a maximum of Euro 5,000.
Three prizes will be awarded by the final jury:
o 1st prize: Euro 50,000
o 2nd prize: Euro 25,000
o 3rd prize: Euro 15,000
The prizes will be awarded to the winners at an award ceremony, and a travelling exhibition of the prototypes will be launched throughout Europe. The travelling and accommodation expenses of the 3 European prize-winners in connection with the award ceremony will be paid by the organization. Subsistence costs will be payable by prize-winners. An exhibition catalogue will be published.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
THE INTERNATIONAL TRIENNIAL OF SILICATE ARTS - HUNGARY
Deadline: 30 November 2007
Typology: silicate arts
Following the success of the first Trienniale, ceramic, glass and concrete artists from all parts of the world are invited to participate in the 2nd International Triennial of Silicate Arts.
The 2nd International Triennial will be held from 4th May - 8th June, 2008 in Kecskemét, Hungary.
The theme for the 2008 triennale is 'Symbolism and Narrative'.
The aims of the triennial are to stimulate both fine and applied artists to create primarily objects which could be adapted for possible industrial mass production and to give scope to the industrial and artistic application of new materials and technologies, encouraging the widening of directions in 21st century silicate arts. Although this is not a condition of the competition.
This International Triennial will include an international competition, the exhibition and an international Ceramics Workshop.
Each artist can submit one work no larger than 50 kilo in weight or 1 metre in any dimension for the possibility to several prestigious awards and prizes.
1st Prize - 1,000,000 HUF plus solo exhibition ( about 3.400 Euro)
2nd Prize - 750,000 HUF plus solo exhibition ( about 3.000 Euro)
3rd Prize - 500,000 HUF plus solo exhibition ( about 2.000 Euro)
Emerging Talent Award - Three months free residency at ICS with materials and firings provided.
A distinguished international jury comprising of professional artists from each discipline, art critics, museum curators and magazine publishers will select the successful exhibitors and present awards to outstanding works. Each exhibitor will be represented in the catalog, with at least one image of the exhibited work and related information. Each exhibitor will be entitled to one free copy of the catalog. In the event of a sale of the exhibited works during the exhibition, the organisers will retain a 25% commission of the price. The awards will be made on the opening of the exhibition. It is hoped that award winners will be present for the ceremony. All prize-winning works will become the property of the organizer. All works not awarded prizes will be returned at the artists expense.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
BIENNIAL OF SCULPTURE - ARGENTINA
Deadline: 30th of December 2007
Typology: sculpture
This "Biennial International Sculpture Contest" will be held from July 19th to July 26th, 2008, in a town of Argentina. The ten (10) artists selected to compete should have been awarded prizes during either regional, national, or international sculpture contests or similar events. The prizes to be awarded to the winners are the following:
First Prize is U$D 10.000.- (ten thousand USA Dollars)
Fondo Nacional de las Artes` Prize (National Fund for the Arts): amount to be established
Sculptors` Prize: amount to be established
Children´s Prize: amount to be established
The Public´s Prize: amount to be established
Artists from America will receive U$D 2,000.- (two thousand USA Dollars) and the artists from the rest of the world $ 3,000 (three thousand USA Dollars), a medal and a certificate as well. Other institutions will be able to award special prizes, which will be made known to the participants before the opening of the contest. Accommodation (double-occupancy ) and meals (breakfast, lunch and dinner) expenses -with the exception of extra ones such as telephone, drinks, etc.- for either contesting or invited sculptors, will be at the Organizing Committee´ expense.
The works will be on public display for sixty days, and after this period, they will be set up throughout the organizing city.
The works will have to fulfill the following specifications:
a. Theme: The Ten Commandments
b. The sculptures should be original.
c. The sculptures should be made from one wood log having dimensions of 400 cm x 50 cm that can be cut in two lengthwise parts. Up to 100 kg of metal can be added. Three metal pipes of 6 meters and 2-3 inches could be added too.
d. 220 v energy sources will be provided for the electrical tools (that the sculptors should bring).
e. Artists will also have a temp assistant, as well as 5 big chain-saws.
The participants should also attend all the events programmed by the organizers.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
VI BIENNIAL OF PLASTIC ART - SPAIN
Deadline: November 16 th 2007
Typology: painting, sculpture, digital photos, video
They are already six editions that the organizing Foundation gathers the best of the painting, sculpture, digital photos and video creations to celebrate its Biennal exhibition of Plastic Arts. This year it has an budget of Euro 90.000 to acquire the art works that will be exhibited at the beginning of 2008 in Cordova, Spain. Artists from all over the world can participate up to 16 November 2007.
The economic endowment of the 6ª Biennal exhibition of plastic Arts will be of 42.000 Euro that will be destined to the acquisition of the art works proposed by the jury. The acquired works will become part of the artistic collection of the Foundation as property goods.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
PAINTING AWARD 2007 - SPAIN
Deadline: October 31st 2007
Typology: painting
Any artist can participate with a work that has not been winning in any other contest. The theme and the technique will be of free choice. The introduced work won't have to be inferior to the dimensions of 100x85 centimeters, neither to surpass in none of its sides the 175 centimeters.
A first prize of 10.000 Euro and a second prize of 3.000 Euro will be assigned (fiscal retentions to be applied).
The winning works will pass ownership of the organizers that reserves all the rights on the same ones.
A Jury will effect a selection of the introduced works that will be exhibited from 11 to 29 of December 2007.
The delivery of the prizes will coincide with the inauguration of the exhibition, on the day 11th of December at 11.00h o'clock.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
PAINTING PRIZE CHAMBER OF COMMERCE AND INDUSTRY - SPAIN
Deadline: 30th of November 2007
Typology: painting
Artists of any nationality or residence can participate to the prize with any number of art works.
The thematic of the introduced works must be about the industry and the commerce.
The works will be realized in a technique of visual arts on plain support, of dimensions not superior to the 180 cm.in any of the sides, including frame.
The following prizes will be attributed:
A prize of Euro 4.000
A mention of Euro 2.000.
The sentence of the jury will be communicated before the 15th of December 2007 and will be final. The Prizes will be delivered in a ceremony that will be celebrated on December 19 th 2007.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
ART IN THE NATURE - THE NETHERLANDS
Deadline: 1st of December 2007
Typology: Art in the Nature
On 2008 a dutch Foundation is organizing the 4th edition of an international annual (2005, 2006, 2007) event about art in nature. Every year, artists from all over the world are invited to realize projects based on a cultural historical theme. For the 2008, the title is: `Arty Archaeology´. The event will take place from the 14th to the 29th of May 2008 in the forest and on the hayfields and small ponds next to a small village in the Netherlands. Artists will have to take inspiration by the fascinating archaeological history of this region. With hunebeds, celtic fields, grave hills, different pre historic cultures. The organization is looking for artists which like to play with this archaeological facts.
MATERIAL TO BE USED:
In general materials out of the forest: trees, trunks, branches etc. Also boulders remaining from the glaciers.. A new walking trail of about 4 kilometres will be made.The project is also connected with an open air museum. Honorarium for every participating artist: Euro 1250,00
Refund of the travel expenses: Euro 500,00 (max.)
The organization offer accomodation in comfortable mobile home (2 sleeping rooms, shower etc).
Assistance is given by people of the State Forestry.
Promotion of the event: Catalogue, posters, brochures, website
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
ART LABELS - ITALY
Typology: labels, bidimensional works
Deadline: October 31 st 2007
An Italian cultural Association, in collaboration with the local producers of wines within its own initiatives, announces the first international competition of painting "Etichette d´autore", finalized to the realization of a certain number of labels that puts in prominence the bond between the local culture of the wine and the art.
The participation to the competition is free. Artists can use any style, technique and support.
Among all the reached works, a qualified jury will determine 6 winning works. These works will be reproduced in labels of appreciated wines of the local producers, according to a common layout, and they will bring the name of the artist and the reference to the association and to the international competition "Etichette d´autore" 2007. The winning labels will be introduced on the occasion of a demonstration that will be organized on the spring 2008 and the organizing association, directly and through partners and patronizers, will give the maximum diffusion to the result of the competition. The bottles, whose number is around 300 for every wine, will directly be distributed then by the producers, by the distributors or by other subjects. Publicity of the results of the competition will be given in all the occasions.
All the works will remain ownership of the association, that can exhibit them in permanent or temporary form, publish them on papery support, or online, use them for the realization of illustrative and promotional material and for any other initiative no profit. The rights of author of the works will remain with the artist and the association cannot use the works for commercial exploitation.
Whatever possible commercial relationship to be established among the artists and the producers (realization of further series of labels, promotional material relative to other productions or other) will rigorously be private among the subjects and the Association won´t be involved.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
2ND INTERNATIONAL ART PAINTING CONTEST - MEXICO
Deadline: 25th of January 2008
Typology: painting
For the purpose of exhibiting the different forms of expression of Mexican artists as well as learning about the tendencies of others participating countries, the "Asociación de la Plástica de Garza García, A. C." in cooperation with The Consejo Nacional para la Cultura y las Artes de Nuevo León and The Casa de la Cultura del Estado, invites painters of all around the world, to the "2nd International Art Painting Contest" to be held from March 3rd, to April 15th 2008 in the "Casa de la Cultura in Monterrey, N. L. Mexico".
3 prizes will be awarded
1st place $ 50,000.00 mexican pesos
2nd place $ 30,000.00 mexican pesos
3rd place $ 15,000.00 mexican pesos
plus five honorary mentions
Artists from all arround the world may participate with not proof of nationality or residence.
The only techniques allowed will be paintings in oleo, acrylic or mixed media.
Due to the area allotted us by The Casa de la Cultura de Nuevo León, the largest acceptable size will be 120 x 120 cm (height x width) [48 x 48 inches]. Paintings should be "gallery wrapped" on heavy duty stretchers for frameless display. The work must be ready to be hung. Paintings on wood, metal plates or different supports must have similar characteristics and sizes. Participants may inscribe many works as they want. A jury will be appointed by the organizing committee to select the pieces of which the exhibition will be composed.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
ARTLINK RESIDENCIES - USA
Deadline: 5th of November 2007
Typology: residency
The ArtsLink Residencies program offers artists and arts managers a five-week residency from early October to mid November 2008 at an established, non-profit arts organization in the U.S.
For the 2008 Residencies Program, ArtsLink will accept applications from artists and arts managers working in visual and media arts. Applicants must be citizens of, and reside in one of the following countries: Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Georgia, Hungary, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Macedonia, Moldova, Mongolia, Montenegro, Poland, Romania, Russia, Serbia, Slovak Republic, Slovenia, Tajikistan, Turkmenistan, Ukraine, Uzbekistan
There are no age limitations. Applicants must have sufficient knowledge of English to function independently while in the U.S.
Applicants do not need to have any contacts with organizations in the U.S. ArtsLink will place successful applicants at a host organization. ArtsLink Residency Awards are made to the U.S. host organization to cover the living and working expenses for the five-week residency. Airfare, visa expenses, health insurance, and subsistence for ArtsLink meetings that take place after arrival in the U.S. and before departure from the U.S. are provided directly to ArtsLink Fellows.
ArtsLink Residencies provide artists and arts managers with a unique experience relevant to their professional and creative goals. Residencies incorporate the visiting professional into the host organization's activities and provide interaction with local artists or organizations.
The Residency includes two sessions in New York City for all ArtsLink Fellows to meet with each other and with ArtsLink staff.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
CARTOON COMPETITION - CHINA
Typology: cartoon
Deadline: 01/01/2008
The Competition is open to any professional and after-hours cartoonists and humor writers all over the world. The tenet of Competition is: Healthy, facetious, Harmonious and Enterprising. All discrimination against religion or race will not be accepted, also all relate to obscenity or violence will be rejected.
Categories:
A) All about Olympic, including Olympic Games and all relate to sports stuff;
B) My Choice (Free Theme), all about Humor...;
C) Humor essay and joke.
Jury meeting: Mar.1-10, 2008.
Award ceremony: will be helden on The Great Wall before The Beijing 2008 Olympic Games.
Exhibition: will be helden in Yufa , New Media Cinema & TV Advertisement City attach in The National New Media Base, Daxing, Beijing before The Beijing 2008 Olympic Games, and itinerant exhibitions around China.
Prizes:
1)Monthly Prizes:
Any author may win prizes repeatedly, and monthly Prizes will not impact the main prizes.
RMB 5,000 for 1-3 winners for each category (A and B category),
RMB 1,000 for 1-3 winners (C category).
The Monthly Prizes will be awarded from Dec, 2006 to Jan, 2008, in number 14 months.
2)Main Prizes:
Grand Prize: RMB 250,000 for 1 winner;
Gold Prize: RMB 50,000 for 1 winners each category(A and B category),
RMB 10,000 for 1 winners for C category.
Silver Prize: RMB 30,000 for 2 winners each category (A and B category),
RMB 5,000 for 2 winners for C category.
Bronze Prize: RMB 10,000 for 3 winners each category (A and B category),
RMB 3,000 for 3 winners for C category
100 Special Prizes will be awarded a special Jade medal.
All selected artists and writers will get an free album.
For detailed information on how to participate ( integral announcement with required documentation and contact address), please visit the web site: www.callforart.com at the section "Opportunities"
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SPANISH SECTION - SECCION EN ESPANOL - SEZIONE IN SPAGNOLO
PREMIO NACIONAL PARA EL ARTE CONTEMPORÁNEO - AUSTRALIA
Plazo: el 24 de octubre de 2007
Tipología: cualquier medio
El premio es de quince mil dólares ($15,000), acquisitivo, más una residencia de 4-semanas en Alice Spring. La residencia tendrá que ser explotada dentro de 18 meses. Incluye alojamiento y billete aéreo.
El Premio del público es de 1000 dólares ($1000) (no es acquisitivo).
Cualquier artista que trabaja en Australia con cualquier medios puede participar en las selecciones.
Las obras seleccionadas serán expuestas del 2 de mayo al 15 de junio de 2008 en Alice Springs Cultural Precinct en Araluen, Alice Springs NT, Australia.
Todas las obras serán a la venta. La fundación organizadora retendrá una comisión del 33.3% por todas las obras vendidas.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
PROGRAMA DE RESIDENCIA - ARGENTINA
Plazo: en curso
Tipología: residencia
Edad requerida: de 21 a 40 años.
El objetivo de la residencia es generar y posibilitar un intercambio artístico personalizado, libre e independiente. Ofrece un servicio de gestión completo para alojar a La Plata, Buenos Aires, Argentina artistas de otros países.
El viaje permitiría un enriquecimiento recíproco, un aproche profesional y emotivo verso nuevas experiencias y realidades estéticas.
La residencia es un proyecto independiente con apoyo institucional, pero no ofrece incentivos financieros, pues el coste del programa tendrá que ser cubierto por el artista. La organización ofrece una residencia artística completa que incluye: alojamiento, exposiciones en La Plata-Buenos Aires, estudio, galería de arte, catálogo y difusión del trabajo del artista, materiales de trabajo, contactos con los colegas, instituciones local y público general, visita a los museos principales en Argentina, etcétera
El servicio dotado no incluye el coste del billete aéreo y el coste de la vida general como la comida, seguro contra las enfermedades, etcétera
La residencia es individual así el artista recibe un trato exclusivo y extremadamente personalizado.
Desde el 2001, la residencia es un espacio de arte, galería, viviente y laboratotio en el centro de La Plata, sólo a 30 minutos de Buenos Aires, capital argentina.
Las condiciones, la duración, de 1 a 2 meses, y el precio de las residencias serán concordadas sobre base personal.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
ESCULTURAS PARA CUARTELES DE POLICÍA VIAL - ITALIA
Plazo: El 11 de noviembre de 2007
Tipologia: escultura
Una istituciòn publica en Italia, anuncia entre artistas los siguientes concursos públicos para la adquisición y/o la comision de las siguientes obras artísticas de destinar:
1. cuartel Policía Vial de Policoro (Matera):
Número tres esculturas a "bajorrelieve", cod. id. XI, (ics uno) de cuyas, dos a tema y a material libre, de las dimensiones de mt. 2,5 x 1,5 de altura, de colocarse sobre las paredes de la "Sala seminarios" puesta al primer piso del cuartel, ambas equipádas de idónea base por su sostén; y una a material libre teniendo como tema "la obra de la Policía Vial y la seguridad de la calle", de desarrollarse en la area de un semicilindro habiente diámetro mt. 1,50 y altura mt. 1,20, de colocarse al centro de la "Hall" del
cuartel, equipada de idónea base alta mt. 1,00.
El peso de cada obra no tendrá que superar los 300 Kg. La remuneración, para las tres obras, pertenecientes al mismo artista vencedor, es en total de Euro 58.000,00, más impuestos (IVA 10%), todos los gastos inclusos.
2. cuartel Policía Vial de Matera:
Una Escultura, cod. id. X2, (ics dos) de colocarse al exterior del Cuartel, en correspondencia de la Via Cererie (zona entrada peatonal). La obra a tema y a material libre, contenida en una hipotética area espacial constituida por un tronco de cono vuelto, tendrá que ser de dimensiones maximas: mt. 2,50 diámetro círculo de base inferior, mt. 3,50 diámetro círculo de base superior, mt. 3,50 de altura. La obra tendrá que apoyarse sobre una base alta 60 cm. La remuneración total es de Euro 60.000,00 más impuestos (IVA 10%) todos los gastos inclusos.
Dos Esculturas a "bajorrelieve", cod. id. X3, (ics 3) de las dimensiones de mt. 2,5 de ancho x 1,5 de altura, de colocarse dentro de la entrada principal, al piso tierra del cuartel P.D. de Matera, ambas equipádas de idónea base para su sostén; una, a tema y material libre y la otra a tema "la obra de la Policía Vial y la seguridad de la calle". El peso de cada obra no tendrá que superar los 300 Kg . La remuneración para las dos obras es de Euro 32.962,24 en total, más impuestos (IVA 10%), todos los gastos inclusos.
A los concursos pueden participar todos los artistas en posesión de la residencia o del domicilio en Italia.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
PREMIO DE ARTE 2D - AUSTRALIA
Plazo para la registraciòn: El 29 de julio de 2008
Tipología: arte 2D
Artistas y Designers (ciudadanos australianos / domiciliados permanentes que hayan residido en Australia
por más que el último año solar) que trabajan con medios bidimensionales son invitados a participar en el premio . Este concurso es dedicado a varios medios cuál: pintura, dibujo, fotografía, foto, esculturas 2D, Ilustraciones, técnicas mixtas, impresiones, dibujo gráfico, dibujo ambiental, mixed media, still de video,still de documental, estencil en vidrio.
El plazo para la registracion es el 29/07/2008.
El objetivo del concurso es crear un nuevo emblema artístico, un nuevo icono para Melbourne que dé a la ciudad una imagen contemporánea.
El tema con que los artistas tendrán que trabajar ha sido decidido por el público y es el siguiente: "Melbourne es Inolvidable... Melbourne es Inolvidable para su moda, su cultura, su modo de vivir y es inolvidable para el Fútbol australiano.
Aún más importante, la obra vencedora tendrá que capturar la identidad cultural de Melbourne.
¡Este no es sólo un concurso de arte. El artista vencedor dará a Melbourne un icono que durará en el tiempo!
12 finalistas presentarán sus obras al auténtico.
Vencedor: $150000
Del 1 al 11 artista finalista: $2700 como compensación para su esfuerzo y costes de producción.
Los primeros 30 proyectos serán expuestos en una exposición pública y publicados sobre la pagina web oficial.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
PREMIO DE PINTURA - TASMANIA
Plazo: El 25 de enero de 2008
Tipología: pintura
Una sociedad in Tasmania invita a los artistas a presentar sus pinturas para un Premio de Pintura.
El vencedor recibirá $30,000 más una maquette, escultura de bronce que ha sido valorada en $4,000. Todas las demás pinturas serán eligibles para el premio del público de $3,000.
La exposición de las pinturas finalistas se tenderà al Falls Park Pavilion en Evandale, Tasmania.
El vencedor del Premio será anunciado a la abertura oficial viernes 7 de marzo. El premio del público será anunciado por la tarde de martes 11 de marzo.
La exposición será abierta al público de sábado 8 a martes 11 de marzo.
La presentación de las solicitudes de participación vence viernes el 25 de enero de 2008 a 5.00pm.
El Premio de $30,000 es abierto al público y es acquisitvo. El premio del público, en cambio, de $3,000 no es adquisitivo. La obra que se presenta tiene que ser un paisaje de la Tasmania, con título. Paisajes marinos y urbanos son aceptados dentro de la definición de paisaje. El término paisaje" será interpretado ampliamente y no será entendido como una limitación de estilo. Media: oleo, acrílico, acuarela pastel, mixed media.
La obra tendrá que ser nueva, (completada en los 12 meses anteriores), y nunca presentada en ningún otro concurso. Todas las obras tienen que ser originales del artista. La obra terminada, incluso el marco, tendrá que ser no más grande que cm. 190 de altura x cm. 190 de ancho. El artista tendrá que estar de acuerdo sobre el hecho que su obra estará disponible para la venta.
La organizaciòn retendrá el 30% de comisión sobre todas las obras vendidas.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
INTELIGENCIA ARTIFICIAL - CONCURSO INTERNACIONAL
Plazo: 22 octubre 2007
Tipologia: obras artisticas asociadas con la vida artificial
El concurso premia obras artísticas desarrolladas con tecnologías de Vida Artificial y sus disciplinas asociadas, la robótica, la inteligencia artificial, etc. Se buscan proyectos artísticos que hagan una reflexión sobre la relación entre lo "sintético" y lo "orgánico".
En años anteriores se han premiado proyectos artísticos realizados con robots, avatares electrónicos, algoritmos caóticos, knowbots, autómatas celulares, virus informáticos, ecologías virtuales que evolucionan con la interacción del participante, y trabajos que profundizan en aspectos sociales de la Vida Artificial. Premios a proyectos finalizados
Se destinará un total de 20.000 euros para los tres proyectos seleccionados por el jurado:
Primer Premio: 10.000 euros (*)
Segundo Premio: 7.000 euros (*)
Tercer Premio: 3.000 euros (*)
Las piezas premiadas tendrán la posibilidad de ser exhibidas en las exposiciones que organice o en las que participe Fundación Telefónica, relacionadas con el arte y las nuevas tecnologías.
Esta parte del concurso está abierta a participantes de todo el mundo. Cada participante, sin embargo, sólo podrá presentar un trabajo.
Incentivo a las producciones Iberoamericanas:
Esta segunda modalidad del concurso ayudará a financiar proyectos artísticos de Vida Artificial (y sus disciplinas asociadas) que aún no han sido realizados. El concurso está abierto a participantes de toda Iberoamérica, España y Portugal.
Dotada con 20.000 euros (*), esta modalidad premiará de una a tres propuestas que demuestren un concepto relevante, la capacidad del artista para producir la pieza y una destacada calidad en obras.
El premio se plantea como un incentivo de producción, no como una subvención para cubrir los gastos totales de un proyecto, y por tanto se valorará la capacidad del concursante de conseguir infraestructura técnica, económica y logística para realizar la pieza. Un video sobre el evento, se exhibirá en programas especializados de televisión y en festivales. Asimismo, será distribuido a bibliotecas y universidades en todo el mundo.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
CONCURSO DE DISEÑO - FRANCIA
Plazo para la registraciòn: El 30 de Noviembre de 2007
Tipología: design
Del 15 de Septiembre de 2007, una empresa francesa organiza un concurso europeo para la creación de objetos innovativos con el tema: "La légèreté au quotidien" (la ligereza de cada día), aplicada a objetos de viaje y para la casa.
El concurso es abierto a cualquiera persona con edad inferior a los 40 años que entre en una de las siguientes categorías:
- designers profesionales, licenciados en diseño, arquitectura, artes plásticas o escuelas de artes aplicadas.
- designers profesionales sin título de estudio que pueden probar un mínimo de 3 años de experiencia en el mundo del design.
- estudiantes del último año de academias de diseño, arquitectura, artes plásticas o escuelas de artes aplicadas. .
Los competidores tienen que ser domiciliados en uno de los países europeos en el que la empresa tiene una base comercial, o bien: Austria, Bélgica, República checa, Dinamarca, Francia, Alemania, Grecia, Holanda, Irlanda, Italia, Luxemburgo, Portugal, España, Suecia, Suiza y Reino Unido.
Los Competidores seleccionados serán informados de su nombramiento sobre la pagina web del concurso y por correo electrónico. La organizacion pagará los gastos para la realización de dos prototipos para cada uno de los proyectos seleccionados hasta a un máximo de Euro 5,000.
Tres premios serán establecidos por fin por un jurado:
- 1 premio: Euro 50,000
- 2 premio: Euro 25,000
- 3 premio: Euro 15,000
Los premios les serán entregados a los vencedores en una ceremonia de distribución de premios, y una exposición itinerante de los prototipos será lanzada en toda Europa. Los gastos de viaje y alojamiento de los 3 vencedores del premio serán pagados y organizados por la organización. Los gastos de subsistencia estarán a cargo de los vencedores. Será publicado un catálogo de la exposición.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
TRIENAL INTERNACIONAL DE ARTES EN SILICIO - HUNGRÍA
Plazo: El 30 de Noviembre de 2007
Tipologia: Arte al Silicio
Siguiendo el éxito de la primera Exposición trienal, relativa a obras de cerámica, vidrio y cemento, artistas de todo el mundo son invitados ahora a participar en la 2 Exposición trienal Internacional de Artes en Silicio.
La 2 Exposición trienal Internacional se tendrá del 4 de mayo a' 8 de junio, 2008 en Kecskemét, Hungría.
El tema para la exposición trienal 2008 es 'Simbolismo y Narración.'
Los objetivos de la exposición trienal son incentivar los artistas a crear objetos que pudieran ser conformados con una posible fabricación en serie industrial y dar objetivo a la aplicación industrial y artística de nuevos materiales y nuevas tecnologías, animando el ensanche de los horizontes en las artes al silicio del 21 siglo. Este, sin embargo, no es una condición básica para la participación al concurso.
Esta exposición trienal incluirá un concurso internacional, una exposición y un workshop de Arte cerámico internacional.
Cada artista puede presentar una obra no superior a los 50 quilos de peso o a 1 metro en cualquiera dimensión para concurrir a varios premios prestigiosos.
1 premio - 1,000,000 HUF (más o menos 3.400 Euros) más exposición individual
2 premio - 750,000 HUF(más o menos 3.000 Euros) más exposición individual
3 premio - 500,000 HUF (más o menos 2.000 Euros) más exposición individual
Premio para los talentos emergentes: residencia gratuita de Tres meses a ICS con materiales y hornos.
Un jurado internacional que comprende artistas profesionales de cada disciplina, críticos de arte, curadores de museos y editores de revistas seleccionarán a los expositores y decidirán los premios que atribuir. Cada expositor será representado en el catálogo, con al menos una imagen de la obra expuesta e informaciones relativas. Cada expositor tendrá derecho a una copia gratuita del catálogo. En la eventualidad de una venta de las obras expuestas los organizadores retendrán una comisión del 25%del precio. Los premios serán distribuidos a la abertura de la exposición, con la esperanza que los vencedores estarán presentes a la ceremonia. Todas las obras premiadas quedarán propiedad de la colección del organizador. Todas las obras no premiadas serán devueltas a gastos de los artistas participantes.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
BIENAL DE ESCULTURA - ARGENTINA
Plazo: 30 de dicembre 2007
Tipologia: escultura
Esta "Bienal Internacional de Escultura", concurso se realizará en una ciudad de la República Argentina, del 19 al 26 de Julio de 2008. Los 10 (diez) artistas seleccionados deberán estar respaldados con premios en concursos, salones, eventos, etc., regionales, nacionales e internacionales de escultura.
Los premios serán los siguientes:
Gran Premio: U$S 10.000,00(Dólares estadounidenses: diez mil)
Premio Fondo Nacional de las Artes: suma de establecer
Premio de los Escultores: suma de establecer
Premio de los Niños: suma de establecer
Premio del Público: suma de establecer
Los artistas de América recibirán U$S 2.000,00 (Dólares estadounidenses: dos mil) y los del resto del mundo U$S 3.000,00 (Dólares estadounidenses: tres mil), medalla y certificado.
Otras instituciones podrán establecer premios especiales, que se darán a conocer a los participantes antes del inicio del concurso. Los gastos de estadía de los escultores concursantes e invitados, correrán por cuenta del Comité Organizador (alojamiento en habitacion doble, desayuno, almuerzo y cena) desde las 18 hs. del día anterior a la iniciación del concurso y hasta las 10 hs. del día siguiente a su finalización, excepto gastos extra, tales como teléfono, bebidas, etc.
Las obras serán expuestas durante el término de 60 (sesenta) días. Pasado ese tiempo las obras serán emplazadas en la ciudad como patrimonio cultural de la ciudad organizadora.
El trabajo a realizar deberá reunir las siguientes condiciones:
Para los 10 (diez) artistas seleccionados:
a) Tema: Los diez mandamientos.
b) Ser una escultura original e inédita.
c) Deberá ser realizada en 1 (un) tronco de madera de 400 cm. x 50 cm., que se podrá cortar en 2 partes longitudinales. Se podrán agregar 3 caños de metal de 6 metros de largo y de 2 y 3 pulgadas.
d) Se les proveerá energía para las herramientas eléctricas (que el escultor deberá traer) de 220 v.
e) Contarán con un ayudante temporario, como así también 5 motosierras grandes.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
VI BIENAL DE ARTE PLASTICA - ESPANA
Plazo: 16 Noviembre de 2007
Tipologia: pintura, escultura, fotografia digitale, video
Seis ediciones lleva ya la Fundación organizadora reuniendo lo mejor de la pintura, la escultura, la fotografía digital y la videocreación para celebrar su Bienal de Artes Plásticas. Este año tiene un presupuesto de 90.000 euros para adquirir las obras que se expondrá a principios del 2008 en Córdoba, Espana. Pueden participar artistas de todo el mundo hasta el 16 de Noviembre de 2007.
La dotación económica de la 6ª Bienal de Artes Plásticas será de cuarenta y dos mil euros ( 42.000 € ), y que se destinará a la adquisición de las obras propuestas por el jurado, pudiendo éste reservarse la posibilidad de no destinar parte o la totalidad de dicha cantidad a la compra de obras si así lo estima conveniente por el bajo interés o la calidad de los trabajos presentados. Las obras adquiridas pasarán a formar parte de los fondos artísticos de la Fundación, con la naturaleza de bienes patrimoniales.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
PREMIO PINTURA 2007 - ESPANA
Plazo: 31 de Octubre 2007
Tipologia: pintura
Podrán participar los artistas que lo deseen con una obra propia que no haya sido premiada en ningún otro concurso. El tema y la técnica serán de libre elección. Las obras que se presenten deberán no ser inferiores al formato de 100x85 centímetros, ni sobrepasar en ninguno de sus lados los 175 centímetros.
Se establece un -primer premio- de 10.000 Euro y un -segundo premio- de 3.000 Euro (a dichas cantidades se les aplicará las deducciones dimanentes de cuantos impuestos y tasas legalmente les sea de aplicación). Las obras premiadas económicamente pasarán a ser propiedad de la entidades otorgantes, que se reservan todos los derechos sobre las mismas.
Un Jurado realizará una selección de las obras presentadas que serán expuestas entre los días 11 y 29 de diciembre de 2007.
La entrega del premio se hará coincidir con la inauguración de la exposición, prevista para el día 11 de diciembre a las 11.00h.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
PREMIO DE PINTURA CÁMARA DE COMERCIO E INDUSTRIA - ESPANA
Plazo: 30 Noviembre 2007
Tipologia: pintura
Podrán participar todos aquellos artistas de cualquier nacionalidad o residencia, con cuantas obras deseen.
La temática de las obras presentadas a este Premio deberá estar relacionada con la industria o el comercio.
Las obras estarán ejecutadas en una técnica de artes visuales sobre soporte plano y de dimensiones que no sobrepase en ninguno de sus lados los 180 cm. marco incluido.
Se concederán los siguientes premios:
Un premio de 4.000 euros
Un accésit de 2.000 euros.
El fallo del jurado se hará público antes del día 15 de diciembre de 2.007, será inapelable y los Premios se entregarán en un acto solemne que se celebrará el día 19 de diciembre de 2.007.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
ARTE EN LA NATURALEZA - HOLANDA
Plazo: El 1 de Diciembre de 2007
Tipología: Arte en la Naturaleza
En el 2008 una fundación Holandesa, organiza la 4 edición de un evento internacional sobre base anual de Arte en la naturaleza. Cada año, artistas de todo el mundo son invitados a realizar proyectos sobre un tema histórico y cultural. Por el 2008, la temática es: "'Arqueología Seudoartística'. El evento tendrá lugar del 14 al 29 de mayo de 2008 en la selva de un pequeño pueblo en Holanda. Los artistas tendrán que inspirarse en la historia arqueológica de esta región fascinadora con campos celticos, tumbas de piedra y varias culturas prehistóricas. La organización está buscando a artistas que quieren enfrentarse con este pasado arqueológico.
Los materiales de usar son aquellos de la selva: árboles, troncos, ramas, etc..... También piedras quedadas por los glaciares.
Con las obras realizadas en esta edición se preve de abrir un nuevo camino de unos 4 kilómetros, conexo con un museo al aire libre.
Honorario para cada artista participante: € 1250,00
Reembolso para los gastos de viaje: € 500,00, máximo,
La organización ofrece alojamiento en cómodas casas móviles.
La asistencia es provista por el personal del guardabosque Estatal.
Promoción del evento: catálogo, manifiestos, folletos, pagina web
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
ETIQUETAS DE ARTE - ITALIA
Tipología: etiquetas, obras bidimensionales
Plazo: El 31 de Octubre de 2007
Una asociación cultural italiana en colaboración con los productores de vinos del área en el ámbito de sus iniciativas convoca el primer concurso internacional de pintura "Etichette d´autore", finalizado a la realización de un cierto número de etiquetas que pongan en resalto la unión entre la cultura local del vino y el arte.
La participación al concurso es gratuita y no preve vínculos de estilo, de técnica y de soporte.
Entre todas las obras llegadas un jurado calificado determinará seis vencedores a igual mérito. Dichas obras serán reproducidas en etiquetas de preciosos vinos de los productores locales, según una compaginación común, y reconducirán el nombre del artista y la referencia a la asociación y al concurso internacionales "Etichette d´autore" 2007. Las etiquetas vencedoras serán presentadas con ocasión de una manifestación que le será organizada en la primavera 2008 y la asociación, directamente y por partners y entes patrocinadores, darán la máxima difusión al resultado del concurso. Las botellas, cuyo número es orientativamente de 300 por cada vino, serán en fin distribuídas directamente de los productores, de distribuidores o de otros entes o sujetos. Será dada publicidad de los resultados del concurso en todas las ocasiones que se presentarán en ámbito artístico y enologico.
Todas las obras quedarán de propiedad de la asociación organizadora, que podrá exponerlas en forma permanente o temporal, publicarlas sobre soporte de papel, informático o en red, utilizarlas para la realización de material explicativo y promocional de sus iniciativas a venir y generalmente por cualquier empleo no a finos de lucro. Es sin embargo excluida cualquier explotación de tipo comercial de parte de la asociación o de otros sujetos de las obras en su complejo o singularmente, quedando los derechos de autor de propiedad de los artistas. Cualquiera eventual relación de tipo comercial tuviera que ser establecida entre los artistas y los productores (realización de ulteriores series de etiquetas, material promocional relativo a otras producciones u otro) quedará rigurosamente en el ámbito de una relación privada entre los sujetos en la que la asociación organizadora no será a ningún título implicada.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
2 ENCUENTRO INTERNACIONAL DE PINTURA -MEXICO
Plazo: el 25 de Enero 2008
Tipologia: pintura
Con el propósito de mostrar las diferentes formas de expresión de la plástica mexicana, así como de conocer las tendencias de los países participantes, la Asociación de la Plástica de Garza García, A. C., con el apoyo del Consejo para la Cultura y las Artes de Nuevo León y la Casa de la Cultura del Estado, convoca a los artistas nacionales y extranjeros, al Concurso de Pintura que tendrá lugar del 3 de Marzo al 15 de Abril del 2008, en la ciudad de Monterrey, Nuevo León México.
Se otorgarán los siguientes premios de adquisición:
1er lugar $ 50,000.00
2do lugar $ 30,000.00
3er lugar $ 15,000.00
además de 5 menciones honoríficas.
Podrán participar artistas residentes en cualquier país del mundo, sin necesidad de probar su nacionalidad o tiempo de residencia en el pais desde el que participan.
Los artistas participantes deberán contar por lo menos con una exposición individual y tres colectivas, acreditadas por medio de invitación, prensa, fotografías o reconocimientos.
La única técnica participante será pintura, en las modalidades de óleo, acrílico y mixta.
Debido al espacio disponible para exhibición, no se aceptarán obras de más de 120 x 120 cms (alto x ancho) en bastidor de museo sin enmarcar (espesor de 3.50 a 5.0cm) y listas para colgar. Otros soportes (madera, lámina etc) deberán tener características similares en cuanto a todas las medidas. Cada artista podrá inscribir el número de obras que desee.
El comité organizador designará un jurado de tres reconocidos críticos de arte, para seleccionar las obras participantes que conformarán la exhibición.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
ARTLINK RESIDENCIAS - ESTADOS UNIDOS
Plazo: El 5 de Noviembre de 2007
Tipología: Residencia
El programa 2008 de ArtsLink ofrece una residencia a artistas y a managers de arte de la duración de cinco semanas, dal inicio de Octubre a mitad de Noviembre de 2008, cerca de una organización de arte sin objetivo de lucro en los Estados Unidos.
Para el programa 2008, ArtsLink aceptará solicitudes de artistas y managers que trabajan en las artes visuales y new media. Los candidatos tendrán que ser ciudadanos y residir en uno de los siguientes países: Albania, Armenia, Azerbaijan, Belarus, Bosnia y Herzegovina, Bulgaria, Croacia, República checa, Estonia, Georgia, Hungría, Kazakhstan, Kyrgyzstan, Letonia, Lituania, Macedonia, Moldavia, Mongolia, Montenegro, Polonia, Rumania, Rusia, Servia, República eslovaca, Eslovenia, Tajikistan, Turkmenistan, Ucrania, Uzbekistán.
No hay limitaciones de edad. Los candidatos tendrán que tener un suficiente conocimiento del inglés para vivir independientemente en los Estados Unidos.
No es solicitado que los candidatos ya tengan contactos con organizaciones en los Estados Unidos.
ArtsLink se hará carga de hospedar a los candidatos seleccionados en el centro o en la organización de arte en los Estados Unidos más aptos a su trabajo y objetivos.
El programa de Residencias de ArtsLink ofrece a la organización americana que hospeda a los artistas una suma de dinero para cubrir los gastos de comida, alojamiento y trabajo de los artistas hospedados para un período de cinco semanas. Los gastos para el billete aéreo, visa, seguro contra las enfermedades y subsistencia para también presenciar a las dos reuniones de ArtsLink que tienen lugar a la llegada de los artistas en los Estados Unidos y antes de su salida final son pagadas directamente por ArtLink. La Residencia, en efecto, incluye dos sesiones en la ciudad de Nueva York donde todos los participantes al programa y el equipo de ArtLink se encontrarán e intercambiarán experiencias.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
CONCURSO DE CARTOON - CHINA
Tipología: cartoon
Plazo: 01/01/2008
El concurso es abierto a cualquier profesional, aficionado y escritores de humorismo en todo el mundo. La dogma del Concurso es: Sano, gracioso, Armonioso y Atrevido. Cada discriminación contra religiones o razas no será aceptada, tal como las escenas de obscenidad o violencia serán rechazadas.
Categorías:
A) Todo respeto a las Olimpiadas, incluido los Juegos Olímpicos y sujetos referidos al deporte;
B) Mi elección (Tema libre), todo sobre Umorismo.etc...
C) ensajos humorísticos.
Reunión del jurado: del 1 al 10 de Marzo de 2008.
Ceremonia de distribución de premios: le será tenida al "The Great Wall" antes de los Juegos olímpicos de Pekín 2008.
Exposición: se tendrá en Yufa, New Media Cinema & TV Advertisement City attach in The National New Media Base, Daxing, Beijing antes de los juegos olímpicos 2008, más otras exposiciones itinerantes en China.
Premios:
1) premios mensuales:
Cada autor puede vencer repetidamente los premios, y los Premios mensuales no tendrán impacto sobre los premios principales.
RMB 5,000 para 1-3 vencedores para cada categoría (categoría A. y B)
RMB 1,000 para 1-3 vencedores (categoría C).
Los Premios Mensuales serán dados de Dec, 2006 a enero de 2008 (14 meses en total).
2) premios principales:
Gran Premio: RMB 250,000 para 1 vencedor;
Premio de oro: RMB 50,000 para 1 vencedor en cada categoría (categoría A. y B)
RMB 10,000 para 1 vencedor para la categoría C.
Premio de plata: RMB 30,000 para 2 vencedores cada categoría (categoría A. y B)
RMB 5,000 para 2 vencedores para la categoría C.
Premio de bronce: RMB 10,000 para 3 vencedores en cada categoría (categoría A. y B)
RMB 3,000 para 3 vencedores para la categoría C
Además serán asignadas 100 medallas de honor.
Todos los artistas y escritores seleccionados tendrán gratis un álbum.
Para mayores informaciones sobre como participar (bando integral con documentacion requerida y direccion de contacto), visita el sitio web: www.callforart.com a la sección "Oportunidades"
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ITALIAN SECTION - SECCION EN ITALIANO - SEZIONE IN ITALIANO
PREMIO NAZIONALE PER L´ARTE CONTEMPORANEA - AUSTRALIA
Scadenza: 24 ottobre 2007
Tipologia: qualsiasi media
Il Premio è di quindici mila dollari ($15,000), acquisitivo, più una residenza di 4-settimane in Alice Spring.
La residenza dovrà essere sfruttata entro 18 mesi. Include alloggio e biglietto aereo.
Il Premio del pubblico è di 1000 dollari ($1000) ( non acquisitivo).
I partecipanti saranno selezionati fra gli artisti che hanno fatto domanda da un giuria specializzata.
Qualsiasi artista che lavora in Australia con qualsiasi media può partecipare alle selezioni.
Le opere selezionate saranno esposte dal 2 maggio al 15 giugno 2008 all´ Alice Springs Cultural Precinct in Araluen, Alice Springs NT, Australia.
Tutti le opere saranno in vendita. La fondazione organizzatrice tratterrà una commissione del 33.3% per tutte le opere vendute.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
PROGRAMMA DI RESIDENZA - ARGENTINA
Scadenza: in corso
Tipologia: residenza
Età richiesta: dai 21 ai 40 anni.
L´obiettivo della residenza è generare e rendere possibile uno scambio artistico personalizzato ed indipendente. Propone un servizio di gestione completo di alloggio per artisti di altri paesi che vorrebbero visitare La Plata, Buenos Aires, Argentina.
Il viaggio permetterebbe un arricchimento reciproco, un approccio professionale ed emotivo verso nuove esperienze e realtà estetiche.
La residenza è un progetto indipendente con appoggio istituzionale, ma non offre incentivi finanziari, dunque il costo del programma dovrà essere coperto dall'artista. L´organizzazione offre una residenza artistica completa che include: alloggio, esposizioni in La Plata-Buenos Aires, studio, galleria d'arte, catalogo e diffusione del lavoro dell'artista, materiali di lavoro, contatti con i colleghi, istituzioni locali e pubblico generale, visita ai musei principali in Argentina, ecc.
Il servizio fornito non include il costo del biglietto aereo e il costo della vita generale come il cibo, assicurazione contro le malattie, ecc.
La residenza è individuale così l'artista riceve un trattamento esclusivo ed estremamente personalizzato.
Fin dal 2001, la Residenza è uno spazio d´Arte, galleria, vivente e laboratorio nel centro di La Plata, a 30 minuti solamente da Buenos Aires, capitale argentina.
Le condizioni, la durata (da 1 a 2 mesi) e il prezzo delle residenze saranno concordate su base personale.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
SCULTURE PER CASERME DI POLIZIA STRADALE - ITALIA
Scadenza: 11 Novembre 2007
Tipologia: scultura
Una istituzione pubblica in Italia bandisce, i seguenti concorsi pubblici tra artisti per l'acquisto e/o l'ordinazione delle seguenti opere artistiche da destinare:
1. Caserma Polizia Stradale di Policoro (Matera):
Numero tre sculture a «bassorilievo» (cod. id. XI) (ics uno) di cui due a tema e materiale libero, delle dimensioni di mt. 2,5 x 1,5 di altezza, da collocarsi sulle pareti della «Sala seminari» posta al piano rialzato della caserma, entrambe corredate di idoneo basamento per il loro sostegno; e una a materiale libero avendo come tema «l'opera della Polizia Stradale e la sicurezza sulla strada», da svilupparsi sulla superficie di un semicilindro avente diametro mt. 1,50 ed altezza mt. 1,20, da collocarsi al centro della «Hall» della
caserma, corredata di idoneo basamento alto mt. 1,00.
Il peso di ciascun opera non dovrà superare i 300 Kg di peso. Il compenso, per le tre opere, appartenenti allo stesso artista vincitore, e'complessivamente di Euro 58.000,00, più IVA 10%, tutte le spese incluse.
2. Caserma Polizia Stradale di Matera:
Una Scultura (cod. id. X2) (ics due) da collocare all'esterno della Caserma, in corrispondenza del prospetto lungo via Cererie(zona ingresso pedonale) . L'opera a tema e materiale libero, contenuta in un ipotetico involucro spaziale costituito da un tronco di cono rovesciato, dovrà essere di dimensioni massime: mt. 2,50 diametro cerchio di base inferiore, mt. 3,50 diametro cerchio di base superiore, mt. 3,50 di altezza. L'opera dovrà poggiare su un basamento alto 60 cm. Il compenso complessivo e' di Euro 60.000,00 più IVA 10%, tutte le spese incluse.
Due Sculture a «bassorilievo» (cod. id. X3) (ics 3) delle dimensioni di mt. 2,5 di larghezza x 1,5 di altezza, da collocarsi all'interno dell'ingresso principale, al piano terra della caserma P.S. di Matera, entrambe corredate di idoneo basamento per il loro sostegno; una, a tema e materiale libero e l'altra a tema «l'opera della Polizia Stradale e la sicurezza sulla strada» a materiale libero. Il peso di ciascun opera non dovrà superare i 300 Kg di peso. Il compenso per le due opere è di Euro 32.962,24, più IVA 10%, tutte le spese incluse.
Ai concorsi possono partecipare tutti gli artisti in possesso della residenza o del domicilio in Italia, che godano dei diritti civili e politici nello stato di appartenenza.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
PREMIO D´ARTE 2D - AUSTRALIA
Scadenza per la registrazione: 29 Luglio 2008
Tipologia: arte 2D
Artisti e Disegnatori (cittadini australiani / residenti permanenti che abbiano risieduto in Australia
per più dell'ultimo anno solare) che lavorano con media bidimensionali sono invitati a partecipare a questo premio. Questo concorso è dedicato a vari media quali: pittura, disegno, fotografia, foto, sculture 2D, illustrazioni, tecniche miste, stampe, disegno grafico, disegno ambientale, media digitali, still da video, still da documentario, stencil in vetro.
La scadenza per la registrazione è il 29/07/2008.
Lo scopo del concorso è creare un nuovo emblema artistico, una nuova icona per Melbourne che dia alla città un'immagine contemporanea.
Il tema con cui gli artisti dovranno lavorare è stato deciso dal pubblico ed è il seguente : "Melbourne è Indimenticabile... Melbourne è Indimenticabile per la sua moda, la sua cultura, il suo modo di vivere ed è indimenticabile per il Football australiano.
Ancora più importante, l'opera vincente dovrà catturare l´identità culturale di Melbourne.
Questo non è solo un concorso d´Arte. L'artista vincitore darà a Melbourne un'icona che durerà nel tempo!
12 finalisti presenteranno le loro opere al vero.
Vincitore : $150000
Dal 1 all´11 artista finalista : $2700 come compensazione per il loro sforzo e costi di produzione.
I primi 30 progetti saranno esposti in un'esposizione pubblica e pubblicati sul web site ufficiale
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
PREMIO DI PITTURA - TASMANIA
Scadenza: 25 Gennaio 2008
Tipologia: pittura
Una società in Tasmania invita gli artisti ad presentare i propri dipinti per il suo Premio.
Il vincitore riceverà $30,000 più una maquette, scultura in bronzo che è stata valutata del valore di $4,000. Tutti gli altri dipinti saranno eleggibili per il premio del pubblico di $3,000.
L'esposizione dei dipinti finalisti si terrà al Falls Park Pavilion in Evandale, Tasmania.
Il vincitore del Premio sarà annunciato all'apertura ufficiale venerdì 7 marzo. Il premio del pubblico sarà annunciato nel pomeriggio di martedì 11 marzo.
L'esposizione sarà aperta al pubblico da sabato 8 a martedì 11 marzo.
La presentazione delle domande di partecipazione scade venerdì 25 gennaio 2008 a 5.00pm.
Il Premio di $30.000 è aperto al pubblico ed è acquisitvo. Il premio del pubblico di $3,000, invece, non è acquisitivo. L´opera che si presenta deve essere un paesaggio ( con titolo) che ritrae la Tasmania. Paesaggi marini e urbani sono accettati all'interno della definizione di paesaggio. Il termine 'paesaggio" sarà ampiamente interpretato e non sarà inteso come una limitazione di stile. Media: olio, acrilico, acquerello pastello, media misti.
L´opera dovrà essere nuova (completata nei 12 mesi precedenti) e mai presentata in nessun altro concorso. Tutte le opere devono essere originali dell´artista. L´opera finita inclusa la cornice dovrà essere non più grande di cm. 190 di altezza x cm. 190 di larghezza. L'artista dovrà essere d´accordo sul fatto che la sua opera sarà disponibile per la vendita.
L´organizzazione tratterrà il 30% di commissione su tutte le opere vendute.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
INTELLIGENZA ARTIFICIALE - CONCORSO INTERNAZIONALE
Scadenza: 22 ottobre 2007
Tipologia. Progetti artistici relativi alla vita artificiale
Il concorso premia opere artistiche sviluppate con tecnologie associate alla Vita Artificiale e discipline relative, la robotica, l'intelligenza artificiale, etc. Si cercano progetti artistici che espongano una riflessione sulla relazione tra vita "sintetica" e "organica."
Negli anni precedenti sono stati premiati progetti artistici realizzati con robot, avatar elettronici, algoritmi caotici, knowbots, automi cellulari, virus informatici, ecologie virtuali che evolvono con l'interazione dei partecipanti, e opere che approfondivano aspetti sociali della Vita Artificiale.
Premi per progetti realizzati:
Si destinerà un totale di 20.000 euro per i tre progetti selezionati dalla giuria:
Primo Premio: 10.000 euro
Secondo Premio: 7.000 euro
Terzo Premio: 3.000 euro
Le opere premiate avranno la possibilità di essere esposte nelle mostre organizzate dalla Fondazione organizzatrice relazionate con l'arte e le nuove tecnologie.
Questa parte del concorso è aperta a partecipanti di tutto il mondo. Ogni partecipante, tuttavia, potrà presentare solo un proprio lavoro.
Incentivo alle produzioni Ibero-americane:
Questa seconda modalità del concorso aiuterà a finanziare progetti artistici di Vita Artificiale, e discipline associate che non sono stati ancora realizzati. Il concorso è aperto a partecipanti di tutto il Sud America, Spagna e Portogallo.
Dotata con premi complessivi di 20.000 euro , questa parte del concorso premierà da una a tre proposte che dimostrino un concetto rilevante, la capacità dell'artista di realizzare l´opera ed un alta qualità della stessa.
Il premio si pone come un incentivo alla produzione, non come una sovvenzione per coprire le spese totali di realizzazione del progetto, e pertanto si stimerà la capacità del concorrente di ottenere infrastrutture tecniche, economiche e logistiche per la realizzazione dell´opera. Un video dell´evento sarà mostrato in programmi specializzati tv ed in festival. Sarà distribuito anche in biblioteche ed università di tutto il mondo.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
CONCORSO DI DESIGN - FRANCIA
Scadenza per la registrazione: 30 Novembre 2007
Tipologia: design
Dal 15 settembre 2007, una società francese organizza un concorso europeo per la creazione di oggetti innovativi col tema: "La légèreté au quotidien" (la leggerezza di ogni giorno), applicata ad oggetti da viaggio e per la casa. Il concorso è aperto a qualsiasi persona con età inferiore ai 40 anni che rientri in una delle seguenti categorie:
- designers professionisti, laureati in design, architettura, arti plastiche o scuole di arti applicate.
- designers professionisti senza titolo di studio che possono provare un minimo di 3 anni di esperienza nel mondo del design.
- studenti dell´ultimo anno di accademie design, architettura, arti plastiche o scuole di arti applicate.
I concorrenti devono essere residenti in uno dei paesi europei nel quale la società ha una base commerciale, ovvero: Austria, Belgio, Repubblica ceca, Danimarca, Francia, Germania, Grecia, Olanda, Irlanda, Italia, Lussemburgo, Portogallo, Spagna, Svezia, Svizzera e Regno Unito.
I Concorrenti selezionati saranno informati della loro nomina sul web site del concorso e via e-mail. L´organizzazione pagherà le spese per la realizzazione di due prototipi per ognuno dei progetti selezionati fino ad un massimo di Euro 5,000.
Tre premi saranno infine stabiliti da una giuria:
- 1 premio: Euro 50,000
- 2 premio: Euro 25,000
- 3 premio: Euro 15,000
I premi saranno consegnati ai vincitori in una cerimonia di premiazione, ed un'esposizione itinerante dei prototipi sarà lanciata in tutta l'Europa. Le spese di viaggio e alloggio dei 3 vincitori del premio saranno pagate e organizzate dall´organizzazione. Le spese di sussistenza saranno a carico dei vincitori. Sarà pubblicato un catalogo dell´esposizione.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
TRIENNALE INTERNAZIONALE DI ARTI IN SILICIO - UNGHERIA
Scadenza: 30 Novembre 2007
Tipologia: arti al silicio
Seguendo il successo della prima Triennale, relativa ad opere in ceramica, vetro e cemento, artisti da tutto il mondo sono adesso invitati a partecipare nella 2 Triennale Internazionale di Arti in Silicio.
La 2 Triennale Internazionale si terrà dal 4 maggio all´ 8 giugno, 2008 in Kecskemét, Ungheria.
Il tema per la triennale è 2008 'Simbolismo e Narrazione.'
Gli scopi della triennale sono incentivare gli artisti a creare oggetti che potrebbero essere adattati a una possibile fabbricazione in serie industriale e dare scopo all'applicazione industriale e artistica di nuovi materiali e nuovi tecnologie, incoraggiando l'allargamento degli orizzonti nelle arti al silicio del 21 secolo. Questa, tuttavia, non è una condizione basilare per la partecipazione al concorso.
Questa triennale includerà un concorso internazionale, una esposizione ed un workshop di Arte ceramica internazionale.
Ogni artista può presentare un opera non superiore ai 50 chili di peso o 1 metro in qualsiasi dimensione per concorrere a molti premi prestigiosi.
1 Premio - 1,000,000 HUF (approssimativamente 3.400 Euro) più esposizione individuale
2 Premio - 750,000 HUF (approssimativamente 3.000 Euro) più esposizione individuale
3 Premio - 500,000 HUF (approssimativamente 2.000 Euro) più esposizione individuale
Premio per i talenti emergenti: residenza gratuita di Tre mesi ad ICS con materiali e forni provvisti.
Una giuria internazionale che comprende artisti professionisti da ogni disciplina, critici d´ arte, curatori di musei ed editori di riviste selezioneranno gli espositori e decideranno i premi da attribuire. Ogni espositore sarà rappresentato nel catalogo, con almeno un'immagine del lavoro esposto ed informazioni relative. Ogni espositore avrà diritto ad una copia gratuita del catalogo. Nell'eventualità di una vendita delle opere esposte gli organizzatori tratterranno una commissione del 25%del prezzo. I premi saranno distribuiti all´apertura dell'esposizione, con la speranza che i vincitori saranno presenti alla cerimonia. Tutte le opere premiate rimarranno proprietà della collezione dell´organizzatore. Tutte le opere non premiate saranno restituite a spese degli artisti partecipanti.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
BIENNALE DI SCULTURA - ARGENTINA
Scadenza: 30 Dicembre 2007
Tipologia: scultura
Questa "Biennale Internazionale di Scultura", si terrà in una città dell´ Argentina, dal 19 al 26 Luglio 2008. I 10 (dieci) artisti selezionati dovranno aver ricevuto premi in concorsi, aver partecipato a esposizioni, eventi, etc., regionali, nazionali ed internazionali di scultura.
I premi saranno i seguenti:
Gran Premio: U$S 10.000,00( Diecimila dollari),
Premio Fondo Nazionale delle Arti: somma di stabilire
Premio degli Scultori: somma di stabilire
Premio dei Bambini: somma di stabilire
Premio del Pubblico: somma di stabilire
Gli artisti provenienti dall'America riceveranno 2.000 Dollari statunitensi e quelli dal resto del mondo 3.000 dollari statunitensi, medaglia e certificato.
Altre istituzioni potranno stabilire premi speciali che saranno resi noti prima dell'inizio del concorso.
Le spese di permanenza, vitto e alloggio, degli scultori concorrenti ed invitati, saranno a carico del Comitato Organizzatore, eccetto spese extra, tali come telefono, etc.
Le opere saranno esposte durante il termine di sessanta giorni. Passato quel tempo le opere saranno installate nella città organizzatrice.
Questi le basi principali per la realizzazione dell´opera:
a) Tema: I dieci comandamenti.
b) La scultura dovrà essere originale ed inedita.
c) Le scultura dovrà essere realizzata in 1 (un) tronco di legno di 400 cm. x 50 cm. che si potrà tagliare in 2 parti longitudinali. Si potranno aggiungere 3 tubi di metallo di 6 metri di lunghezza e di 2/ 3 pollici di diametro.
d)Lo scultore dovrà portare la propria attrezzatura personale a 220 v.
e) Ogni scultore conterà sull´appoggio di un aiutante temporaneo, come così pure sulla disponibilità di 5 motoseghe grandi.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
VI BIENNALE DI ARTE PLASTICA - SPAGNA
Scadenza: 16 Novembre 2007
Tipologia: pittura, scultura, fotografia digitale, video
Sono già sei edizioni in cui la Fondazione organizzatrice riunisce il meglio della pittura, scultura, fotografia digitale e video creazione per celebrare la sua Biennale di Arte Plastiche. Questo anno ha un budget di 90.000 euro per acquisire le opere che saranno esposte agli inizi del 2008 a Cordova, Spagna. Possono partecipare artisti da tutto il mondo fino al 16 Novembre 2007.
La dotazione economica della 6ª Biennale di Arti plastiche sarà di 42.000 Euro che sarà destinata all'acquisizione delle opere proposte dalla giuria. Le opere acquisite passeranno a fare parte della collezione artistica della Fondazione, come beni patrimoniali.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
PREMIO PITTURA 2007 - SPAGNA
Scadenza: 31 Ottobre 2007
Tipologia: pittura
Potranno partecipare gli artisti che lo desiderino con un'opera che non sia stata premiata in nessun altro concorso. Il tema e la tecnica saranno di libera scelta. Le opere che si presentano non dovranno essere inferiori al formato di 100x85 centimetri, né superare in nessuno dei lati i 175 centimetri.
Si stabilisce un - primo premio - di 10.000 Euro ed un - secondo premio - di 3.000 Euro (a dette quantità saranno applicate le ritenzioni fiscali vigenti).
Le opere premiate passeranno di proprietà degli organizzatori che si riservano tutti i diritti sulle stesse.
Una Giuria effettuerà una selezione delle opere presentate che saranno esposte nei giorni dall´ 11al 29 dicembre 2007.
La consegna dei premi coinciderà con l'inaugurazione dell'esposizione, prevista per il giorno 11 dicembre alle 11.00h.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
PREMIO DI PITTURA CAMERA DI COMMERCIO E INDUSTRIA - SPAGNA
Scadenza: 30 Novembre 2007
Tipologia: pittura
Potranno partecipare al premio artisti di qualunque nazionalità o residenza, con quante opere desiderino.
La tematica delle opere presentate dovrà essere relazionata con l'industria o il commercio.
Le opere saranno eseguite in una tecnica di arti visive su sopporto piano, di dimensioni che non oltrepassino i 180 cm in nessuno dei lati, cornice compresa.
Saranno attribuiti seguenti premi:
Un premio di 4.000 euro
Una menzione di 2.000 euro.
La sentenza della giuria diventerà pubblica prima del giorno 15 Dicembre 2007 e sarà inappellabile. I Premi saranno consegnati in una cerimonia che si celebrerà il giorno 19 Dicembre 2007.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
ARTE NELLA NATURA - OLANDA
Scadenza: 1 Dicembre 2007
Tipologia: Arte nella Natura
Nel 2008 una fondazione olandese, organizza la 4 edizione di un evento internazionale su base annuale di Arte nella natura. Ogni anno, artisti da in tutto il mondo sono invitati a realizzare progetti su un tema storico e culturale. Per il 2008, la tematica scelta è: "'Archeologia Pseudoartistica'. L´evento avrà luogo dal 14 al 29 Maggio 2008 nella foresta di un piccolo villaggio in Olanda. Gli artisti dovranno ispirarsi alla storia archeologica di questa affascinante regione con campi celtici, tombe di pietra e varie culture preistoriche. L'organizzazione sta cercando artisti che amano confrontarsi con questo passato archeologico.
I materiali da usare sono quelli della foresta: alberi, tronchi, rami, etc..... Anche pietre rimaste dai ghiacciai.
Con le opere realizzate in questa edizione si prevede di aprire un nuovo cammino di circa 4 chilometri, connesso con un museo all´aria aperta.
Onorario per ogni artista partecipante: € 1250,00
Rimborso per le spese di viaggio: € 500,00 (massimo)
L´organizzazione offre alloggio in comode case mobili.
L´ assistenza è fornita dal personale della foresteria Statale.
Promozione dell'evento: catalogo, manifesti, depliant, sito web.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
ETICHETTE D´ARTE - ITALIA
Tipologia: etichette, opere bidimensionali
Scadenza: 31 Ottobre 2007
Una associazione culturale italiana, in collaborazione con i produttori di vini dell´area nell´ambito delle proprie iniziative indice il primo concorso internazionale di pittura "Etichette d´autore", finalizzato alla realizzazione di un certo numero di etichette che mettano in risalto il legame tra la cultura locale del vino e l´arte.
La partecipazione al concorso è gratuita e non prevede vincoli di stile, di tecnica e di supporto.
Tra tutte le opere pervenute una qualificata giuria determinerà sei vincitori a pari merito, Dette opere saranno riprodotte in etichette di pregiati vini dei produttori locali, secondo un layout comune, e riporteranno il nome
dell´artista ed il riferimento all´associazione ed al concorso internazionale "Etichette d´autore" 2007. Le etichette vincitrici saranno presentate in occasione di una manifestazione che verrà organizzata nella
primavera 2008, e l´associazione, direttamente ed attraverso partner ed enti patrocinatori, darà la massima diffusione al risultato del concorso. Le bottiglie, il cui numero é orientativamente e con la massima
riserva quantificabile in 300 per ogni vino, saranno poi distribuite direttamente dai produttori, da distributori o da altri enti o soggetti. Verrà data pubblicità dei risultati del concorso in tutti le occasioni che si presenteranno in ambito artistico ed enologico.
Tutte le opere resteranno di proprietà dell´associazione organizzatrice, che potrà esporle in forma permanente o temporanea, pubblicarle su supporto cartaceo, informatico o in rete, utilizzarle per la realizzazione di materiale illustrativo e promozionale delle sue iniziative a venire ed in genere per qualunque uso non a fini di lucro. E´ tuttavia escluso qualunque sfruttamento di tipo commerciale da parte dell´associazione o di altri soggetti delle opere nel loro complesso o singolarmente, restando i diritti d´autore di proprietà degli artisti. Qualunque eventuale rapporto di tipo commerciale dovesse essere stabilito tra gli artisti ed i produttori (realizzazione di ulteriori serie di etichette, materiale promozionale relativo ad altre produzioni o altro) resterà rigorosamente nell´ambito di un rapporto privato tra i soggetti nel quale l´associazione non sarà a nessun titolo coinvolta.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
2 INCONTRO INTERNAZIONALE DI PITTURA - MESSICO
Scadenza: 25 Gennaio 2008
Tipologia: pittura
Col proposito di mostrare le differenti forme di espressione della plastica messicana, come di conoscere le tendenze dei paesi partecipanti, l'Associazione della Plastica de Garza García, A. C., con l'appoggio del "Consejo Nacional para la Cultura y las Artes de Nuevo León" e la "Casa de la Cultura del Estrado", convoca gli artisti nazionali e stranieri, al Concorso di Pittura che avrà luogo del 3 di Marzo al 15 di Aprile del 2008, nella città di Monterrey, Nuovo Leon, Messico.
Si concederanno i seguenti premi acquisizione:
1 PREMIO $50,000.00
2 PREMIO $30,000.00
3 PREMIO $15,000.00
oltre a 5 menzioni onorifiche.
Potranno partecipare artisti residenti in qualsiasi paese del mondo, senza necessità di provare la propria nazionalità o tempo di residenza nel paese dal quale comunicano.
Gli artisti partecipanti dovranno avere all´attivo per lo meno su esposizione individuale e tre collettive, accreditate per mezzo di invito, stampa, fotografie o riconoscimenti.
L'unica tecnica ammessa sarà la pittura, nelle modalità di olio, acrilico e mista.
Dovuto allo spazio disponibile per l´esposizione, non si accetteranno opere più grandi di 120 x 120 cm, altezza x larghezza, su telaio senza cornice (spessore da 3,50 a 5,0cm) e pronte per essere appese. Altri supporti (legno, metallo, etc....) dovranno avere caratteristiche simili in quanto a misure. Ogni artista potrà iscrivere il numero di opere che desidera.
Il comitato organizzatore designerà una giuria di tre riconosciuti critici di arte, per selezionare le opere che parteciperanno all` esposizione.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
ARTLINK RESIDENZE - STATI UNITI
Scadenza: 5 Novembre 2007
Tipologia: residenza
Il programma 2008 di ArtsLink offre una residenza a artisti e managers d´Arte della durata di cinque settimane, dall´ inizio di Ottobre a metà Novembre 2008, presso una organizzazione d´Arte senza scopo di lucro negli Stati Uniti.
Per il programma 2008, ArtsLink accetterà domande da artisti e managers che lavorano nelle arti visive e new media. I candidati dovranno essere cittadini e risiedere in uno dei seguenti paesi: Albania, Armenia, Azerbaijan, Belarus, Bosnia e Herzegovina, Bulgaria, Croazia, Repubblica ceca, Estonia, Georgia, Ungheria, Kazakhstan, Kyrgyzstan, Lettonia, Lituania, Macedonia, Moldavia, Mongolia, Montenegro, Polonia, Romania, Russia, Serbia, Repubblica slovacca, Slovenia, Tajikistan, Turkmenistan, Ucraina, Uzbekistan.
Non ci sono limitazioni di età. I candidati dovranno avere una sufficiente conoscenza dell'inglese per vivere indipendentemente negli Stati Uniti.
Non è richiesto che i candidati abbiano già contatti con organizzazioni negli Stati Uniti.
ArtsLink provvederà a ospitare i candidati selezionati nel centro o nell´organizzazione d´Arte negli Stati Uniti più adatti al loro lavoro ed obiettivi.
Il programma di Residenze di ArtsLink offre all'organizzazione americana che ospita gli artisti una somma di denaro per coprire le spese di vitto, alloggio e lavoro degli artisti ospitati per un periodo di cinque settimane. Le spese per il biglietto aereo, visto, assicurazione contro le malattie, e sussistenza per presenziare anche alle due riunioni di ArtsLink che hanno luogo all´arrivo degli artisti negli Stati Uniti e prima della loro ripartenza sono pagate direttamente da ArtLink. La Residenza, infatti, include due sessioni nella città di New York City dove tutti i partecipanti al programma e lo staff di ArtLink si incontreranno e scambieranno esperienze.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
CONCORSO DI CARTOON - CINA
Tipologia: cartoon
Scadenza: 01/01/2008
Il concorso è aperto a qualsiasi professionista, amatore e scrittori di umorismo in tutto il mondo. Il dogma della Concorso è: Sano, faceto, Armonioso ed Intraprendente. Ogni discriminazione contro religioni o razze non sarà accettata, così come le scene di oscenità o violenza saranno rifiutate.
Categorie:
A) Tutto riguardo alle Olimpiadi, incluso i Giochi Olimpici e soggetti riferiti allo sport;
B) Mia scelta (Tema libero), tutto su Umorismo.etc...
C) saggi umoristici.
Riunione della giuria: dal 1 al 10 Marzo 2008.
Cerimonia di premiazione: sarà tenuta al "The Great Wall" prima dei Giochi olimpici di Pechino 2008.
Esposizione: si terrà in Yufa , New Media Cinema & TV Advertisement City attach in The National New Media Base, Daxing, Beijing prima dei giochi olimpici 2008, più altre esposizioni itineranti in Cina.
Premi:
1) Premi mensili:
Ciascun autore può vincere i premii ripetutamente, e i Premi mensili non avranno impatto sui premi principali.
RMB 5,000 per 1-3 vincitori per ogni categoria (categoria A e B),
RMB 1,000 per 1-3 vincitori (categoria di C).
I Premi Mensili saranno dati da Dec, 2006 a gennaio 2008 (14 mesi in totale).
2) Premi principali:
Gran Premio: RMB 250,000 per 1 vincitore;
Premio d´ oro: RMB 50,000 per 1 vincitore in ogni categoria (categoria A e B)
RMB 10,000 per 1 vincitore per la categoria C.
Premio d´argento: RMB 30,000 per 2 vincitori ogni categoria (categoria A e B)
RMB 5,000 per 2 vincitori per la categoria C.
Premio di bronzo: RMB 10,000 per 3 vincitori in ogni categoria (categoria A e B)
RMB 3,000 per 3 vincitori per la categoria C
Saranno inoltre assegnate 100 medaglie d´onore.
Tutti gli artisti e scrittori selezionati avranno un album gratis.
Per notizie dettagliate su come partecipare ( bando integrale con documentazione richiesta e recapiti), visita il sito: www.callforart.com alla sezione "Opportunità"
15 Oct 07 16:29
non vedo il motivo di tanto accanimento da parte di questo antonio. poteva sempre aprire un topic per pubblicare queste informazioni. mah.
16 Oct 07 15:44
I would prefer if the forum is used for what it is meant for, discussions, instead of being filled with this silly competition crap copied from another website (you have to be Australian or Moldawian and the deadline is in three days etc.) If there really is a need to know about this stuff, some lines and the link of that particular website would be enough wouldn’t it.
17 Oct 07 04:08
I agree with Hanjo. Just a mention of the exhibition/competition would suffice - with a link. This other stuff is not the function of the forum.Sheila
17 Oct 07 10:01
Apart from all this info being out of place, the web site in question is not free. You have to pay for access to this info.Antonio, queste info devono essere pubblicate sotto un altro tittolo di forum. Stai creando confusione usando questo.
17 Oct 07 19:55
I would like to congratulate all artists exhibiting in the ArtProcess TRAPANI Exhibition 2007! What a great showing. I commmend you on your commitment to the creative process.Although I am not exhibiting this year (Perhaps in the future), I have taken time to explore the many artists forums showcasing their works in progress in preparation for the TRAPANI show. I was thrilled with the photo-journalism and written text describing each step of their artistic process,as well as the emotional setbacks that often acompany brillant work.
Thank you artists for sharing your world and affording me insight into your work. Good Luck at Trapani, and please take a moment to share your creative discoveries, and new insights once you've returned.
With Love and Gratitude - Michele
09 Jul 07 01:29
Thank you Michelle, as you will have noticed a lot of discussion about the Trapani event was opened up on another forum page however I think your opening a discussion under the Forum topic "A Portrait of The Artist" is quite apt because beyond all the things that went on down there, there is another side to the story having very much to do with the very nature of artists themselves and the need to make contact with their fellows. That's what this site was meant to do and I believe at least for myself and a few others it has succeeded. I'm very thankful to J.P. Delaney for inviting me to join Art Process when he did because it was just the kind of thing I needed at the time to become reinvigorated.What we do is a very solitary process and we need to communicate with other artists. For myself Trapani was intended to be a celebration of Art Process' success in that regard. The reviews regarding the celebration are still coming in so the jury is still out on whether the party was a success or not but for me it was all worthwhile. So let me tell you what I learned in Trapani from my talks with others and my own observations besides for the fact that its hot as hell in Sicily in July.
The business of art is as dismal everywhere else in the world as it is where I come from.
Artists from all over feel isolated and crave contact and feedback from their peers.
Making a living from art alone is practically an impossibility and everyone has to juggle jobs, family and their time making art, which leads to another question. Will art become an activity only the wealthy can pursue? That could be a topic for another forum.
Most everyone I met including those I could barely communicate with seemed genuinely passionate about art and what they do.
There are many more young artists than older ones like myself and I have a hard time understanding any one born after 1960 no matter what language they speak, however there are the odd exceptions.
Surprising to me the was number of transplanted artists I met, e.g. Irish artist living in Rome, Italian artist living in Dublin, Brazilian artist living in Rome, American artist living in Wales, New Zealand artist living in Trapani, American artist living in Italy, etc. I'm sure I'm forgetting some. What are they looking for or getting away from, conditions for artists being relatively the same everywhere? It must have something to do with liberty, artists particularly feeling the need to be free. Of course the real freedom they desire can only be found in one spot and that's between their ears.
Finally, although I knew this from the site the reality of Trapani really struck it home. There are two Art Processes, one Italian and one English and as much as we as artists would like communicate with one another its very limited without language.
25 Jul 07 21:48
Hey artists, where's the passion? Why is this site so damn genteel? State your positions and be prepared to defend them. You took up this activity to express something. Maybe you went to art school (hopefully you got over it), maybe you're self taught (lucky you). The thing is it's something you have to learn on your own and spend your whole life learning but to what end? There's some faint glimmer of something in your mind and you go after it. Well what is it?I get mad as hell because it seems every second person you meet is an artist. I read obituaries in the paper, "So and so died. He was a retired life insurance salesman, a good husband and father, avid golfer, gardener and artist". I've spent my whole life learning how to do this shit and some prick takes up painting when he retires and he's my peer? I meet someone at a party, "So what do you do?" he asks, I reply, "I'm an artist, a painter." He looks at me kind of funny and says, "Oh yeah, my mom paints." or worse he asks "What do you paint?". Here's a guy that's heard of maybe Rembrandt and Van Gogh from the movies and of course Picasso because everybody in the whole wide world has heard of him even though he probably wouldn't recognize any of their work if he accidentally walked into a museum. So I say "Paintings." and walk away to get another drink and he thinks to himself "What a fucking asshole." and he's right because I won't demean myself by actually having to explain what it is that I do paint which would bore the hell out of him anyway. The dead insurance guy, when he was active in business wouldn't hesitate for a second to go into a three hour long lecture about the differences between whole life and term policies if he was asked what he did. Of course even if I did go out of my way to try to explain to Mr. Normal Person what it is that I paint and the whys and wherefores of it all, the next question would be, "Oh yeah, well can you make any money out of that?" and we all know the answer to that one and I'm reluctant to go there because the next logical question is "So why do you do it?" and I really don't have an adequate answer, or at least one that Mr. Normal Person and the rest of society would understand but I suppose they are entitled to an answer that doesn't make them look stupid or feel that all artists are a bunch of full of shit, pompous assholes.
So my question to all you artists is what to you do and why do you do it? If you have an answer like "I paint portraits because I get commissions to do them" or "I love flowers because they have really colourful colours." or "I work in a Taiwan studio and paint 300 seascapes a day because I make $35 a month doing it." don't bother answering.
15 Apr 07 19:24
So, why do you paint? why dont you tell us ? and please don’t tell me you were born an artist and had no other options, we always have another option (you could have been a very good writer ). I think it has something to do whith feeling special, different . Once you call yourself an ARTIST you feel superior to the rest of the people that are working their way in life, usually much better than we do, BUT WE ARE ARTISTS.........I have asked myself that question , Why do I paint? Is there something I want to express? Does that make me more interesting to other people? Am I a bit masochist? What moves me to paint? Colour, light, flesh, emotions, anger, solitude, silence, mainly , I would say, the opportunity to dive into somebody elses spirit, or maybe it is the only way I can communicate to others what fascinates me, or is it what hurts me.. Is that important for anybody? I dont think so.
There is something romantic about being an artist that I´m not sure about, I enjoy as much as I suffer painting, and usually It never comes out as I thought it would, we always pursue something that escapes, why? I dont know , or maybe I´m just having a bad day.
26 Apr 07 22:16
Karen, you're fantastic, the only person brave enough to respond to the ravings of a drunken lunatic. I admit I was somewhat embarrassed when I read the thing the next day however sometimes some truth does come out under the influence and I suppose that it does express some of the frustrations of an old, failing and soon to expire, lifelong artist, so I won't apologize for it.My question was not "Why do it?", that question has already been asked on these forum pages. I think it had more to do with having a good response to society's question to us, rather than our own questions to ourselves and our own answers, which are pretty much what I said on my home page about myself and I believe to be the truth about my fellow artists. I do believe we are born artists, sure there are choices, you can do whatever you want if the art doesn't work out for you but I don't believe you can maintain another life or profession indefinitely and without regret. Francis Bacon said that if the paintings didn't sell he would have got into something else, he was an interior designer before he started painting. I don't believe it for a second. Once he found painting he would never have given it up because that's who he really was, success or not, "an artist!".
In my experience and from my talks with fellow artists I think you're correct that we artists do in fact feel special and different even though they, our neighbours and family are more than likely doing much better (materially) than ourselves. I think, and once again from experience and talking with others that "that special feeling" (real or not) comes from mother. We were mother's favourite because we impressed her with our images and the things we made with our hands and the depth of our thoughts. Whether the feeling was real or not is not important, the point is we felt it. I'd like to hear others' opinions on that. We carry that specialness within ourselves and that brings me back to my initial question because by being special we're also resented and mistrusted by our sisters and brothers. So what is our response to their often genuine questions? I frankly don't know how to respond and maybe it doesn't matter but I just wondered if others have a strategy in dealing these things. When you asked the question to yourself your response makes perfect sense to me but somehow I think that kind of talk enrages our sisters and brothers who think we're full of shit, lazy malingerers who say strange things that they don't understand just to throw them off our track.
In any case I'm very glad you responded to my remarks which were, even in my drunken state, more or less intended to entertain and provoke. Sometimes I look at this site and it's so damned boring. I know what conversation is like with my fellow inebriated artists in the flesh and somehow I wish it were more like that on this site. Why do we censor ourselves? Just let it rip. Good English, bad English...who cares, just express yourself to your fellow artists. By the way I doubt I would have made a good writer having barely made my way through elementary school. That's why, being an ignoramus, I have little inhibition in expressing myself on line. However, formal schooling or not I've always read a lot and have the utmost respect for good writing and as a matter of fact I've always been struck by your abilities in that department (also Maria's). I was waiting to get to Trapani to find out how and why you're both so eloquent in English.
This site could be great if people could just open up a bit more. Picture yourself in a tavern talking with your art buddies. You know how the talk goes and what fun it is. Stop being so self conscious and self censoring. What's the worst that can happen? You'll look ridiculous, so what? We're artists, we always look ridiculous. Our artwork looks ridiculous and the best pieces initially look the most ridiculous but we have the guts to expose our work to the public so why not here to our own peers and fellows who actually understand us?
27 Apr 07 08:51
Written language can be much richer than spoken but it lacks immediacy. When you read what I write you cannot hear the tone of my voice and you cannot look into my eyes. You certainly cannot read my body language either. Of course you can do all of this over a drink with your fellow artists in Canada. So, speaking for myself, dear Hillel, I will never write anything I haven’t thought of well. Our peers and fellows here were yesterday’s strangers, and now that I think there is a chance we can “understand” each other I intend to cherish our relationship (at least till July when we ‘ll be able to pat backs or slap cheeks, whichever way it goes). And another thing: have you ever entered a chat room with artists? Such useless bull. I am so very grateful that there is no instant messaging in this site. This way one has the chance to have a really interesting conversation. And enjoy good writing… Now, about being mom’s favourite. Well, I am an only child and I wouldn’t know. But I am sure I didn’t feel very special till recently (some ill chosen boyfriends in my teens life made sure I didn’t feel too special). I always found drawing well so easy, that I didn’t understand why others were impressed. To cut a long story short, I don’t have to face sisters or anybody else’s comments the way you do. One reason is that they accept the fact that I make a living making murals and teaching so they leave my art alone. The other reason is infuriating but true: I am a woman. It is still ok for a woman to have a profession that isn’t very profitable. Of course many of those who think that, wonder why they don’t see flower vases and sunsets at my shows, but no here no there. I must say that I walk away to get another drink the way you do, too.
27 Apr 07 09:51
Well I never was my mother´s favourite, maybe that explains my not feeling an Artist, and needless to say "special", who knows. My mother promised me solemnly never to hang one of my nudes in her house, which in a way I understood and made me paint them whith more conviction. I agree with you in one thing, you can never forget about this and go on living like nothing ever happened, once youve tried it you know you will never stop doing it, sell it or not. In any case I wish I could write like you or get drunk and uninhibited like you but I can't, I havent got a wild life like Bacon or Modigliani and therefore I can only paint about my own states of mind. But I do appreciate your writing while drunk , it is much more interesting! now, seriously it always makes me laugh and think, and maybe I wouldn´t have talked to you in person as I do here, considering you are a well known artist and I am not exactly outspoken.Yesterday while writing I was quite enraged about a comment on my paintings as being coarse (I think that could be the translation ) and thought that almost everything that sorrounds us today is mediocre and coarse, and stupid.
About being a woman ( I just read it , maria) you're right but dont forget that they are never going to consider your painting as serious , as professional as theirs, unless you act like a man and forget about everything around you and dedicate exclusively to YOUR activity, Can we do that??
27 Apr 07 11:47
About perceiving oneself as mother's favourite, it's only a theory I have based on my own talks with other, I must admit, male artists. Perhaps for women it's being dad's special girl and for an only child like Maria, well obviously there was no competition. I'd still like to hear from others on the topic, not that it matters but it's interesting. As far as being a woman artist goes, I agree it's still more difficult than for men, although we also have families and have our responsibilities and have to provide, and then snatch precious little time for our art. Once the babies arrive life (especially for an artist) becomes difficult. It's somewhat easier for the male artist to keep all things going than for the female who is under tremendous pressure to either give up her family or her art. The demands of family and society are much greater on her and her art usually loses out, takes a back seat or has to be put on hold for a number of years. For the truly ambitious artist it's easier for the male to abandon his family for his art than it is for the female whom society will never forgive. The courage it takes is unbelievable, or maybe for their own sanity they had no choice, I'm thinking of Louise Nevelson or Alice Neel as a couple of examples. Karen and Maria if you don't already know of the American painter Alice Neel's work you really must check it out. Her portraits of friends and family, often nude, are filled with energy and life and her biography, filled with despair, tragedy and finally triumph is inspirational. Very few of us and that includes myself have had the wherewithal to make art their one and only mistress for whom they sacrifice everything and maybe that's what it takes (no Karen, I'm not a well known artist, quite the contrary) but in this life you usually can't have everything. Something must be sacrificed.
29 Apr 07 20:52
Dear Hillel, You asked me about what I did etc. many months ago, and I took the time to coherently respond. I see that this recent posting of yours is already over three weeks old, and nobody has bothered to make a comment. I haven't had much time to frequent art forums over the course of the past year,and I had to pull out of the Trappani adventure because of other obligations but I have been to Germany twice and California in the last six months.On my visit to Germany in November of 2006 I was in Cologne, and Berlin. In Berlin I walked into a retrospective of work by Rembrandt. There were a number of people who were part of the audience that day who probably buy paint and canvas from places like Walmart, and it wouldn't surprise me if a mention of their artistic endeavors didn't somehow make its way into an obit one day. Perhaps we have people like Marcel Duchamp, Joseph Beuys, and Jacques Derrida to thank for the insiduous nature of present day public perception of what art is or isn't etc......... but who the bloody hell cares about all of this moronic imbecility. Today young people jerk off on an old newspaper (Dash Snow) and people like Charles Saatchi pay hundreds of thousands of dollars for it. I hear about these things and it still makes me wince, but its taken me thirty years to develop my talent into something I feel is viable and I don't have the time to go on the war path against an officialising of the mediocre other than to take out the work I've done in the past which hasn't sold, and rework it into something better, and hopefully more noble in regards to what I now feel is credible. As long as I continually question my standards I know I'm going in the right direction. You don't sound complacent, so you must still be hungry, and anyone who is serious about making art knows that great work doesn't come from an over feed cow...........courage.....Amities,Cortland
08 May 07 10:29
Thanks for your answer Monsieur Cortland but from the sounds of it you've got no problem with a response. You make something and people buy it. That's good but what about the people that make things that nobody wants yet they keep doing it year after year. They don't even get to to show the stuff because galleries don't want stuff that people don't want. So they just pile the stuff against the wall and the piles get deeper and deeper, year after year until they barely have room to move around in the little corridors left to them and eventually they die from lack of space and air and their loved ones bury them and then have the task of disposing of all the rubbish they left behind. They've got to be crazy, right?
10 May 07 23:59
Dear Hillel,If you read my response well you'll obviously see that not everything I make sells, because I indicated that I often take old works which have been leaning up against one of those walls you mention, and rework them. Yes, when I do exhibit I have been fortunate enough to sell enough of the work to move on down the road a piece, but I didn't do any one man shows for nearly fifteen years, and sold exclusively out of my studio so I know all about long dry spells without steady income, or ego puffing articles etc. I also sometimes work on uncommisioned paintings for two or three years, and these works are not exactly easy to sell because of the price. You ask me about people you have no more breathing space because they're surrounded by unsold work. My response to you is; how many paintings did Leonardo Da Vinci, or Vermeer leave behind? What was the philosophy of the German Architect Mies van der Rohe......"Less is More"..........Everyone thinks they are Picasso today. Picasso's essential message had nothing to do with production. This was a side product of a personality who more than anything else taught us that we need not confine ourselves to any given style. In a world where people speak more and more of the problems of over consumation, and the need for ecological conservation etc. isn't it one of the artists principal tasks to confront this new challenge in regards to her or his productivity, and step back away from the easel long enough to really think about what one is doing in the larger spectrum of things. As far as pure handy readily available pocket change,the internet provides numerous avenues for people to sell their art today. Making a living as an artist has never been the easiest way to go about suceeding in a material world, but isn't ours a choice that has the spiritual as its principal touchstone, and not the clammering glitter of the star studded red carpet in Cannes.
13 May 07 11:09
I am not sure whether I interpreted your comment right, Cortland. Are you saying an artist should reflect on whether his or her work adds to the piles of rubbish with no real use on this planet, or do you mean that mediocre painters should give it up because painting a hundred paintings a year won’t make them any better (well, this is true)? I think I must have missed your point, but in case I didn’t I would like to say that I trust most of us have felt mediocre, useless rubbish makers at some times in our life, but if we had to definitely admit such a thing, most of us would most probably commit suicide.
15 May 07 19:58
Hello Maria,I responded to your question a little over a week ago, but for some reason my reply wasn't registered. The short version of what I wrote would simply be "Consciousness implies Responsibility".
27 May 07 17:32
A friend of mine handed me this Tennessee Williams’ play. I am sure you all remember Elizabeth Taylor in “Cat on a Hot Tin Roof”. What struck me was Tennessee Williams’ preface. So I decided to quote him here because I think he got closer to describing what we do and why we do it, than any of us has.“Of course it is a pity that so much of all creative work is so closely related to the personality of the one who does it.
It is sad and embarrassing and unattractive that those emotions that stir him deeply enough to demand expression with some measure of light and power, are nearly all rooted, however changed in their surface, in the particular and sometimes peculiar concerns of the artist himself, that special world, the passions and images of it that each of us weaves about him from birth to death, a web of monstrous complexity, spun forth at a speed that is incalculable to a length beyond measure, from the spider mouth of his own singular perceptions.
It is a lonely idea, a lonely condition, so terrifying to think of that we usually don’t. And so we talk to each other, write and wire each other, call each other short and long distance across land and sea, clasp hands with each other at meeting and parting, fight each other and even destroy each other because of this always somewhat thwarted effort to break through walls to each other. As a character in a play once said, ‘We’re all of us sentenced to solitary confinement inside our own skins.’
Personal lyricism is the outcry of prisoner to prisoner from the cell in solitary where each is confined for the duration of his life.
[…]
The fact that I want you to observe what I do for your possible pleasure and to give you knowledge of things that I feel I may know better than you, because my world is different from yours, as different as every man’s world is from the world of others, is not enough excuse for a personal lyricism that has not yet mastered its necessary trick of rising above the singular to the plural concern, from personal to general import. But for years and years now, which may have passed like a dream because of this obsession, I have been trying to learn how to perform this trick and make it truthful, and sometimes I feel that I am able to do it.
[…]
Of course I know that I have sometimes presumed too much upon corresponding sympathies and interest in those to whom I talk boldly, and this has led to rejections that were painful and costly enough to inspire more prudence. But when I weigh one thing against another, an easy liking against a hard respect, the balance always tips the same way, and whatever the risk of being turned a cold shoulder, I still don’t want to talk to people only about the surface aspects of their lives, the sort of things that acquaintances laugh and chatter about on ordinary social occasions.
I feel that they get plenty of that, and heaven knows so do I, before and after the little interval of time in which I have their attention and say what I have to say to them. The discretion of social conversation, even among friends, is exceeded only by the discretion of “the deep six”, that grave wherein nothing is mentioned at all. Emily Dickinson, that lyrical spinster of Amherst, Massachusetts, who wore a strict and savage heart on a taffeta sleeve, commented wryly on that kind of posthumous discourse among friends in these lines:
I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
‘For beauty,’ I replied.
‘And I for truth, - the two are one;
We brethren are,’ he said.
And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our names.
Meanwhile! – I want to go on talking to you as freely and intimately about what we live and die for as if I knew you better than anyone else whom you know.”
10 Jun 07 18:45
I'm asking help to open my space art on art process, could me lell how can obtein that? thans claudio schirinzi.
05 Jul 07 19:41
On April 15th last Hillel Kagan challenged his fellow artists to express their passion.
What do you do and why do you do it, he asked.
He later admitted that he was embarrassed by his outburst of passion explaining that it was made under the influence of alcohol. Thereafter, he conducted a polite and comfortable chat with other members of the forum.
The following is my response to the challenge. No apologies, no excuses, no punches pulled.
BEGINS
Artists? Who the fuck do they think they are? What the fuck do they think they are? What the fuck is art anyway?
Well, the first thing to be said is that all artists are human animals and the human animal occupies a very narrow band on the spectrum of existence.
Let’s take a quick look at what that existence is and the place that humans occupy within it.
First, there is what we humans refer to as the known universe which is about 15 billion years old. Within that universe there are billions of galaxies with billions of stars and planets in each one.
Our Galaxy, the Milky Way, has about 400 billion stars and we humans, who have only been around for about a million years, live out our pathetic and brief existence around one of them, the sun.
And what about other life forms within the known universe? Well, I believe there are billions of them spread out across the universe. Some are more advanced than us, some are not as advanced, and some are more or less the same. So we are not unique, we are just one of countless billions of creatures that live in this particular existence.
Then there’s existence in the other direction. Are you aware, right now, of what’s happening on the ground beneath you as you read this, whether it’s carpet, earth or even stone? Life, teeming life, no matter where you are, billions of different creatures living out their lives according to their own place and level of existence.
On we go, right down to the sub atomic level, down to the amazing and quirky world of quantum mechanics and beyond.
But now let’s come back to the human level and you. You are only one of billions of humans, you are severely restricted to your own experiences, you live inside your head and you can never experience what others are experiencing in their heads.
You can look at a bird, elephant, shark, tree or mountain or your lover but you can never be in or really experience any of these animals or things. Your experience of existence outside your own brain is very limited.
Essentially, you are nothing more than an instant of consciousness that is born alone, lives alone and, ultimately, will die alone.
Furthermore, you can only see a very limited amount of this tiny planet, only meet a tiny number of fellow humans, only experience a very limited number of experiences before that instant of consciousness is snuffed out, like a candle flame, forever.
And this is just to confine ourselves to the now, it is not to mention the events and human experiences of the long past and the unlimited future. I think you get the picture. You, in common with all other human animals occupy a very, very narrow place on the spectrum of existence.
Now, here’s something that’s very important. Everything, every single item, creature, event, including humans, within that existence can be described as art.
From existence itself, to galaxies, to planets, to life, to the piece of shit stuck on the side of your toilet bowl – it’s all art. I challenge anybody out there to name any living thing, any object; any event that is not or cannot be interpreted as art.
Every galaxy in the universe is art, every star, planet and civilization in every galaxy is art. Trees are art. Ants are art. The mad events going on in Quantum Mechanics are art. The dirt under your finger nail is art. Art is everywhere and in everything.
So, where the fuck does that leave artists? In other words what the fuck is an artist if everything is or can be interpreted as art? The answer? - Artists are manipulators.
When an artist creates a piece of work, he is merely using his mind and mechanical ability to rearrange existent material that reflects something he sees in the outside world or he is projecting into the outside world something that he ‘created’ inside his mind.
It is the human mind, in cooperation with a physical mechanical ability to manipulate materials outside the mind that creates human art.
And remember this; the artist’s hands, brain, materials, and even his thoughts/imagination and experiences are all part of existence, they are all part of the natural order of things in the particular universe that we happen to inhabit.
Look at Mount Everest. Its art, or perhaps more accurately, it’s natural art. It’s got structure, colour, beauty and presence. So what’s the difference between natural art and human art?
Manipulation of existent materials is the difference. You, the artist are an existent material, your brain and imagination are existent materials, the tools and paints you use are existent materials, the energy, both physical and mental, you use to create art, are existent materials.
You look at the mountain and by a process of physical and mental manipulation of existent materials you create something new, something that nature did not create although all the material have been provided by nature. You are manipulating natural materials to re-interpret natural materials already in existence.
Natural art, specifically, is all of existence, all of nature, all of everything including the human body and mind. Human art represents a tiny fragment of that existence and is created because humans have a certain physical/mental capacity to manipulate the materials of existence.
Human art, specifically, is the ability of humans to take existent materials of nature and manipulate them into various representations that reflect their own place in existence both physical and mental. Art is manipulation, artists are manipulators.
So, if art is the manipulation of existent natural materials by the human animal, what is an artist, why is it that some humans have artistic capability and the great bulk of humanity does not?
The best way to answer this question is by asking another one - why doesn’t every human have the same abilities and talents as a Leonardo Da Vinci or an Einstein? The answer, of course, is obvious. Every human is different; every human is born with a particular brain that provides certain abilities and talents.
The great bulk of human brains are average. The great bulk of humanity is talented enough to make a living, copulate to make some more humans, have a couple of pints and die.
A tiny, tiny percentage of humans are born with above average brains, with a brain configuration which gives them above average abilities in certain activities.
Einstein, Shakespeare, Hitler, Caesar, Plato, Caravaggio and Sheridan are just some of the more obvious examples.
I have already defined human art as the ability to manipulate the materials of existence. I now want to define an artist as a human that has been born with a particular brain configuration that provides him with the ability to manipulate those materials. Let’s call that brain configuration - the creative spark.
If you have that creative spark then you are an artist. It means you have an ability to see things in a particular way, to see beyond the obvious and you also have an ability to manipulate the materials of existence so that your unique way of seeing reality can be manipulated into existence and put on display for all the great unwashed to goggle at and pass their ruthless and mostly ignorant judgement.
But how do you know you have the creative spark? How do you know you’re not just an average Joe Soap masquerading as an artist?
Well, to find out let’s take a walk down the hall of life. The hall of life begins at a very early age. It’s lined with doors on each side and right at the very end, there’s a coffin. It is important that the coffin is always, to some degree, kept in sight. It’s a salutary reminder that time and talent should not be wasted on the journey down the hall.
Although there are many doors on each side of the hall only some of them have signs indicating what’s beyond - Education, sex, work, ambition, love, pleasure but most doors have no signs at all.
Most humans are average so they travel down the hall only opening the safe doors that have names. Many humans are restricted by other humans as to which door they may or may not open. A few are brave enough to open an unknown door and find they are unable to handle what they see/experience and never do so again.
The artist doesn’t open any doors -- He fucking blows the shit out of them all, especially the unnamed ones. He uses his boot, a fucking shotgun; a cannon, a fucking bomb to smash the fucking door down, he strides into the room without fear and faces whatever he sees there.
Here are just a few examples of what might face the artist beyond the doors.
SEX. Man/woman, man/man, woman/woman, man/dog, it doesn’t matter. He sees mad, wanton, uncontrolled, lustful sex, real fucking sex. He sits down and paints what he sees.
He than takes his work out into the hall and shows it to the great mass of average humans who are carefully and boringly making their way through the hall of life.
NATURE. Could be a tree, river, mountain, flower, storm. The artist sees, I mean really fucking SEES what he’s looking at and puts it on canvas or whatever medium he’s using so that the great mass can experience what they are unable to see by their own faculties.
WAR. Ah stupid, stupid, stupid fucking war. Look at all those fucking mad normal humans butchering each other. What a crowd of primitive morons, all doomed, eventually, to total and well deserved fucking destruction. You paint the fucking idiots while they practice their imbecilic art. Then you take your work out into the hall and show them what they really fucking are.
YOU. You burst into a room and find yourself there in all your mental and physical nakedness. You SEE everything about yourself, your deepest, most secret, and most frightening characteristics. You manipulate the materials of existence to create an accurate representation of that you.
Then you take it out into the hall and show it to the great mass of humanity, the vast bulk of whom will completely misunderstand what you are trying to portray.
But what they think doesn’t matter a great deal. What matters is that you ruthlessly stay true to the truth and have the balls to show it to everybody.
And what kind of reaction can you expect from the great mass? Astonishment, disgust, praise, incomprehension, tears, hatred, fear, even violence – any or all of these reactions are good.
There is only one response, only one nightmare reaction for the true artist – Indifference.
If your work doesn’t get any reaction, if your work is seen as just another ordinary object in the ordinary world of the non artist, then you are not a true artist. You are just one of the masses with perhaps a little talent and a tentative curiosity.
I’m 55 years of age and I’m an artist. The creative spark only activated about two years ago so already I’ve traveled more than half way down the hall of life and that fucking coffin gets more visible every fucking day.
But I’m kicking down doors big time and I’m going to continue doing so until I reach that fucking coffin, then I’ll kick the shit out of that too.
And when death finally grabs me and begins to put me down, I’ll be kicking and fucking screaming – do your worst you fucking bastard, do your fucking worst, you bastard, you bastard, you bastard,…………
ENDS
Anthony Sheridan
Philosopher, commentator and general shit stirrer.
25 Jul 07 01:35
I believe this is a site where to discuss about art between artists, not to question if artists and art exist or not ... whether we don't have clear limits or there are no casts and hopefully there is no such an art religion, I guess that someone who starts puking within this place should be at least be able to show what he is capable to create himself.so, what are you doing here, Sheridan?
this is not Free Radio FM
25 Jul 07 12:24
Nice try Sheridan.However, your text fails to make its subject distinct let alone present a valid argument to support whatever you intended this text to be about.
Suppose that you intended to provide a definition for the term “art” or/and “artist”. The choice of picking your argument out of a field that is more relevant to physics and biology is an ill one. And that is for the mere fact that the field of artistic practice is a different one. It is the field of human experience (no matter how insignificant in the cosmos) and any query on the nature of art has to do with identifying the order of objects of intentionally created such form, that have such properties, material or other, which form a perceptible, meaningful, content. The experience generated by the perception of this content is of a completely different sort of that generated by the sensual perception of ordinary objects in nature, which, contrary to objects of art, do not have any content and can only be contemplated and therefore described as beautiful, ugly, disgusting, shocking etc. I should add that mere representations that lack content which can be aesthetically appreciated and thus become objects of appraisive claim and not descriptive affirmation, automatically join the order of ordinary objects (no matter of how high craftsmanship).
Therefore, the galaxy and the stars no matter how awesome, the ants and the dirt under your fingernails, are not art. Neither is foul language. Regardless the fact that it has the effect of offense or attraction, depending on age, intellectual level, moral background and level of emancipation, all factors once again irrelevant to art.
Now, after having mixed astrophysics with Hitler and human excrement with Einstein, let’s suppose that you tried to define the term “artist”, or maybe artistic behaviour, (or was it artistic sex life?) or whatever the point was anyway.
You will most certainly be disappointed to find that even though artists manage to manipulate mater in such a remarkable way that it carries meaning from their lonely life in their heads into the heads of other prisoners of the human little brain, they seldom behave in a common way. Your literature about their heroic walk through the hall of life could impress an editor of a monthly magazine for amateur writers. But, take my word for it, many artists make their way through life struggling against the awe of their experience that sometimes get too much to master, and worse, gets too much to manage to share.
You know, there was once - I don’t remember if it was in the 30’s or when exactly - a way to write poetry that was very trendy. It was called “automatic writing”, and it consisted of starting to write in a condition of emotional charge, whatever came to mind, until the writer achieved discharge. Sigmund Freud used it also as a therapy means. Some good poetry came out of few of these writings. Nevertheless, it is highly recommended to avoid this kind of self expression when it is attempted to present serious arguments on a subject most thoroughly investigated by uncountable monsters of philosophy.
P.S “If your work doesn’t get any reaction, if your work is seen as just another ordinary object in the ordinary world of the non artist, then you are not a true artist. You are just one of the masses with perhaps a little talent and a tentative curiosity.”
This is true, I give you that.
25 Jul 07 17:29
This thread started with 'Consciousness implies Responsibility'. Maybe it would be good to get back to basics and look at the relationship between the artist and politics. Here are some of my thoughts on the subject.Some Notes on Political Art
What is political art? What makes art political?
It is very difficult to define political art. Views on what makes art political can range from the idea that all art is political (i.e. it either implicitly supports or explicitly opposes the status quo) to pointing out, for example, the obviously political murals on walls around Belfast. As a way of narrowing the former and broadening the latter I suggest here a view of political art that uses three categories: Portrayal, Promotion, or Projection.
Portrayal
In the first category ‘Portrayal’ covers art that says ‘this is what happens if, is happening now or happened in the past’. This kind of art describes events or situations that people find themselves in as a result of social or political structures. Any political perspective is implicit in the art but is also free-floating. For example, a painting of a white man whipping black slaves describes a particular situation where the black man may say, ‘Yes! That is how we are treated!’ yet the slave-owner may say, ‘Yes! That is the way to treat them!’ Thus both sides can see the confirmation of their point of view in the work of art.
For the slaves, the ultimate effect of such art may be positive or negative. In a positive sense it may create group awareness and solidarity, or, in a negative sense, it could also consolidate inertia, a feeling that nothing can be done to change the situation. The art styles or movements of Realism, Social Realism and Naturalism could fit into the category of ‘Portrayal’.
Promotion
In the second category of ‘Promotion’ ways and means towards the resolution of the problem are presented. That is, a particular aspect of an event is highlighted over other aspects. This aspect would concentrate on the people or groups who are actively struggling to change the situation in which they find themselves.
Thus one view of an event, that which would encourage others or strengthen an activism already present, is promoted over images of the event that may have the opposite effect. In this case, the politics of representation takes precedence over the representation of politics.
Unlike ‘Portrayal’, this type of art is harder to manipulate from an opposing point of view. The politics is generally explicit and can have a positive inspirational effect. The art styles or movements of Socialist Realism and ‘Political Art’ (e.g. murals, banners, posters etc.) and Social Realism to a certain extent could fit into the category of ‘Promotion’.
Projection
In the third and last category ‘Projection’ refers to art that takes disparate elements and then recombines them to form a new image. It is an art which says ‘This is what could happen or could be if ...’. Art styles or movements such as Surrealism, collage, utopian or visionary images would fit into this category. Such speculative art can have a positive effect of providing inspiration by suggesting ideas that are outside one’s usual ways of thinking, and can be implicitly or explicitly political.
For example, a picture showing the Rock of Cashel (ancient fortress in Co. Tipperary, Ireland) with a Japanese Shinkansen bullet train speeding by may be a jarring conjunction of images but suggests the possibility of a super fast transport system in Ireland. Therefore it has social and economic implications for the Irish State which in turn makes it implicitly political.
However, like in the first category Portrayal, opposing political viewpoints can claim this image for their vision of the future. The same scene would be explicitly political though, if, for example, ‘Workers of the world unite’ was written on the side of the Shinkansen.
Thus it can be seen from the above categories that the representation of particular actions or the inclusion of particular types of text ties an image down to an explicitly political perspective. The past, present and future, with some overlapping, are also covered in this way of seeing or defining political art.
21 Nov 07 12:49
I find it of personal interest that I attended the same artschool as Caoimhghin, though perhaps 10 years or more earlier that he. Furthermore, I recognize the emphasis on the politics of art that was prevalent also during my years there. Then I was first exposed to the work of Hans Haacke, an artist I continue to admire greatly. I loved how he would turn on his apparant benefactors to expose how they manipulate art and the artist for their own ends, usually to do with consolidation of their financial and political influence. (In an Irish context this would also have been to do with the affirmation of British military domination and colonialization to "civilize" the ignorant Gaelic savage - an unresolved question even to this day, considering northern Ireland still being a part of the queen's empire).
Indeed art as a symbol of social elitism is a story we are well aware of, through it's long history of patronage by church and state.
Also of interest is the idea of artworks being a mechanism to underpin, or represent, the social mores of the society at any time. One example I remember being the discovery and celebration of the Venus de Milo as a masterpiece of art in victorian times. As you well know, that work represents a mostly undressed woman with no arms. Some would simply say that this image well represents a classic victorian male view of womanly perfection as sexual object who, because armless, cannot physically resist the dominance of the male "of the species", and hence it's popularity at that time - even more so as it is a product of ancient Greece, the root of the civilized Western world, hence a guarantee of truth.
Following this line of manipulation, we enter into the realm of the hipocracy of the artist playing the role of deviant from the norm, yet at the same time helping to legitimize the norm in it's manifestation of financial/political dominance in return for personal recognition and financial security.
It comes back to Caoimhghin's statement of "Consciousness implies Responsibility", and how you relate (or refute) such a thesis - raising the challenge of should the artist think beyond her/his preoccupation with tecnique and process, and consider instead the role of the artist in today's society, and what is, if any, our collective/individial responsibility in respect to manipulation by the powers that be.
Should we instead be coming together to propose an alternative art world that reflects the artist, and not the financier?
28 Nov 07 23:43
Historically you can always look back and see how artists and the tools of their art have furthered political agendas, be it church or state. Strangely, removed by several centuries the commissioned agenda becomes less perceived than the innovation of artists to push their purely artistic aims and ambitions beyond the confines of their assigned tasks. Were there true believers among them? More than likely but the ones we seem to extol were the ones that pushed their own agendas while seemingly working with their sponsors and you really never get the feeling that they truly believed in the politics of their assignments, however like admen and publicists of today they had to make a living. Most artists I'm aware of are fairly apolitical having other concerns that preoccupy them. They know how the world works yet for some reason artists believe that what they do transcends politics and communicates to another side of humankind that seeks hope and salvation in the wonder and beauty that the world has to give them through their naturally endowed and then heightened and improved upon senses.
When an artist of today, noncommissioned and free to do whatever he or she wants, chooses to convey a political aim, I become highly suspicious of the artist and their art. That includes your Mr. Haacke or the filmmaker Roger Moore or Ben Shaun or the Russian Constructivist poster and pamphlet makers, Mexican muralists and so on and so forth They made and make interesting things and quite often things of beauty and interest but so do the artists and film makers that advertise soap and toothpaste and at least they get a weekly paycheck.
So what's our role as artists? As I've said time and again... to open peoples' eyes, ears, minds to that which eludes them, no political intrigue intended, I'm speaking of pure human experience appreciated to the utmost. If in the end we create some kind of commodity that will be exchanged or qualified by merchants, traders or collectors, that's a thing that's beyond our control. Let them do what they have to do and let the politicians and "propagandizers" do what they must but above all leave the artists alone to continue on their singular paths.
29 Nov 07 22:46
Hillel,I'm so glad you recommended this site to me. Finally a place where people will be honest, although I do agree with your initial statement about this site being pretty tame. Let's turn it up a notch. "Why do I paint," in answer to Mr. Normal; because I am an artist... I can paint... I have the need to express my ideas about our society. I contribute to history and society unlike Mr. Normal who goes along with society and doesn't make his mark.
My biggest pet peeve about Mr. Normal's is when they ask me what I paint, of course. I answer, "Abstract Expressionist oil painting." They say... "So what inspires you to paint what you do?" Ahhhhhh. I just told Mr. Normal I paint abstract expressionist oil paintings, doesn't he get it? I have to calm down when that happens and say to myself. He doesn't know. How could he in our society of bubble-gum rock and fast food? So I help him... I'm bored when he talks about life insurance premiums definately, but most people who ask what you do for a living are just making small talk, but when Mr. Normal asks me why I paint, or what is my inspiration... I think, maybe naively, that he wants to know or he wouldn't have pursued the conversation past what do you do for a living. We need to break down the walls between artist and viewer for a greater understanding and appreciation of art in all its forms. As an artist I do not feel like I'm living a romantic life. Romance doesn't include scraping by by the skin of my teeth every day. I suffer for my art because I must. I didn't have another option in my life. I still don't. I don't know that I would want another life style though.
04 Mar 08 02:26
Abby, you make some very valid points about our obligations as artists to reach out more to the general public. Anybody we can infect even slightly with the art bug has the potential to be a possible buyer of art one day. The massive attendance at blockbuster museum events shows an openness towards art, of course those shows are publicized like crazy. I think the commercial galleries have to take some blame, I'm sure the snooty environments in many of them turn off a lot of people who venture beyond the museum. In any case I agree, we should make the effort, we can only benefit.
04 Mar 08 17:02
In response to Anthony... A philosopher. First of all, I found your arguments very convincing and energetic... perhaps "fuck" flew around a little gratuitously, but if you must... Your arguments seem very strong, but have some fatal flaws.
I agree with you that, "The mad events going on in Quantum Mechanics are art....Art is everywhere and in everything." I whole heartedly agree. I love quantum theory. I participated in a dialectic with an Oxford professor on quantum physics to Aquinas. I have studied Physics and Quantum Theory and Religion with rigor, both in school and as a personal interest. I would love to talk more quantum mechanics or physics with you if you have the time.
However, you say that we are only a part of this particular universe that we inhabit and that we, as artists, are only manipulating that natural existence. First of all, Universe implies everything. There are not many universes. The term universe literally means one song, one entity and all encompassing. So perhaps you need to revise your theory about many universes. Perhaps there are other worlds out there that are inhabited, but they are still all part of the one universe we also inhabit. I do agree that it is possible that there are forms of life out there that maybe more intelligent or less intelligent. We as humans, after all, only use 10% of brain potential... (and those people who use 10% are of the most intelligent of our species). It is interesting to note that humans only use 10% of our brains and 90% of the universe is, as of yet, undiscovered. It remains hidden behind the veil of our untapped mental resources. Furthermore, if we are all part of this one natural universe, as you say, and I agree... then are we not natural art and is the art we create not of the natural universe as well? Of course it is. Our art does not exist independent of this living universe.
I do agree that we have the ability, by virtue of our distinct brains, to manipulate the natural world in order to create art. And what a wonderful ability. We are, as artist's creators. Our art is everywhere in the natural world. You say, "Art is everywhere and in everything," that sounds like God... omnipotent, omnipresent, does it not? Humans have a frontal lobe which is what allows us to constantly have our eye on the coffin as you say. We have the ability to predict the future by virtue of our frontal lobes. All religious asperations stem from our frontal lobes. Our frontal lobes are what allows us to create art... to interpret it in a larger sense and to grasp things like quantum mechanics (things we can't detect with our sense perceptions, but know exist). So as artists in control of the creation of art (all encompassing), what does that mean for us as artists.
I believe it means we are the interpreters of the greater universe. We are the channelers of the information filtering through our minds (our frontal lobes). We are given the lofty prospect of showing the limited world our greater knowledge of the universe and our medium is art. Artists can be anyone who takes on the role of interpreter to the masses. We are the bringers of knowledge to the uniformed populace walking down the corridor of life. (love your metaphor by the way)
So we are not merely manipulators as you say... we are manipulators with a goal... to enlighten.
You follow the statement about artists as merely manipulators with the idea that it may also be that, "he is projecting into the outside world something that he ‘created’ inside his mind." I do disagree with this. We are creators, but we are not creating works independent of the outside world. Everything we create is a manipulation, as you argue, of the outside universe (nature or existence). We are not independent of existence. Things we create do not spring from nothing into existence in our minds (else we really would be gods... the argument of the unmoved mover i.e. the unchanged changer... as a philosopher you know what I mean)
You mention that, "Essentially, [I am} nothing more than an instant of consciousness that is born alone, lives alone and, ultimately, will die alone." How sad that you think this even though your logic in other area's suggest that you do not believe this idea. If art is everywhere and in everything, and we are art(natural art)because we are all part of the universe i.e. our minds and bodies then how can you say we are alone in it (the universe). We are not alone in our minds, we are a part of the whole universe. From a less relative argument, we are still all part of the universe and are all linked by the energy in everything around us and in us (Hello, Quantum physics) energy, quarks, neuclei, atoms, molecules, organisms, people.
Of course every human is different and our bodies are different from one moment to the next... our minds are different (on a scientific basis) from one moment to the next, and yet there is a part of us all that walks down the corridor, and we are all impermanent (please explore the law of impermanence for your self) However, there is the possiblity of an artist in everyone. We are all capable of being interpreters if we only direct our attention inward in order to explain the outside (the microcosm is indicative of the macrocosm). Here is an interesting truth that sums up this idea... "It is on account of emptiness that all things are at all possible," Nagarjuna. If there is the lack of an artist or a creator in someone, it is only because the possibility of being an artist exists and has not yet become realized. You are a good example... After 55 years of existence, you realized your potential as a creator, manipulator, interpreter. You were inherently born an artist. We are all born with the ability, as humans, to create and interpret by virtue of our frontal lobes, but it is our experiences in this universe that lead us down certain paths or to open certain doors at certain times in our lives. The doors were always there for us, just as they are there for everyone to either walk past or open.
"YOU. You burst into a room and find yourself there in all your mental and physical nakedness. You SEE everything about yourself, your deepest, most secret, and most frightening characteristics. You manipulate the materials of existence to create an accurate representation of that you." One of the doors of our lives we all need to open. Who are YOU? I would ask.. are you the sum total of just your deepest or frightening characteristics? I say no, we are not our sense perceptions.. that is constantly changing.. we are not our bodies as they are also changing.. we are not even the same personalities we used to be. For example you are not the same person you were when you were say 19 years old. You are a practicing artist now... an interpreter... a manipulator, but you did not practice art in the form you do now. So who are YOU. Look at the person reading this... Look at the person thinking about this... that is you, and you are part of the whole cosmic universal energy. There is no accurate representation of you unless you are able to represent the entirety of the universe in one piece.
If all this is true, and I believe it, I've seen it, and I live it... then why are you afraid of death. It is not an end... and who is the bastard... the universe that feeds your creativity and puts the doors on either side of you to choose.
Remember, "It is on account of emptiness that all things are at all possible," Nagarjuna. Death is not the end because, on a scientific level... energy is neither created nor destroyed... it only changes form. We are... therefore we are energy... we exist in this universe and therefore we will always be a part of it just in a different form. I'm sorry you are so afraid of death... especially at only 55. You have so much more to celebrate in life to be so cynical. You have art... the universe, in the palm of your hands... manipulate it change it so your happy... Pleeease.
Peace
Abby
05 Mar 08 19:36
In response to Anthony... A philosopher.First of all, I found your arguments very convincing and energetic... perhaps "fuck" flew around a little gratuitously, but if you must... Your arguments seem very strong, but have some fatal flaws.
I agree with you that, "The mad events going on in Quantum Mechanics are art....Art is everywhere and in everything." I whole heartedly agree. I love quantum theory. I participated in a dialectic with an Oxford professor on quantum physics to Aquinas. I have studied Physics and Quantum Theory and Religion with rigor, both in school and as a personal interest. I would love to talk more quantum mechanics or physics with you if you have the time.
However, you say that we are only a part of this particular universe that we inhabit and that we, as artists, are only manipulating that natural existence. First of all, Universe implies everything. There are not many universes. The term universe literally means one song, one entity and all encompassing. So perhaps you need to revise your theory about many universes. Perhaps there are other worlds out there that are inhabited, but they are still all part of the one universe we also inhabit. I do agree that it is possible that there are forms of life out there that maybe more intelligent or less intelligent. We as humans, after all, only use 10% of brain potential... (and those people who use 10% are of the most intelligent of our species). It is interesting to note that humans only use 10% of our brains and 90% of the universe is, as of yet, undiscovered. It remains hidden behind the veil of our untapped mental resources. Furthermore, if we are all part of this one natural universe, as you say, and I agree... then are we not natural art and is the art we create not of the natural universe as well? Of course it is. Our art does not exist independent of this living universe.
I do agree that we have the ability, by virtue of our distinct brains, to manipulate the natural world in order to create art. And what a wonderful ability. We are, as artist's creators. Our art is everywhere in the natural world. You say, "Art is everywhere and in everything," that sounds like God... omnipotent, omnipresent, does it not? Humans have a frontal lobe which is what allows us to constantly have our eye on the coffin as you say. We have the ability to predict the future by virtue of our frontal lobes. All religious asperations stem from our frontal lobes. Our frontal lobes are what allows us to create art... to interpret it in a larger sense and to grasp things like quantum mechanics (things we can't detect with our sense perceptions, but know exist). So as artists in control of the creation of art (all encompassing), what does that mean for us as artists.
I believe it means we are the interpreters of the greater universe. We are the channelers of the information filtering through our minds (our frontal lobes). We are given the lofty prospect of showing the limited world our greater knowledge of the universe and our medium is art. Artists can be anyone who takes on the role of interpreter to the masses. We are the bringers of knowledge to the uniformed populace walking down the corridor of life. (love your metaphor by the way)
So we are not merely manipulators as you say... we are manipulators with a goal... to enlighten.
You follow the statement about artists as merely manipulators with the idea that it may also be that, "he is projecting into the outside world something that he ‘created’ inside his mind." I do disagree with this. We are creators, but we are not creating works independent of the outside world. Everything we create is a manipulation, as you argue, of the outside universe (nature or existence). We are not independent of existence. Things we create do not spring from nothing into existence in our minds (else we really would be gods... the argument of the unmoved mover i.e. the unchanged changer... as a philosopher you know what I mean)
You mention that, "Essentially, [I am} nothing more than an instant of consciousness that is born alone, lives alone and, ultimately, will die alone." How sad that you think this even though your logic in other area's suggest that you do not believe this idea. If art is everywhere and in everything, and we are art(natural art)because we are all part of the universe i.e. our minds and bodies then how can you say we are alone in it (the universe). We are not alone in our minds, we are a part of the whole universe. From a less relative argument, we are still all part of the universe and are all linked by the energy in everything around us and in us (Hello, Quantum physics) energy, quarks, neuclei, atoms, molecules, organisms, people.
Of course every human is different and our bodies are different from one moment to the next... our minds are different (on a scientific basis) from one moment to the next, and yet there is a part of us all that walks down the corridor, and we are all impermanent (please explore the law of impermanence for your self) However, there is the possiblity of an artist in everyone. We are all capable of being interpreters if we only direct our attention inward in order to explain the outside (the microcosm is indicative of the macrocosm). Here is an interesting truth that sums up this idea... "It is on account of emptiness that all things are at all possible," Nagarjuna. If there is the lack of an artist or a creator in someone, it is only because the possibility of being an artist exists and has not yet become realized. You are a good example... After 55 years of existence, you realized your potential as a creator, manipulator, interpreter. You were inherently born an artist. We are all born with the ability, as humans, to create and interpret by virtue of our frontal lobes, but it is our experiences in this universe that lead us down certain paths or to open certain doors at certain times in our lives. The doors were always there for us, just as they are there for everyone to either walk past or open.
"YOU. You burst into a room and find yourself there in all your mental and physical nakedness. You SEE everything about yourself, your deepest, most secret, and most frightening characteristics. You manipulate the materials of existence to create an accurate representation of that you." One of the doors of our lives we all need to open. Who are YOU? I would ask.. are you the sum total of just your deepest or frightening characteristics? I say no, we are not our sense perceptions.. that is constantly changing.. we are not our bodies as they are also changing.. we are not even the same personalities we used to be. For example you are not the same person you were when you were say 19 years old. You are a practicing artist now... an interpreter... a manipulator, but you did not practice art in the form you do now. So who are YOU. Look at the person reading this... Look at the person thinking about this... that is you, and you are part of the whole cosmic universal energy. There is no accurate representation of you unless you are able to represent the entirety of the universe in one piece.
If all this is true, and I believe it, I've seen it, and I live it... then why are you afraid of death. It is not an end... and who is the bastard... the universe that feeds your creativity and puts the doors on either side of you to choose.
Remember, "It is on account of emptiness that all things are at all possible," Nagarjuna. Death is not the end because, on a scientific level... energy is neither created nor destroyed... it only changes form. We are... therefore we are energy... we exist in this universe and therefore we will always be a part of it just in a different form. I'm sorry you are so afraid of death... especially at only 55. You have so much more to celebrate in life to be so cynical. You have art... the universe, in the palm of your hands... manipulate it change it so your happy... Pleeease.
Peace
Abby
06 Mar 08 15:23
Back in 1991, an incident occured near the town of Oka, Quebec, here in Canada. The press called it the 'Mohawk Revolt' and you can google it. But what it was is not so important for this discussion.At the time, I was travelling with my family on the north shore of Lake Superior. To the east was Oka, and an important manifestation of a real issue, to the west was home and studio.
Which brings me to the questions in the topic - 'What and Why'.
A change of venue, to my 'portfolio'...
18 Apr 08 12:21
I seem to remember whenever an exhibition opening occurred, other than the viewing of the work, it was also that time when artists would leave their own studios and gather to meet as a group, to give their viewpoint on their colleague's show, to discuss their own work with fellow artists, to bitch, gossip, seek advice, argue - basically, a social occasion for those who would normally shy away from collective events, preferring to spend their time alone working.Maybe I'm getting old, and see things in a different perspective now, but my impression nowadays at an opening is that the artists have become businessmen and women, operators, eager market researchers. Instead of a friendly meeting of peers, it seems to consist of a deadly serious occasion to retieve information to further a career, the pressing of business cards, where the artists are found busily surrounding the critic, gallerist, or buyer with hopeful, wannabee-a-star smiles, and only speak to other artists to find out who's been more successful in the race for business.
Perhaps mistakenly we used to view the artist as the precursor, and that the critics and business side were mere hangers-on, dependent on what we produced. Our idea of success was the truth of a fellow artist's work, and not how good s/he is at getting ahead in the game?
04 Feb 07 05:37
It all comes down to economics. The museums and media perpetuate a star system. Museums finally cottoned on to the idea that blockbuster shows and media stars sell tickets and that's the way it is. Since business is the order of the day (and it probably always was despite some of our youthful and idealistic notions) it's not surprising that young artists are attending and emerging from art schools with notions of becoming art stars in competition with their friends that aspire to be rock and movie stars all of whom are called "artists" nowadays. Being outrageous in both work and personality to be noticed and push forward is what its all about. Success is paramount. Like the cinema where people don't go any longer for the simple escapest pleasure but are now intimate with insider buzz about how much the film cost and what it grossed, and what the stars are up to and what they made, etc.As far as our "business" goes (supposedly one of the quiet arts). The reality is that the number of true appreciators, amongst whom you'll find an even lesser number of art buyers is a very small elite indeed. When I was younger my idea of making it was simply to be shown, sell enough to carry on and hopefully to be part of the larger dialogue that went on in the few art journals that existed. Even those meagre aspirations, given the size of the pie to be carved proved impossible (for me at least). I'm afraid that today's young artists will be doubly and triply dissappointed.
Of course I'm totally out of the loop on this topic having not been to an opening, mine or anyone else's in years but I suspect you're correct in all you've said especially that you're getting old.
05 Feb 07 19:19
One of the problems as I see it is the stance gallery owners increasingly have to take due to the state of the art market. The market is awash with sunsets and abstracts due to the availabilty of relatively cheap raw materials and the fact that anyone can paint a sunset or abstract. Gallery owners need commercial art but they need it from credible people (artists), so much wall space is off limits to artists who have not emerged from some form of artistic higher education. This abundance of artwork and lack of wall space does instill a businesslike voracity in artists.www.roguegenecollective.com
06 Feb 07 10:41
I'm not sure exactly what the topic is. I thought I did when I responded and probably confused matters with my inane ramblings. Just to review J.P., you started this off with your nostalgic memories of a time when artists toiled alone in their studios, lone wolves whose only aim was to further the state of the arts, Once in awhile they would emerge to attend the opening of a peer's show where the debates about art would take place. Add heavy drinking, pot smoking and other hallucenagens and the event would usually end with fisticuffs, hospitalisation and possibly a death or two. In other words a good time was had by all. No business, no career ambition just pure art.That's the way I remember it as well, only it really never was that way. The artists were as ambitious then as now, as a matter of fact the fisticuffs were usually the result of professional and career envy. Maybe today's artists are just more forthright about the whole thing.
J.P. I know there's a topic here somewhere, maybe you can rephrase it so I know what we're talking about.
09 Feb 07 01:38
I find it repellant that a lowly gallery owner places more value on a blank wall than a piece of art... making the artist feel like they are priveleged to be offered a small portion of that blank wall. Spineless chaff.
09 Feb 07 13:18
I think I was leaning more towards the competition of art-making as opposed to that of career-making. How many times have you exited a gallery irritated by yet another show of mediocre art? For me, competition in art manifests itself on those rare occasions when you find yourself saying out loud "YES!" in front of an artwork. You've stumbled on someone who understands, and knows how to communicate the message. The artist has thrown a door open for you, and you stand there grinning and rinvigorated, suddenly full of a need to know more, research, and return to your studio to try out some tentative steps through that doorway. To find an artist who is "better", more advanced and experienced than you is usually a source of energy and enthusiasm to renew your own efforts to show that you can take up the challenge in reply. I don't think envy even comes into it.
Career-making, on the other hand, doesn't move me much. I say good luck to those who make it and can sustain the pace.
Regarding the possible topics of my incoherent ramblings:
1. What constitutes competition for an artist?
2. Are we becoming ever more dependent on recognition from the art business in order to realize ourselves as artists?
10 Feb 07 14:01
An artist's only competition is with their own self. To give vent to their own unique vision given whatever abilities, both innate and learned that they may possess. Any other competition is superfluous but given the nature of human beings artists being human are competive to greater and lesser extents. Sometimes the competitive spirit can be a good thing, spurring the artist on to greater and quicker achievement. Witness Picasso's and Braque's monumental achievements in the early 1900s. Some say it was a partnership but I would say it had much to do with competition. Their later non- relationship spoke much of that early competition, who was the first, who was the greatest, who was heading in the more proper direction. The initial positive competition had become negative but don't forget fame and fortune had entered the picture. When those elements don't exist art usually thrives. The artists might be starving but when there is absolutely no hope of selling, the advanced artists doing the "new, ugly and unaccepted work" usually produce their best work and remember the time as perhaps brutal physically but spiritually uplifting in the comradely spirit of competition amongst their peers, ie. New York in the 1950s.So when I see or sense the kind of competition you see at your "nowadays" openings it tells me two things. Firstly the young artists smell money (fame and fortune). Secondly their not doing their main job as artists which is to be and express to the fullest their own unique humanity and are instead trying to please the marketplace, art dealers, critics, grant jurys and so on. The first order of their business should be to look deep into themselves and find out who they are, what truly moves them, what they love and not allow the system to bestow it's aesthetic judgements on them. Just for the record the establishment has always proven itself wrong.
20 Feb 07 16:32
i agree, to an extent competition is healthy, when i see a great artwork it inspires me..moves me to want to achieve the same level in my self...(in my own way of course).my drive is to achieve the best i can of myself, within my limited resources, finance ( and space)..more often than not though i feel disappointed these days when i visit a gallery..art has seem to become a confusing muddle..im sure some would think i add to this muddle! such a subjective subject..and maybe this is its power! some work i see that i dont 'get' at first i find myself returning to, until i finally realise that its taken grip..still a lot that hasnt taken a hold yet though..
14 Mar 07 01:23
basically we are talking about helthy competition! and I belueve it does exist. I am no speaking of the trendies...Good luck to them.
I am speaking of the necessary communication between ourselves, the wonderful exchange of ideas that can inspire of open a window, a perception.That we need and we sorely miss. this world is a jungle. It is wonderful that you have created this space. there should be more of them or more of us...bridget
16 Mar 07 07:32
Patience and awareness of the fact that quality is the fruit of hard gained, deep rooted experience. Our young lack these two elements together with genuine curiosity that triggers all kinds of research.It is not a phenomenon only among artists. It is a disease that has contaminated our society and has made its young members impatient. Whatever their field may be. They want to study fast, if they can get their studying methodology fed to them by some scandalously paid tutor the better. They want to become original and stand out fast, no matter if their “originality” is just based on cheap attention catching tricks that blow out as soon as the next guy comes up with the next trick. And all this should be supported by the right appearance too.
The actual problem though, is that it is not their fault. They – We are forced to this. I have been in contact with students, teaching for the last seven years and all I found was this. The educational system is producing such and such society members to take part in such and such race in the job market. And being a visual artist is getting closer to having a job in show business than being a thinker, an educated researcher. The art world is all about money. We all know what galleries want. Think about what modern art museums have become. They hold fashion shows, for heaven’s sake.
I remember my last year in art school. My teacher, who had always said that a young artist needs approximately ten years of study, in or outside the school, before he can have his first serious exhibition, was about to retire and his successor had immediately started to introduce undergraduates to local galleries, imprisoning them in the system or compromising the future of those not chosen by him.
I don’t know what the solution might be. It is too hard a swim against current. But for sure if there is ever going to be a change it has to come from the inside. From artists themselves. Start talking art between us and take up our own managing could be a good start. It is hard; given that to be an artist one has to dedicate an immense amount of energy in the act of art making itself.
16 Mar 07 10:25
ok so i'm thinking of moving away...maybe edinburgh?
have you any advice in terms of getting into galleries and setting myself up in a professional capacity?
04 Jul 05 16:25
Three things. Wherever you end up, have an introduction to an/some art critics in that city/country, and immediately go enlist their support to help you enter the art world there. You'll usually get the contact from another art critic e.g. if you're on good terms with one where you are now, then ask her/him if they know any critics where you intend to go. The keyword here is "critic" (not "enter" the artworld - which you'll do anyway).Secondly, don't leave without doing a show first. Arrive at your new destination with a well-documented package of your work and the exhibition just completed. Your goal should be to convince someone to give you exhibition space for your next series of work (which will be ready in 12 months).
Thirdly, you should have a plan of action (bullet points, milestones and a deadline), and a backup plan in case the first one doesn't work out. Whatever you do - DON'T DRIFT! Keep concentrated on your goal.
And if you don't have a goal - then you're not ready to go yet.
Hope that helps,
/j-p.
06 Jul 05 07:42
so here i am living in antwerp, belgiumhmmm
not as well planned as i should be
but i have a solo show of 30 paintings here in april
check out my website for all the news!
www.seriouslyhilary.com
xx
27 Dec 05 14:54
Hello Again Hilary... good to see you're doing well and things are working out there in Belgium. Why not check out Fred Michiels while you're there? (fredmichiels.com - some stuff of his is here on artprocess)Best wishes for success with your work and career!
/j-p.
29 Dec 05 19:22
So here I am in Paris. No critics, never met one in my life. Certainly not a real one anyway. What do they look like?I am painting a lot. Perhaps not sticking to the one style at all but a lot. I don't have a plan. I don't know what is possible in fact. What should I aim for?
I know that these questions seem rather naive but then I am. I know nothing about the art world when it comes down to brass tacks. I know dealers and other artists and I act on the advice that I receive but it really doesn't work. So far most have told me to enter art fairs. Not impressed with the results so far and it's very expensive.
No one, not even the critics have suggested that I speak to or look for an art critic to advise me. The only person that has been brave and given me decent advice is an ex-illustrator who is now a publisher and he's been really straight about what he thinks I should do. He has a particular attitude to style though which I think is a reflection of his experience as an illustrator and although I find it suspicious I took his advice with a pinch of salt and added in my own elements. Although it results in a slightly formulaic working method I found it to be deeply satisfying and at the last art fair which I did people commented on the particular painting which I had done that way and suggested that it really suited me.
In Ireland, where I come from, art critics are not people that I would trust. The ones that I have read have seemed deeply shallow and suspiciously condescending towards all but a very few. So what is your definition of an art critic and if you were one, what would you say of my work.
Here are some recent paintings.
[LINK]http://www.tjbyrne.com/newwork,may2008.html[/LINK]
19 May 08 23:01
So as not to get hung up too much on the idea of style, I'd like to suggest that you take just one of those latest paintings, and make it the beginning of a series based purely on that one piece, developing whatever theme(s) interest you most about the work.
You should then be in a position to produce a body of works that "evolve" from the chosen painting into something completely different - yet retaining a thread of logic between each stage. Include drawings, 3-dimensional works, music, video, whatever in your research. Keep taking notes, record your ideas, and create a world of your own within this activity. Such is the traditional approach we learn in art school, and what most critics expect to be confronted with when viewing an artist's work.
Then again any critics I've known were much more desperate to become famous than artists I know, so if you're willing to take that route, be aware you're the vehicle the critic wants to ride on, in order to make his name.
By the way, this advice is coming from a confirmed and certified loser painter, to be taken with a large pinch of salt.
I like Hillel's words he wrote someplace where he says if the world ignores us, we must therefore celebrate ourselves. I'm not really sure what he means by this as the path we tend to tread, I think, lies somewhere between the heroic and the ridiculous.
As fellow Irishman (and like you, a Paris resident) Samuel Beckett said:
"I can't go on, I'll go on."
25 May 08 22:39
JP, those are wise words from a wise man, I particularly like when you quote Hillel because the conversation sounds so Talmudic. The words attributed to me seem familiar but I can't remember where or in what context I wrote them but I believe they did have to do with what I saw as a bit of a new direction for Art Process. (please see)
[LINK]http://www.artprocess.net/opentopic?topic_id=130&topic_title=Taking+a+renewed+look+at+Art+Process.&forum_id=6&forum_title=artprocess.com+-+Directions[/LINK]
If some of those ideas could be implemented and people become more interactive on this site Tom might get the critical piece about his work from one of his peers that he's seeking. Take a renewed look at that Art Process New Directions topic. It's time to attempt to change the culture here on AP, at very least give it one last push.
As for your final quote from Beckett, I couldn't agree more.
29 May 08 01:39
"Career, critics, glossy magazines, commercial galleries, art market bonanzas of the few.. is an alternative possible?"A couple of things have always bothered me. 1) The cliched image of the artist; misunderstood revolutionary, emotional arrogant genius etc., etc. - but when it comes to the career and business side - a change comes over him/her and s/he becomes the docile wannabee art starlet. Am I forcing the issue by saying that somehow I suspect we're just playing into their marketing hands...
and 2) As a kid not long out of artschool in Dublin, I remember that 90% of the real good work being done in the city was outside the gallery/exhibition circuit. Looking back after 20 years, I see still the same old names being touted in the galleries - but what became of that world of unknown guys who really merited the title of the age? Are they still hacking away in their dingy studios? Quit the country?
I suppose the reason for ArtProcess is to try tap into that resource (wherever it should exist) and help provide a means for artists working outside the system show what's really going on.
21 May 05 13:51
SIX STEPS TO OPTIMISING YOUR IMAGES FOR THE WEBWhat is optimising? A geeky, techie term for making files neat and tidy
for the web. However, it's not just about size, but quality too! You
will need software such as the ubiquitous Photoshop, or if you don't
have that, there is a great freebie prog on the net called Graphic
Converter (available from www.lemkesoft.com). Follow these six steps:
1. Take good pictures of your work!
Use a tripod and a shutter release cable, if possible. Do not shoot on
a sunny day, even in the shade (it causes a blue cast). Choose a bright
but overcast day. As an artist, you should already know about the
constancy of a northern light. Use a spirit level if you have one, and
pay due attention to alignment and composition. Images which are
crooked or offset lose definition through the unnecessary tidying up
which has to be done within the software. If your work is small and 2D,
use a scanner instead of a camera. Scanners are capable of picking up
the finest details.
2. Always save (and back up) your original jpegs/scanned files, and
leave untouched!! You may (will) need them again one day.
3. With a copy of your image open in the software, adjust levels
manually with the sliders. In photoshop, the path is
IMAGE>ADJUST>LEVELS, in Graphic Converter it's PICTURE>LEVELS. Never
play with auto fix, auto contrast or auto colour features. You wouldn't
use "grass green" or "flesh tint" paint would you?? Exactly, trust your
eyes, you're an artist!! If you do use "flesh tint", then apologies but
maybe this site is not the place for your work.
4. Crop or trim your image.
White walls and/or a busy background take up valuable file size. Take
note of the importance of taking good pictures, and trimming will be
minimal. Remember, we need to keep the file size small for the web.
5. Resize your image.
Learn to love pixels. Pixels are tiny squares of colour information
that make up your jpeg image. Think of it as a mosaic made of many tiny
tiles. The more tiles there are, the bigger your image, and the bigger
the file. An image size of 600 x 400 pixels is more than enough for the
web. Resize your image so that the longest side is no more than 600
(preferably less), and the resolution is set to 72 PPI (pixels per
square inch). For the web, it is always 72 ppi. Some monitors still
only display at 800 x 600 pixels, so an image that size would fill the
screen! Working well within the 800 x 600 window measurement is
considered a standard for website design.
6. Save a copy of your resized image as a JPEG. In photoshop, it's
FILE>SAVE FOR WEB. In others, it may be SAVE AS. Here you can see your
image two or four up and see in real time the effects of compression
(quality-percentage/file size sliders) on both image quality and file
size. Again, use your eyes, but keep a check on the file size too.
Based on a dial-up 56k connection, an image of 50k will take
approximately ten seconds to download. So, how long would YOU be
prepared to wait?? Five seconds... great, ten seconds ok, 30 seconds,
hmmm, 60 seconds... put the kettle on!! Every image will be different
but aim for something between 20k and 50k. Clearly, you do not want to
compromise quality for the sake of a 15k file, so use your best
judgement. In addition, you can save as a 'progressive' jpeg. In short,
it enables the file to be downloaded in multiple passes, allowing the
viewer to see something of your image, before it fully loads. Something
to look at, whilst they are waiting, so to speak! The jury is out on to
whether to always use it; it sometimes shaves a little off file size,
but if the file is very small it won't make much odds.
15 May 05 17:15
Many thanks Jazz for your very informative (and well-written) article, and for futhering the "By Artists - For Artists" cause! :)As you appear to be a lucky mac user, I'd like to add just one observation: Anyone looking for windows software can choose from the many free examples made available by
submitting the phrase:
"free graphics editor"
in your favorite search-engine.
Linux users have the "GIMP" (there's also a windows version, btw).
15 May 05 17:48
Woops! I forgot there are PC users in the art world! Graphic Converter is MAC only, and, I should add "shareware", which means you can use it for free, but to unlock some extra features they'd appreciate a little cash... about $30, which is quite a bit less than photoshop. I actually prefer it to PS for its easy file browsability (is that a real word or did I make it up?).. it's great for general image housekeeping!
15 May 05 19:49
Hi JP, and Jazz,Non computer inclined people like myself always find this kind of help extremely valuable...........Merci
28 Sep 06 09:49
hey Jazz and Jp thanks for the information. My first uploads were a guess at what size images to use and very pixilated!!
28 Sep 06 10:52
...A quick observation to make on step 5 of Jazz's instructions:By now, most of us are probably using a digital camera to photograph our stuff. Take a look at the configuration of the device to set the image size or resolution - and set it to 640 x 480 (pixels) or similar.
In that way, you won't have to bother with resizing for the web in a graphics editor afterwards. More than likely the filesize will be less than 150 K (the site limit for image uploads), so you can simply choose the image you want and upload directly.
09 Jan 07 06:57
helloi'm a painter based in kildare, though i spend a lot of time in dublin, i like the idea of a community of artists but i have found it difficult to find one! i was glad to find this site...
10 May 05 14:03
I wonder if such a thing as a community of artists is just an idea, and not really realizable at all?
Why do we feel we need a community when we're supposed (according to the cliche) to be such independent beings?
Why the need to talk? Isn't our language visual? Should that be enough?
/j-p.
11 May 05 07:22
i find myself feeling very constrained by being surrounded by people all the time who constantly tell me that my 'pictures' are nice but what am i REALLY going to do with my life... i enjoy being in the company of people who are artistic, i am lucky in that i know a lot of musicians and it inspires and encourages me to spend time with them talking about life and passion and expression... i don't know many painters however and i have been getting the feeling that a lot of visual artists are territorial and protective of their work... i am quite solitary in my work, but i think there is room for community outside of that, for sharing experiances and information...
11 May 05 11:16
I agree that artist communities are difficult to maintain within current insane conditions. We work more than ever but can never get enough done. We breathe ominous disaster and nothing makes sense because it is so completely meta-stratified. The ‘art world’ has become so removed from majority reality that mainstream exhibitions don’t speak so much to me. I'm not sure what the problem is, but I personally sense an underlying desperation (because the artist population is burgeoning/übercompetitive), one that I thoroughly understand in my experiences in NY/Brooklyn.The paradox: I believe global culture needs as many artists as possible to deal with the struggles in which we all find ourselves- to document our respective situations, and to unite in the human predicament towards actively changing the culture that drives us into isolated, market-driven competitive survival stress.
Witnessing Gregg Bordowitz’s lecture ‘On the Passions’ (Artists Space, NY, NY, 3/28/06) was a phenomenon. I believe that he accomplished a heroic act, reaching across mediums and articulating the philosophic and creative catalysts that will inspire the movement for which our world is aching – the movement that will allow us to survive the dismal circumstances of contemporary progression’s addiction to the ‘digital pharmaceutical complex’.
Bordowitz asked us the tough questions, including: How does one work from a point of depression and despair and not be overwhelmed by it? How can one live a life of contentment that is both ethical and pleasurable? How can one be a creative force outside the mediocre offerings of capitalism?
Using Hume's 'A Treatise of Human Nature' as a framework, Mr. Bordowitz articulated how art can change the world through participating in the dependent hierarchy of: Information - Sensing -Meaning - Signification. If we induce a flow that goes both ways in the heirarchy, we can create culture, rather than just letting a hyper-real commodified culture happen to us.
My question for the community:
What is the role of art in an apocalyptic culture? While my pre-generation had primarily to fear communism and the atomic bomb, now we all have a buffet of forces to fear as mass annihilators: viral pandemic and inaccessible health care, polarized religious conflict and ultranationalist evangelical regimes that focus on repetitive condemnation, global warming and climate change, natural disasters, peak oil and energy crisis, economic and social collapse, probable celestial and/or magnetic field event, the ongoing threat of nuclear holocaust with the addition of new states acquiring nuclear technology to defend themselves from being exploited, and other possible shift events such as the discovery of sparticles via CERN’s new super collider, LISA satellite interdimensional communications, and/or Ancient prophecy of the nearing Mayan end time.
06 Jun 06 04:18
Dear Wren,I understand your motivation and also your exitement about what you’ve heard from that Mr. Bordowitz. But art is nothing that helps solve that problems you’ve mentioned nor any other one. Thinking art can make this world a better place is just hybris. It has never and will never. An artist makes art for he has to do it. It’s that simple. In history they have been the fools that decorated the rich and mighty’s places and that is still the same today. So art, exept the works of a few guys who make it into the big business, is made mainly for the artist’ own mental sanity and that of some people who like his art. Remember: 95 % of all artist hardly sell anything. So what will be their influence? Art is a very great and wonderful gift but no tool to solve global problems or problems at all let alone to change the world.
14 Aug 06 21:43
Hanjo, so you don't believe in working together with others towards anything? Teaching? All is futile to you? I'm just trying to understand, because I would kill myself if I didn't feel some minute purpose to affect the world. Your paintings are very big and human. If I saw them in person, I would emotionally respond to them. In such, you'd be affecting me- and I believe the reactions of the people that do experience them, in turn subtly affect the world. Maybe we misunderstand each other in degrees of literality, but I think you (and I) contribute to culture just by making work (whether it is primarily for our own sanity or anything else) and showing it to other humans. anyway, perhaps to philosophical for many, but otherwise, what's the point?
31 Oct 06 20:13
Dear Wrenn, I really appreciate your attitude which I can fully understand as said before. And of course I am suffering from all the issues you mentioned the same way as you do. I spent many years of my life to fight against them and still do in the attempt to make this world a better place and I really do not think that doing so is futile. The only thing I wanted to tell you was that one has to choose an effictive way to make a contribution to this fight. For me that is to join or at least support organisations that deal with these issues as for example greenpeace or amnesty international or any other group that is seriously involved.When I was working as a sculptor in my younger years I had a lot to do with memorials and things like that to help never to forget what has happened in Germany during the Nazi regime and I put my heart and soul in it as best as I could. And fighting the other problems you mentioned I spent some days in jail for trying to stop the erection of a nuclear plant. This so far to let you know that I fully agree with you and that I understand your position very well. But doing all that things I learned that art isn’t just the right tool for that.
Those people that cause the trouble are not at all interested in art. Only maybe as hypocrites. They do everything and do not care how to stop anybody who tries to stop them. That’s why one needs the right tools to confront them. With art you can only reach single persons. Persons that are sensitive already and are suffering like you do. Therefore I am very thankfull for the comment you have made on my art and how it affects you. So I hope that this can clear some misinterpretations.
With kind regards
01 Nov 06 17:53
I found myself in an unusual place (for me) a couple of weeks ago - a trappist monastary. I was invited by a knowledgeable person to sample the trappist beer which, he said was reputed to be amongst the world's best.While seated I asked him if it was true the monks take a vow of silence and therefore hardly ever talk? Not quite true he replied - apparantly their rule of thumb is that if someone has to speak, the room (or environment) should be left all the richer for what was spoken, meaning that they don't talk unless they have something profound and enriching to say. Pretty cool, eh?
Actually I'm not quite sure as to the veracity of his statement as he is Irish, and we Irish do prefer a good story over the actual truth (which often is less interesting).
Anyway, that brings me to this forum. Personally, I don't mind it not being used very often as long as what is there is interesting to read (ergo it doesn't even have to be truthful!). Of course, that doesn't mean we should behave like monks, but it probably will mean that we will only ever have a small handful of contributors.
And to those few contributors I say - go ahead an use the forum for your own means. Throw in a leading question to an argument that concerns you, and see if you get any useful response. By concentrating on the particular, you may end up touching the universal - which means relevant to most, if not all of the rest of us.
I've enjoyed most of the contributions so far - it's true, they are few - but still it's better than reading many boring entries I suppose.
Notwithstanding, I interpret your question as an invitation to make more frequent use of the forum. I'll certainly try to do that, in the hope that others will be willing to do the same.
By the way, my host was truthful about one thing - those trappists sure make one of the best beers!
19 Nov 06 14:42
Dear JP, I think Trappist beer has got to be right up there with the very very best. I always enjoy my stays in Brugges although I have to admit I try to find a hotel not too far from the oldest pub in town because the beer goes down so easy, but its sometimes hard to stand back up. I also had a Czech beer when I was recently in Berlin called Krasovice. Nice amber color, and rich full bodied taste.......! Taste is after all very imortant to the artist............cheers.....!
19 Nov 06 18:16
my husband started making home beer two years ago . .. . it started off as an experiment and ended up as a beer factory.about the talking in africa they say: god gave us two ears, two eyes and only one mouth . . . therefore we should listen and see twice as much as we talk . . . .
but
i asked myself how can people get to know each other ???? i guess it's a matter of trusting one another . . . . je pense :::
19 Nov 06 20:30
hello, my name is jhoana ronceria, I am colombian and I have worked with people affected for the violencie. I would like proyects about the therapy artistic or art and community. My english is not good, somebody understand me?
28 Dec 06 23:18
Hello Jhoana... I'd never heard of art therapy until it was mentioned in relation to the Art Process Trapani 2007 mailing list, in the email at the following url:[LINK]http://lists.artprocess.com/pipermail/artprocess_interest/2006-December/000189.html[/LINK]
Perhaps if you'd be interested in contacting the doctor in relation to your work - you can send a message to Antonio at:
antonio.sammartano@tiscali.it
who will be able to put you in contact with him.
Hope that helps,
regards
/j-p.
06 Jan 07 17:01
thank you very much!!!! in this moment I will write to Dr. Antonio. When you need something of medellin tell me
06 Jan 07 17:22
The reason I am writing under this topic of the forum is that I read Hillel's last message to the Trapani list, and it gave me a lot to think about. It is true that very little is being actually said between artists on line, and not only on this site. What occured to me is that we all adapt a "politically correct" attitude. Instead of asking questions about work that seems impressive, or present a specific idea of ours and ask for opinions, even criticise work we may disagree with, our comments (when we make any) remain simply "polite". Art history has shown that some of the most interesting work has been produced after constructive rivalry. Why are we so afraid to come forward with specific opinions about what we consider worthwhile or less? When one decides to become member of a community should do it in order to make and receive critisism. That is what one needs to get one's brain going. At least I would like to be asked to support my work in order to convince somebody who may not think it is good. This way I may come up with things I hadn't thought of before and improve.
08 Jan 07 17:02
Bravissima Maria... Beside me here, I have a list of notes taken while reading that same message of Hillel Kagan you refer to.
His message is taken from the artprocess_interest list used for the Trapani 2007 project:
http://lists.artprocess.com/pipermail/artprocess_interest/2007-January/000249.html
... and my notes notes read:
1. Site rarely used.
2. Comments generally uninteresting.
3. Appearance / Reality duality.
4. "Excited Artists!"
5. No more exploratory development on my part.
6. Criticism and invocation to action.
Oddly enough, I had planned to reply, like you, using the site forum (as opposed to the mailing list) - as the points he raises are more fundamental to communication between artists (as you point out) and deserve to be treated in a sphere wider than just the Trapani project. I would have chosen the "Artprocess.com - Directions" forum as I figured it concerned a critique of the site, but as you've introduced it on "The Art Community" forum (it makes absolutely no difference), I'll happily take up your good example, and add my 2 cents here.
As I'm not the most spontaneous of writers, I probably would have mulled over how I should reply to Hillel - and perhaps because of laziness not even gotten around to putting my intentions into practice. However your message has stimulated me to add also my own response, so many thanks for taking the initiative.
I wasn't going to take the line of 'Criticism Between Artists' - and how online we seem to treat each other with kid gloves, where in fact the real fun is in the cut and thrust of defending your corner (always with good humour), and attacking an adversary (in a spirit of respect) to see if an outcome of worth can be reached, and maybe even opening of a door or two of understanding.
Firstly, I intended to praise Mr. Kagan for his perceptiveness. He was the first to understand the artist-to-artist concept of the site, and is the first to stand up and criticise in a positive manner where the site and it's members are lacking in the realization of that goal. He has proven to me to be several steps ahead in formulating ideas that I either haven't clearly understood yet, or am in an early stage of understanding. And so I know by now that when he speaks, it's heads-up time.
And so then I'd like to go through my list:
1. The site is rarely used. In a way, I'm grateful for this as I want to provide instead for the phlegmatic, cynical and (thankfully) arrogant, seen-it-all-but-still-working type of artist (of any age group) who's not so easily motivated to another useless activity without real returns, but is willing to invest in time and energy when the prospect concerns sharing experience with peers and advising eager hopefuls who are taking on the impossible challenges of being an artist today.
2. Yes, the witheringly evident "I love your work" comment is impossible to respond to, other than with the even more so "Thanks!" reply. Now that's an communication exchange that has little to recommend it. I'm sure the artist would have preferred a gently barbed provocation so s/he is given the opportunity to boldly state the motivation for the work, rather than the twee "Em.. that's nice of you" retort. Let's hope we can cultivate a more vigorous exchange of good-humoured and spicy artists' opinions as we become more familiar with one another!
3. The dreaded appearance / reality conundrum. What to say? Well, I'm *very* happy to say that the visual quality of the site content i.e. YOUR ARTWORKS is much higher than I even hoped for when I started out. We don't have any problems there. What is problematic, as already mentioned, is our insistance that the site is about artists to artists communicating.... it's not really true, is it?
Nevertheless, all we have to do is stop half-an-hour to take a look through the "Random Selection" of artworks on the site, and attempt to write a true comment when an artwork inspires, interests, or bores us, to begin the practice of artists really communicating with fellow artists. In some way, the bold few have to begin this process of stimulation. It takes courage, but you'll see there'll be plenty of support for all sides of an argument in the end.
4. The reference to "excited artists" I find a little dubious. By now, most of you will look to a show as a drag - it takes you away from your work, costs money, you have to be creative with the logistics of transport, also maybe find cheap accomodation, dealing with the press, framing, invites etc. etc. And then after the selling which never compensates for the soul you've given to the effort, in the end, you realize you've completed a cycle, a whole body of work, and then go into a depresson because you don't know how to start the next series!
Now who's excited about that?
5. A need for an ongoing dialogue facility. I'm all for this, but after putting a lot of my time into coding solutions for communication (however ineffective they may be), I feel the answer at this stage is less technological, and more one of simply encouraging participation - which is the best way to return a little to the community for the 'no-commitments asked' experience of showing your artworks online.
I'm ready for suggestions for improvement to the site but would need convincing to go down the the path of programming for months with little to gain for it in the end.
Rather, for example, I think this forum could do with more use and gradual improvement. It doesn't have to end up a marketplace - I believe that it's more important to have less quantity but more quality. Up to now there's been little of either - so let's try using it, in the spirit of improving and developing it together?
6. I think Hillel is criticising us as a group with the idea of encouraging better participation to improve the quality of our verbal interventions. He's right that if we'd don't take up the challenge, the site will die because it will become insignificant. There are many other art sites much more flashy and slick than Art Process, that deal with online sales, gathering clients and to interest hopeful dealers.
I hope you are all members already of such sites, and am convinced they provide a much greater service than we do here in that regard.
What we want to do here instead, is provide the fabric for being in the presence of other artists as much as we can. The goal of Art Process is simply that - artist to artist, exchanging an experience of form, colour, and meaning.
So I'd like to say yes we have no choice other than to take up Hillel's challenge, and Maria's affirmation of that challenge, to provide more commitment in our verbal interventions if we are really honest in a desire to build together an online presence that is "By Artists, For Artists".
And then maybe we'll even be able to convince the press one day too!
/j-p.
08 Jan 07 20:31
Well, I think Hillel is a bit to strict. I can understand his intention very well, and in some things I agree with him. But one should be careful not to get into the trap of illusion while trying to demask an illusion. Or in other words, most of his comment is very close to wishful thinking. It’s nice to have a dream, no doubt, but it’s better to have a proper analysis.
If they are not in the film business or at the theatre artists are no team workers and not used of communicating everything they do. You may like it or not, that’s a fact. And very often they for themselves have no clear idea of what they are doing. And not to forget, the language of art is not made out of words. And not everyone has the ability to easily put in words what he’s contemplating on. To make all this a bit more complicated, the desired dialogue has to be done in a foreign language for most of us. All these things are not making it very easy to just start prating.
On the other hand artprocess is the only site I know where at least something like a fruitful discussion is taking place even when it is sporadic. Visit „Commented Artworks“ or „Authoritative Voices“ and you’ll find quite another quality of comments like „I love your work“ and „Oh thank you“.
And what shall I do with a comment just for the sake of a comment? It’s only natural that I like some artwork better than another or some artwork I do not like at all. But do I have to comment everything? I mean every artist (as gruesome his or her artwork may be) has his meanings and reasons and thoughts and experiences etc. and more often than not I am not wiser than he or she. And what’s so wrong with being correct? We are not used to sit in meetings discussing some issues of the company as hard as possible. No we slave away in the dark feeding our poor children called artwork and we are proud when at least they do not look so bad. So one has to be careful and polite and act with empathy. That’s no wrong attitude as long as it is not mere hypocrisy.
Nevertheless it’s true what Maria says that criticism „is what one needs to get one's brain going“. So for example I have difficulties to state what I want to do but I’m pretty much sure what I don’t want to do. So all my premises are statements against something ... NO reclining nudes, NO erotic signals, NO sitting in the flesh etc etc. But that is a criticism in my brain to find out what I want to alter. There is no need to criticise others who still do reclining nudes or paint erotic stuff or use a sitter in the flesh.
Okay, that’s for now.
08 Jan 07 21:10
Thankyou Maria, J.P and Hanjo. Firstly congratulations are in order for myself as I'm finally using a computer where I can see and respond to this forum.Thanks J.P. for your detailed and thoughtful response to my slightly drunken comments on the Trapani e-mail facility. All I was trying to say, just to reiterate was that the best publicity for the Trapani show is Art Process itself. I don't think I'm being strict in asking the participants to help make the site as interesting as possible through their contribution of comments or other.
And Hanjo I'm not talking about negative comments for the sake of controversy and I take well all the points you've made above. Obviously no civil person goes out of their way to hurt someone just for the sake of it (unless you happen to be on Saatchi's site) but there are ways to have civilized discourse without getting dirty. We know that because we've done it.
Half an hour now and again to review work and make comment if so inspired is all it takes make a contribution that helps us all.
All in all you've all clarified some issues for myself and I intend to be more active on this forum now that I view it as an ongoing discussion.
Many thanks.
08 Jan 07 22:56
so this is the first time I do reply to your comments!I hope I understood correctly, what the aim of this art site is - as for me there´s no interest for another site used for simple exhibition or selling pictures - which very seldom works, by the way.
so I find it very interesting to communicate with other artist, but there has to be a "theme" for every artist and that may last some time (e.g. see myself!)
I decided to participate on artprocess after talking to my friend antonio at trapani and it needed some time for my first comment - so maybe it´s the same for the other artists.
I´ll try to start also making comments on the other artist works - so you´ll see!
meamwhile best regards from austria - michael
09 Jan 07 16:55
Well, I perfectly agree with Hanjo when he says that the language of art is not made out of words. And of course things get even more complicated when one uses a foreign language to communicate . For example my use of the word criticism led to a misunderstanding. I suppose there must be a better word for what I intended, but criticism was the only handy one at the time I wrote my comment above. To make things clear, I will describe what I meant:I had been going through Hillel’s portfoglio when I run into that wonderful conversation he had with Hanjo started on certain circled brushstrokes used by the former (work title “Transit II”). Hanjo asked a question and further on Hillel asked Hanjo a question on what he thought of certain artists. The conversation was very enlighting and carried on with courtesy. That is exactly what I meant by “criticism” offered and received. I certainly do not mean that we should go around criticizing artists who choose to work in a way we wouldn’t, as it was very correctly put by Hanjo. Asking “why” this or that though, may be constructive for both sides. The points made in that conversation were points I would have liked to make but fortunately somebody else did, with much better use of English than mine.
Now, I wish this kind of interaction took place more often. It is understood that sometimes it takes time. But, dear friends, allow me to be anxious, as I am thirsty for art talk…(where I live I don’t get much chance). Not all the time of course, because intelligent talking is not goods of mass consumption. It needs time and it’s results sometimes need even more time to be elaborated.
To J.P.: would please stop being apologetic? If you take a look this is still the best site around as far as the artist for artist thing is concerned.
Thank you all.
P.S See? Michael seems to like the idea.
10 Jan 07 09:43
Maria the kind of discourse you are looking for is a rare thing and it makes no difference where you live. Sure there are places where you can meet up with fellow artists but the talk usually tends toward the business of art, gallery gossip and the politics of writing successful grant applications and proposals etc. Perhaps because those topics are of no particular interest to me and the few people I can discuss art with having dissipated to even fewer (being burned out, alcoholic or dead) this site has become important for me and obviously yourself and quite a few others. It gives us a place to connect and removes us briefly from our isolation which is also necessary to produce work.It does however take commitment, to sit down and write your thoughts (as opposed to face to face dialogue well lubricated with alcohol) is difficult and takes time. The effort in time J.P. took to make his comments above staggers me and he has my profound respect not only for starting this whole thing but for staying with it. He seems to think it's worth it and so do I. The results of his labour appear to be providing nouriishment to many different artists in various and surprising ways.
You mentioned language (problematic for many visual artists under the best of circumstances) and the fact that the site is mainly in English), mainly for me. It was something I never thought about at first and when I never seemed to get any response from comments, even ones I had purposely framed as questions, I cynically put it down to artists' apathy. Assuming that an artist's statemennt was in English it never occurred to me that perhaps they couldn't speak it and had gotten help setting up their profiles. The language problems were resolved on "artprocess interest" through the combined efforts of a few admirable souls but this site is of course a different story. So Michael who has now joined the conversation, I thank you for your thoughts and can only imagine what an effort it isi for all of you whose fiirst language is not English especially those of you from Ireland.
All in all, despite the difficulties and sometime misunderstandings, I think we all benefiit in one way or another from this experience.
11 Jan 07 16:14
dear hille, I think you`re wright about the difficulties of langauage, but I am very hapy that there´s some response. I could try to communicate in Italian too, but my Italian is a bit poor for spontaneous conversation. I am really curious in this trapani project, because I love this town and its particularly aim of culture; it would not be easy to find a collection like DIART in a small town in europe!!
I´m looking forward to meet you all - and keep intouch through this odd medium called internet!!
best regards
michael
11 Jan 07 19:09
Michael, I look forward to meeting you and my fellow artists in Trapani. You know your name is Michael Oberlik I hope, I sought out your profile and portfolio so I could put a face to your comments here. Very solid work but more about that some other time. Right now (and this should probably be noted in the "Bugs" topic of the forum pages but I happen to be here right now) We go by first names on this site, very friendly but "artists A-Z" of course refers to the last name so I had a hell of job finding Michael, however I did and there's two of you. I figure you're not the one from the U.S. so that's why I say I hope you're Michael Oberlik.
I think artists should always go by their last names, Degas, Cezanne, Pollock, etc. etc. except of course Hanjo who like other stars like Cher and Prince only needs one name.
So howsaboutit webmaster? Is this a bug or what?
14 Jan 07 07:15
Let's say it was an unfortunate design choice... hopefully rectified now with your help Mr. Kagan.I've compromised by keeping the "friendly" author's firstname, but there's a link now to take you to the author's profile.
Many thanks for your observations and taking the time to write it down.
I should also add my gratitude to everyone else who's written in suggestions for improving the site - not all of them were easy fixes like this one - but they have been noted for a future reworking of Art Process.
[And apologies to Michael and Hillel for hijacking their posting with this one a little out-of-context.]
14 Jan 07 10:25
sorry for the fuzz I made by using michael - so this is oberlik writing; going to work on my trapani-pictures now, best regards
14 Jan 07 10:46
Dear J.P I would like to add mine. Yes, first names are very nice and friendly but it makes it hard to track people. What about putting a link on the names as they appear so that one can be directed straight to people's profiles? Thanks again for all the work you are dedicating to this.
14 Jan 07 11:04
When I met Maria the other week at her studio-log she said something about application of paint like that she found out a new method of doing it. But for it’s not possible to ask on studio-log what she meant with this remark I still wonder what funny things she has found out. Does it mean that she now uses her fingers instead of brushes? Or Spatulas? Or does she do it like Mr. Pollock? No no no you can forget about that. Thanks heaven that would not work with Maria. Or is she going to nail the paint onto the canvas or does she use tape? Ever since I cannot think of anything else.Well, but this is not the reason I’m writing here. It has been sooo silence for weeks or even month that I thought there must be something wrong with my ears. And indeed people had to repeat what they said to me very often and the words I used over the day were mostly „I beg your pardon“ and „what did you say“? So finally I got a hearing aid, one for each ear (very very expensive oh oh). Okay, so when I left the shop where I got them I was shocked about how loud the world actually was. Such an incredible noise. Well but now I’m sitting here in front of my computer hacking this in to test the new equipment. Maybe, so I do hope, maybe I can hear some faint murmuring at least. Maybe I even can understand some words. I mean these hearing aids are absolutely state of the arts ... I swear (or can see it on the bill) so there must be something to detect with them. But to be honest until now I haven’t been successful, not at all. Okay, I know that many people have lots of problems at the moment, financial, psychological, artistic etc. etc. and they might not be in the right mood of talking so much, with me included, but I thought that maybe at least I could make out some faint groaning or wailing ...
On the other hand, could it be possible that this website got transmogrified into some mole world? And everyone is silently digging through the place sniffing at this, nibbling at that, but pssssst no word not even a tone. Just shuffling through the dark tunnels blind and mute ... not such a nice idea isn’t it?
Or what would be worse in times where enlightment bashing seems to come more and more into fashion and people turn to questionable sects instead or even the traditional churches. Perhaps this site turned into a monastery without letting me know. A Trappist cloister where it’s absolutely forbidden by punishment of eternal burning in hell to say anything. So I really do hope that we are not trapped in what one could call the Trappist order of St Artprocess.
06 Nov 09 11:04
My friends, I think it is not that we haven’t been hanging out with each other lately. We haven’t been hanging out at all for the last months. What is funny is that Hanjo, Karen, Hillel and myself have been going through some tough times all at the same time(!). Maybe except Hillel, who has been braver than the rest of us for much longer a time. However, speaking for myself, this place is still my favorite bar in town. There is a matter that has been bothering me though and I have been meaning to talk about it with you. And it is closely connected to Hanjo’s question mark about what on earth could this new way of applying paint could be, as much as to Karen’s wondering how come all this non commenting when interesting new work shows up. Right now I just took a minute to check on AP before I get to work, so there is not much time to tell you my thoughts. I promise a detailed account of them though asap.
06 Nov 09 12:41
There ... there ... I heard something ... right now. Psssst ... listen ... listen ... can you hear it? Whow, it works ... it really works ... I can hear Maria talking ... it’s amazing! Do you hear her, too? My, that’s great! So it was a very good idea to get those hearing aids. I have to tell my doctor immediately ...
06 Nov 09 15:49
