Thursday, March 17, 2011

Items of Note

Still getting over a frightfully painful chest cold that had me on my back yesterday, but feeling comparatively rosy today (thanks to modern medicine and Bambino's Chicken Soup!), so I'll keep today's post short. Just a list of a few items of note:

Congratulations to Man Bartlett, whose peformance/installation at last year's #class exhibition made the cover of C Magazine:

And speaking of C Magazine, their summer issue will feature an article on Joy Garnett and the interesting overlap between social media and cooking, no less. It's all connected to the upcoming exhibition "With Food in Mind," curated by Nicole Caruth. The Center For Book Arts, NY, April 13, 2011 - June 25, 2011

__________________

Winkleman Gallery artist Carlos Motta, whose work is currently in" the "Found in Translation" exhibition at the Guggenheim in New York, has launched a USA Projects campaign (it's the new Kickstarter, don't ya know):
[A] collaborative project between myself and Josh Lubin-Levy. We are raising funds via United States Artists's "USA Projects" to produce a book and exhibition titled "Petite Mort: Recollections of a Queer Public." We are asking an intergenerational group of gay men to submit a drawing from memory of a public space where they had a memorable sexual encounter. The drawings and accompanying textual description will be assembled into a book that we are referring to as an atlas of queer affection. Our hope is to advocate for sexual difference and collectivity, in response to the privatization of public space and the LGBT movement's focus on a politics of assimilation. The works also hopes to serve as a kind of blueprint of a disappearing queer history.

Here is a full description and a video of us describing the work:
http://www.unitedstatesartists.org/project/petite_mort_recollections_of_a_queer_public
for just a little money you too can help this project come to fruition.

_____________________

Don't miss this great, in-depth interview with Christopher K. Ho by Tabitha Piseno about his exhibition "Regional Painting" on Bomblog. Chris offers some of the most honest answers I've ever read about a show in my life:
When Ed Winkleman, the owner and director, first spoke to me about a second show, he mentioned that second shows often fail because the artist, emboldened by his first, believes incorrectly that he has an audience who is interested in him, rather than his art. I took this as a dare. Was it possible to do an autobiographical show without falling into indulgence? What if autobiography became the very basis for the show’s thesis, the core of the show’s polemic? Didn’t autobiography intimate that which was disallowed and disavowed in my own artistic training, which was historical, conceptual, and critical, rather expressionistic, intuitive, and emotional? And, as such, wouldn’t autobiography be a rich and even necessary arena to mine, especially if abstracted into being a model?
______________________

If you find yourself in White Plains (and we all eventually do, somehow), don't miss the group exhibition "The Bank and Trust Show," curated by Dara Meyers-Kingsley, at the ArtsExchange Gallery, March 18, June 4, 2011. It includes the highly informational piece by Jennifer Dalton, "How Do Artists Live?"

______________________

Finally, there's an interview with yours truly by the savvy Brian Sherwin up on Fine Art Views:
BS: I'm sure you are contacted by hopeful artists all the time-- due to the Internet artists can easily contact art dealers, art critics, and other art world professionals with ease... I'm sure that is not always a good thing. With that in mind, do you have any advice concerning online etiquette that artists should adhere to when communicating online? Should artists resist the urge to contact an art dealer out of the blue, so to speak?

EW: I wouldn't dissuade anyone from going about this in the way they feel they must, whatever that may be. I would say, however, that galleries do get bombarded all the time by cold call submissions that are so entirely wrong for their program it makes you wonder if the artist even knows the first thing about the gallery, that they eventually grow weary and more and more don't even give the cold call a chance. Your best introduction is always via an artist working with the gallery or a writer or collector or curator who knows and likes the gallery. I'd highly recommend going that route if a cold call ends in silence from the gallery end.
Someone already asked me on another thread if that means I'm saying it's ok to contact gallery directors directly. I responded:
What I said in that interview is that I wouldn't dissuade anyone from doing what they feel they must (with what I hoped would be the implication that it's not likely to work). Yes, in the rare instance it might, but as I noted in two other places you should network to the gallery.

If you want odds to help you decide, let me say you're 98% more likely to have success with the networking approach.

All I'm trying to say is that for each example you'll find (and you will find some) of someone whose cold call submission actually worked, you'll find 98 other attempts that failed.

The person who's a good manager of their time would network.

Labels:

0 Comments:

Post a Comment

Subscribe to Post Comments [Atom]

<< Home