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"content": "\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m currently a photography student. As I try to figure out how I will make a living after graduation, like many photographers, I’m leaning towards a combination of fine art and commercial work. All that said, I want to make an online portfolio showcasing my work, and I’m stuck on the thorny issues of image size and watermarks. I want to minimize the chances of someone stealing the work from my site, but I also want my images to be displayed in an appealing way. What should I do? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since I’m not a photographer and don’t have any experience with this subject, I contacted Laura Miller, the co-director of \u003ca href=\"http://www.sfphotocenter1.com/index.html\">ImageWork SF\u003c/a> in San Francisco. Here’s what she said: \u003c/p>\n\u003cp>“For the record, there are inexpensive website programs/add-ons which can secure images on websites so they cannot be dragged off the site. That program, grouped with a watermark program (also readily available) secures the photos. Even if a watermarked image could be dragged off the website, it would require some Photoshopping to remove the watermark. But if the images also can’t be dragged off, the only way to duplicate would be to take a screen shot, further degrading the image and making watermark removal more difficult. So most definitely, the best way to go is to make the photos unmovable and watermarked.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ilse Bing, Self-Portrait in Mirrors, 1931.\u003c/p>\n\u003cp>Ms. Miller also very generously took the time to check in with some of the Photoshop instructors who work at ImageWork SF, and continued, “The word is: there is really nothing you can do to prevent image theft from websites. If someone wants an image badly enough they’ll take it. But you can make it much harder and a big deterrent by installing watermark and safety programs. If someone can’t easily drag the image off, and/or has a complicated watermark to Photoshop out, they may just prefer to steal from an easier source. There are many programs available to secure the photos and do watermarks, just do a search and many varieties come up. One program turns the image to a blank white rectangle when dragged off the site; others simply lock the image in place.”\u003c/p>\n\u003cp>“Also, it’s very important to keep web images as low resolution as possible (without affecting the view on the website) so that even if a photo is grabbed, it is would be way too low res to make clear enlargements or prints from it.” \u003c/p>\n\u003cp>Don’t forget to add a copyright statement to your website. It’s probably not much of a deterrent to the serious, but at least it broadcasts your intent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-arbus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Garry Winogrand, \u003ci>Diane Arbus, Love-In, Central Park, New York City, 1969\u003c/i>. c. The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\u003c/p>\n\u003cp>On the other hand, let’s all note the irony of me giving advice about preventing image theft while using illustrative images found on the internet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-artists-studio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jacob van Oost the Elder, The Artist’s Studio, 1666.\u003c/p>\n\u003cp>\u003cb>As a young artist (4 years out from a BFA) maintaining a disciplined and consistent studio practice is of great importance to me and probably where I direct most of my ‘artistic energy.’ What is your idea of a healthy balance between production (of art) and thinking/reading/writing/looking at art? Is constantly producing work a bad thing? Can this harm me?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wording of your query reminds me of the little tracts on the \u003ca href=\"http://en.wikipedia.org/wiki/Onan\">Sin Of Onanism\u003c/a> that the priest would give us in Catholic school. These were always illustrated with pictures of earnest-looking young white kids in sweater sets (no doubt drawn in the mid-sixties), so that’s how I’m imagining you now: sweetly innocent in tennis whites, sitting in front of your easel with brush in hand. And like the illustrated naifs of yesteryear, I suspect that deep down inside you know the answer to your own question. \u003c/p>\n\u003cp>I’m glad to hear you are disciplined. It’s one of the hardest things to master, so if you’ve got control of your studio habits and schedule you’re already doing well for yourself. And as a young artist it’s important to be in the studio, thinking, working, and experimenting, trying out new ideas and refining older ones. It’s only through the act of making that we are able to hone our ideas, processes and artwork. \u003c/p>\n\u003cp>So while constantly producing work is not a bad thing (provided you are following \u003ca href=\"www.units.muohio.edu/ehso/.../Art%20Safety%20Brochure.pdf\">reasonable safety guidelines\u003c/a>), it’s also not \u003ci>all\u003c/i> there is to being a contemporary artist. Being a teacher, of course I think you should read, though I recognize that it’s not for everyone. Some people just don’t enjoy it. But if you do, one way to really get into your reading is to find a book or article that you liked, and then track down and read the references cited in the bibliography. It will lead you deeper into the things that already excite you, and reading — whether it’s theory and criticism or poetry and science fiction — will inspire you, fuelling more thinking and working in the studio. \u003c/p>\n\u003cp>Likewise, you do need to be getting out of the studio as well. If you’re serious about your practice you should be making friends in your community, because these people will sustain you in your studio work. Conversations can be invaluable, friendship is absolutely necessary for your emotional well-being, and hanging out is fun. So go to gallery openings and parties when you can find them, and take a pal to the free day at the art museum. Studio time often means isolation, and you need to balance that with some human interaction.\u003c/p>\n\u003cp>Above all, you do need to be looking at art, in person, as often as possible. Beyond just soothing or stimulating your emotions and intellect, looking at art gives you an understanding of ideas and techniques that are currently in play. Looking at work will inform your sense of color, scale, materials, and concept. Looking at the work in person and then reading any accompanying texts will give you ideas about how the work is framed with language and how that may or may not inform your understanding of it.\u003c/p>\n\u003cp>Your answer is embedded in your question: balance is the key. Only you can determine what works for you, and what activities contribute to your practice of being an artist. Don’t be afraid to experiment, and don’t forget that your situation will change and you can and will adapt your actions to suit. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m currently a photography student. As I try to figure out how I will make a living after graduation, like many photographers, I’m leaning towards a combination of fine art and commercial work. All that said, I want to make an online portfolio showcasing my work, and I’m stuck on the thorny issues of image size and watermarks. I want to minimize the chances of someone stealing the work from my site, but I also want my images to be displayed in an appealing way. What should I do? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since I’m not a photographer and don’t have any experience with this subject, I contacted Laura Miller, the co-director of \u003ca href=\"http://www.sfphotocenter1.com/index.html\">ImageWork SF\u003c/a> in San Francisco. Here’s what she said: \u003c/p>\n\u003cp>“For the record, there are inexpensive website programs/add-ons which can secure images on websites so they cannot be dragged off the site. That program, grouped with a watermark program (also readily available) secures the photos. Even if a watermarked image could be dragged off the website, it would require some Photoshopping to remove the watermark. But if the images also can’t be dragged off, the only way to duplicate would be to take a screen shot, further degrading the image and making watermark removal more difficult. So most definitely, the best way to go is to make the photos unmovable and watermarked.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ilse Bing, Self-Portrait in Mirrors, 1931.\u003c/p>\n\u003cp>Ms. Miller also very generously took the time to check in with some of the Photoshop instructors who work at ImageWork SF, and continued, “The word is: there is really nothing you can do to prevent image theft from websites. If someone wants an image badly enough they’ll take it. But you can make it much harder and a big deterrent by installing watermark and safety programs. If someone can’t easily drag the image off, and/or has a complicated watermark to Photoshop out, they may just prefer to steal from an easier source. There are many programs available to secure the photos and do watermarks, just do a search and many varieties come up. One program turns the image to a blank white rectangle when dragged off the site; others simply lock the image in place.”\u003c/p>\n\u003cp>“Also, it’s very important to keep web images as low resolution as possible (without affecting the view on the website) so that even if a photo is grabbed, it is would be way too low res to make clear enlargements or prints from it.” \u003c/p>\n\u003cp>Don’t forget to add a copyright statement to your website. It’s probably not much of a deterrent to the serious, but at least it broadcasts your intent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-arbus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Garry Winogrand, \u003ci>Diane Arbus, Love-In, Central Park, New York City, 1969\u003c/i>. c. The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\u003c/p>\n\u003cp>On the other hand, let’s all note the irony of me giving advice about preventing image theft while using illustrative images found on the internet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-artists-studio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jacob van Oost the Elder, The Artist’s Studio, 1666.\u003c/p>\n\u003cp>\u003cb>As a young artist (4 years out from a BFA) maintaining a disciplined and consistent studio practice is of great importance to me and probably where I direct most of my ‘artistic energy.’ What is your idea of a healthy balance between production (of art) and thinking/reading/writing/looking at art? Is constantly producing work a bad thing? Can this harm me?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wording of your query reminds me of the little tracts on the \u003ca href=\"http://en.wikipedia.org/wiki/Onan\">Sin Of Onanism\u003c/a> that the priest would give us in Catholic school. These were always illustrated with pictures of earnest-looking young white kids in sweater sets (no doubt drawn in the mid-sixties), so that’s how I’m imagining you now: sweetly innocent in tennis whites, sitting in front of your easel with brush in hand. And like the illustrated naifs of yesteryear, I suspect that deep down inside you know the answer to your own question. \u003c/p>\n\u003cp>I’m glad to hear you are disciplined. It’s one of the hardest things to master, so if you’ve got control of your studio habits and schedule you’re already doing well for yourself. And as a young artist it’s important to be in the studio, thinking, working, and experimenting, trying out new ideas and refining older ones. It’s only through the act of making that we are able to hone our ideas, processes and artwork. \u003c/p>\n\u003cp>So while constantly producing work is not a bad thing (provided you are following \u003ca href=\"www.units.muohio.edu/ehso/.../Art%20Safety%20Brochure.pdf\">reasonable safety guidelines\u003c/a>), it’s also not \u003ci>all\u003c/i> there is to being a contemporary artist. Being a teacher, of course I think you should read, though I recognize that it’s not for everyone. Some people just don’t enjoy it. But if you do, one way to really get into your reading is to find a book or article that you liked, and then track down and read the references cited in the bibliography. It will lead you deeper into the things that already excite you, and reading — whether it’s theory and criticism or poetry and science fiction — will inspire you, fuelling more thinking and working in the studio. \u003c/p>\n\u003cp>Likewise, you do need to be getting out of the studio as well. If you’re serious about your practice you should be making friends in your community, because these people will sustain you in your studio work. Conversations can be invaluable, friendship is absolutely necessary for your emotional well-being, and hanging out is fun. So go to gallery openings and parties when you can find them, and take a pal to the free day at the art museum. Studio time often means isolation, and you need to balance that with some human interaction.\u003c/p>\n\u003cp>Above all, you do need to be looking at art, in person, as often as possible. Beyond just soothing or stimulating your emotions and intellect, looking at art gives you an understanding of ideas and techniques that are currently in play. Looking at work will inform your sense of color, scale, materials, and concept. Looking at the work in person and then reading any accompanying texts will give you ideas about how the work is framed with language and how that may or may not inform your understanding of it.\u003c/p>\n\u003cp>Your answer is embedded in your question: balance is the key. Only you can determine what works for you, and what activities contribute to your practice of being an artist. Don’t be afraid to experiment, and don’t forget that your situation will change and you can and will adapt your actions to suit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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