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"content": "\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>*Indeed, the world is filled with deranged people and there’s no shortage of them in any discipline.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\" />\u003cbr />John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>*Indeed, the world is filled with deranged people and there’s no shortage of them in any discipline.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What’s the best way to write a press release so that my show gets reviewed?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What’s the best way to write a press release so that my show gets reviewed?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m an artist in my mid-twenties who has absolutely no formal education. So far I’ve managed to be fairly happy with small but very meaningful visibility, knowing that art-making is about process and that it takes time to find one’s self. But I’m starting to hit a wall when it comes to the growth of my practice and I’m worried that my lack of ‘training’ might be my problem, so I’m slowly starting to consider going to an art school, with great fear, mainly because I haven’t been in an educational institution for a long time. So my question is: how important do you think education (art school) is in order for someone to be or to become a professional artist? Do you see it as absolutely necessary, or do you think that one can do without? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I hate to be the bearer of bad news, but you could toil your whole life and make profound work and still remain nearly invisible; so let’s separate the notions of visibility and making. \u003ci>Visibility\u003c/i> — that is to say participating in group exhibitions, exhibiting your work in solo shows, receiving press, and all the ancillary duties that come with and reinforce it (such as giving artist lectures) — has shockingly little to do with art making. Instead, visibility is often correlated with how much money you’re born with, who you know, where you went to school, where you work, and other social factors; but in the long run it is not directly related to the \u003ci>quality\u003c/i> or \u003ci>process\u003c/i> of your work. This is why \u003ca href=\"http://observer.com/2011/04/art-world-bad-boy-josh-smith-is-peter-brants-new-protg/\">Josh Smith is a famous painter\u003c/a>.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Now we need to also set aside the notion of how you become a “professional” artist. There’s a wide range of what can be considered professional, so figure out what it means to you. Does it mean that you make enough sales to support yourself (and possibly a family)? Does it mean that a gallery represents you? Or is it enough to be able to scrawl \u003cem>artist\u003c/em> on your tax forms and write off your studio rent and materials? Take a moment to read Dan Fox’s beautiful essay, \u003ci>\u003ca href=\"https://www.frieze.com/issue/article/a_serious_business/\">A Serious Business: What does it mean to be a professional artist?\u003c/a>\u003c/i> and explore your assumptions about what makes one a “professional.” \u003c/p>\n\u003cp>Now let’s consider growth. You’re right that school is a great place to push past your current boundaries. Your professors, advisors, and peers alike will challenge you, and you can learn a tremendous amount in a short time if you really immerse yourself in that environment. However, you might want to weigh the cost: according to \u003ca href=\"http://suite101.com/article/top-visual-art-college-2010-a185185\">this website\u003c/a>, unless you receive a full tuition scholarship you’ll pay an average of $28,000 per year for a BFA degree (for an MFA you might pay as much as $40,000 per year). Assuming that you could get a scholarship for half of that, you’d pay $14,000 per year or a total of $56,000 for four years. And that’s not including other fees: housing, food, transportation, books and supplies, or art materials. On July 1, 2013, the \u003ca href=\"http://www.consumerfinance.gov/blog/changes-to-federal-student-loan-interest-rates/\">federal student loan interest rates go up\u003c/a> to 6.8%, so if you took out a loan for $60,000 and paid it back over 30 years, you’d end up paying a total of \u003ca href=\"http://www.bankrate.com/calculators/managing-debt/annual-percentage-rate-calculator.aspx\">$140,815.84\u003c/a>. Did I mention that this doesn’t include your bus fare or sketchbooks?\u003c/p>\n\u003cp>I don’t want to discourage you from exploring school as an option; it can truly be a wonderful place to grow if you do your research and \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">find a school that’s right for you\u003c/a>. But I would be remiss if I didn’t ask you to consider the financial burden you’d likely take on as a result. There are approximately 846 MFA programs in the US and the MFA degree is no longer a rarity, so employers have their pick of each year’s crop; this means you can’t count on a high-or-medium compensation job after you graduate, and you’d likely be repaying your loans on roughly the same salary or wage you’re making now. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Luckily, if you’re self-motivated and don’t care about an actual degree, you have other options for getting an education and having a dialog around your studio practice. You need three basic components in order to replicate the work of an MFA: looking at art, reading about art, and talking about art. The first of these is accomplished by going to museums and galleries regularly; looking at institutional, gallery, and artist websites; and looking at books, especially exhibition catalogs and artist monographs. The second component is also fairly easy: if you have a good public library in your area you can start there; if there’s an art school nearby you can also ask if they provide public accounts (if not, you can still look at the books and magazines, just not check them out). There are tons of online resources like \u003ca href=\"http://www.besthistorysites.net/index.php/art-history\">this list of art history websites\u003c/a> and the archives of contemporary art magazines. Many professors put their course syllabi on the web, so by going to art school websites and looking at the class offerings, you can follow links to the materials that professors are using in their seminars. \u003c/p>\n\u003cp>The last component is the most difficult to obtain, but it’s still possible with some hard work and persistence. Write to artists and curators in your area and ask them for \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a>. They might not respond, or they might turn you down, but it’s worth trying. You probably know other artists in your city, so think about starting an informal critique group that meets once or twice a month (you could also start an art-theory book club and wrestle with the big ideas of the 20\u003csup>th\u003c/sup> and 21\u003csup>st\u003c/sup> centuries over wine). If you want to grow, you need to be talking to people about your work and ideas, and getting feedback and advice. As you acknowledged in your query, making art is a process, and the best way to speed up your growth is to find out what other people think about your work and the work of others. A good studio visit isn’t about selling or future exhibitions, it’s about starting a dialog that will help you make your artwork better and better. \u003c/p>\n\u003cp>I want to close by saying that this list of options isn’t comprehensive. I encourage you to talk your ideas and plans through with some trusted colleagues, and ask studio visitors what they think of art school and education. In the end, your best resource is the community right outside your studio. Good luck!\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m an artist in my mid-twenties who has absolutely no formal education. So far I’ve managed to be fairly happy with small but very meaningful visibility, knowing that art-making is about process and that it takes time to find one’s self. But I’m starting to hit a wall when it comes to the growth of my practice and I’m worried that my lack of ‘training’ might be my problem, so I’m slowly starting to consider going to an art school, with great fear, mainly because I haven’t been in an educational institution for a long time. So my question is: how important do you think education (art school) is in order for someone to be or to become a professional artist? Do you see it as absolutely necessary, or do you think that one can do without? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I hate to be the bearer of bad news, but you could toil your whole life and make profound work and still remain nearly invisible; so let’s separate the notions of visibility and making. \u003ci>Visibility\u003c/i> — that is to say participating in group exhibitions, exhibiting your work in solo shows, receiving press, and all the ancillary duties that come with and reinforce it (such as giving artist lectures) — has shockingly little to do with art making. Instead, visibility is often correlated with how much money you’re born with, who you know, where you went to school, where you work, and other social factors; but in the long run it is not directly related to the \u003ci>quality\u003c/i> or \u003ci>process\u003c/i> of your work. This is why \u003ca href=\"http://observer.com/2011/04/art-world-bad-boy-josh-smith-is-peter-brants-new-protg/\">Josh Smith is a famous painter\u003c/a>.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Now we need to also set aside the notion of how you become a “professional” artist. There’s a wide range of what can be considered professional, so figure out what it means to you. Does it mean that you make enough sales to support yourself (and possibly a family)? Does it mean that a gallery represents you? Or is it enough to be able to scrawl \u003cem>artist\u003c/em> on your tax forms and write off your studio rent and materials? Take a moment to read Dan Fox’s beautiful essay, \u003ci>\u003ca href=\"https://www.frieze.com/issue/article/a_serious_business/\">A Serious Business: What does it mean to be a professional artist?\u003c/a>\u003c/i> and explore your assumptions about what makes one a “professional.” \u003c/p>\n\u003cp>Now let’s consider growth. You’re right that school is a great place to push past your current boundaries. Your professors, advisors, and peers alike will challenge you, and you can learn a tremendous amount in a short time if you really immerse yourself in that environment. However, you might want to weigh the cost: according to \u003ca href=\"http://suite101.com/article/top-visual-art-college-2010-a185185\">this website\u003c/a>, unless you receive a full tuition scholarship you’ll pay an average of $28,000 per year for a BFA degree (for an MFA you might pay as much as $40,000 per year). Assuming that you could get a scholarship for half of that, you’d pay $14,000 per year or a total of $56,000 for four years. And that’s not including other fees: housing, food, transportation, books and supplies, or art materials. On July 1, 2013, the \u003ca href=\"http://www.consumerfinance.gov/blog/changes-to-federal-student-loan-interest-rates/\">federal student loan interest rates go up\u003c/a> to 6.8%, so if you took out a loan for $60,000 and paid it back over 30 years, you’d end up paying a total of \u003ca href=\"http://www.bankrate.com/calculators/managing-debt/annual-percentage-rate-calculator.aspx\">$140,815.84\u003c/a>. Did I mention that this doesn’t include your bus fare or sketchbooks?\u003c/p>\n\u003cp>I don’t want to discourage you from exploring school as an option; it can truly be a wonderful place to grow if you do your research and \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">find a school that’s right for you\u003c/a>. But I would be remiss if I didn’t ask you to consider the financial burden you’d likely take on as a result. There are approximately 846 MFA programs in the US and the MFA degree is no longer a rarity, so employers have their pick of each year’s crop; this means you can’t count on a high-or-medium compensation job after you graduate, and you’d likely be repaying your loans on roughly the same salary or wage you’re making now. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Luckily, if you’re self-motivated and don’t care about an actual degree, you have other options for getting an education and having a dialog around your studio practice. You need three basic components in order to replicate the work of an MFA: looking at art, reading about art, and talking about art. The first of these is accomplished by going to museums and galleries regularly; looking at institutional, gallery, and artist websites; and looking at books, especially exhibition catalogs and artist monographs. The second component is also fairly easy: if you have a good public library in your area you can start there; if there’s an art school nearby you can also ask if they provide public accounts (if not, you can still look at the books and magazines, just not check them out). There are tons of online resources like \u003ca href=\"http://www.besthistorysites.net/index.php/art-history\">this list of art history websites\u003c/a> and the archives of contemporary art magazines. Many professors put their course syllabi on the web, so by going to art school websites and looking at the class offerings, you can follow links to the materials that professors are using in their seminars. \u003c/p>\n\u003cp>The last component is the most difficult to obtain, but it’s still possible with some hard work and persistence. Write to artists and curators in your area and ask them for \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a>. They might not respond, or they might turn you down, but it’s worth trying. You probably know other artists in your city, so think about starting an informal critique group that meets once or twice a month (you could also start an art-theory book club and wrestle with the big ideas of the 20\u003csup>th\u003c/sup> and 21\u003csup>st\u003c/sup> centuries over wine). If you want to grow, you need to be talking to people about your work and ideas, and getting feedback and advice. As you acknowledged in your query, making art is a process, and the best way to speed up your growth is to find out what other people think about your work and the work of others. A good studio visit isn’t about selling or future exhibitions, it’s about starting a dialog that will help you make your artwork better and better. \u003c/p>\n\u003cp>I want to close by saying that this list of options isn’t comprehensive. I encourage you to talk your ideas and plans through with some trusted colleagues, and ask studio visitors what they think of art school and education. In the end, your best resource is the community right outside your studio. Good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m an artist and art writer and would like to complete the trifecta by seriously trying to curate. However, since I’ve only been on the curated side of the table I know embarrassingly little about the nitty-gritty of it. For example, when I have a proposal ready, do I inform the proposed artists of my intentions before or after I submit the proposal? Who arranges and pays for shipping work? I only know how I’ve personally been treated and not what is typical. I’m too afraid of looking like a fool to give it a shot. \u003c/b>\u003c/p>\n\u003cp>Last things first: if you’re an artist and a writer, you must be used to sticking your neck out by now — at least a little — so I don’t believe that part about looking like a fool. You already know that the best way to learn is by doing, so stop worrying what other people think and get to work. \u003c/p>\n\u003cp>If you want to curate, you’ll need an idea or curatorial premise, some artists and artworks, and a space to exhibit the show. The process of putting together those items will often provide answers to many of the other questions, such as who pays for shipping. If the space you’re working with does not, you’ll have to pay for it yourself, or split the costs with the artists, or only work with local artists, or get a grant. You have lots of options for workarounds, and you’ll find that many of the smaller details will fall into place once you account for the fundamental parts of the exhibition. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/export2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />VALIE EXPORT, \u003ci> Fragments of Images of Contingence\u003c/i>, 1994.\u003c/p>\n\u003cp>A proposal is important, and you should talk to the artists. I forwarded your question to curator Dena Beard and she noted, “It is exceedingly important that your curatorial proposal conveys to the artist both your intentions for the exhibition and that, in requesting their participation, you will be taking responsibility for their artwork, conceptually, logistically, financially, and physically. The latter bit is often overlooked, but it is absolutely the backbone of the curator/artist relationship.” \u003c/p>\n\u003cp>Ms. Beard was kind enough to give you some real insight into her process: “I generally start out with a couple of paragraphs detailing the exhibition and explaining why I consider their art to be an invaluable part of the project. How will their work translate in the context of the exhibition space and, if applicable, in relation to the other artists included? How will the exhibition create a new dialogue or audience for their work? [You can] follow those paragraphs with a formal request to borrow the work (list title, date, medium) and state that, in close consultation with the artist, you will be covering the costs of safe transportation of the work to and from the exhibition space, insurance, installation, and deinstallation.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/export-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>VALIE EXPORT, installation view of \u003ci> Images of Contingence\u003c/i>, 2013.\u003c/p>\n\u003cp>Ms. Beard also said, “Consider your email communications to be contractual agreements — the more thorough you are, the better. Also, as with any contract, include prompts within the email to verify the artists’ mutual agreement to the terms of the project and the loan of their artwork.” I should note that Dena Beard curates for a major arts institution with resources and concerns far beyond those of an upstart independent curator. However, her advice is especially valuable for the beginner because it is absolutely essential to act as a professional from the very start. You should do so in order to establish good habits, a good reputation, and long-term credibility. So be as clear as possible in your communications with artists and other exhibition participants. \u003c/p>\n\u003cp>That information ought to get you started, but curating can be about more than just writing documents and plonking the art in a space. I also contacted curator Jesse McKee, and he recommended that you, “speak with all the artists and parties [you] would like to be involved from the beginning, before the proposals and pitches are sent out. Having a congress and momentum of the group behind you is always the best place to start a project.” For first timers, Mr. McKee suggests you look at the \u003cem>Constitution for Temporary Display\u003c/em>, a document produced by the \u003ca href=\"http://www.erstestiftung.org/factory/tranzit/\">Tranzit Network\u003c/a> for organizing the 8\u003csup>th\u003c/sup> Manifesta Biennial in Murcia, Spain (2010). He says, “A \u003ca href=\"http://www.tranzit.org/en/archive/0/2010-10-01/constitution-for-temporary-display\">couple of documents pertaining to this constitution\u003c/a> can be found at tranzit.org. It’s not so much a how-to, instead it puts the exhibition maker in a position of questioning their own context and allowing the group (artists, curators, and other actors) to answer the questions in a way that best suits their needs and demands of the time and place.” \u003c/p>\n\u003cp>I checked out these documents and found them very interesting, especially the Constitution Questions, which encourage non-traditional thinking by opening up the curatorial process as a form of inquiry. Now that curating is a \u003ci>thing\u003c/i> and it feels almost obligatory for an artist/writer to “complete the trifecta,” it would be easy to follow the conventional model in order to just get an exhibition made and tick the box labeled “curator.” Don’t do it! Curating is a chance to define what an exhibition could or should be on your own terms. Work with artists and other art workers who are genuinely enthusiastic about doing something new. Take the opportunity to make something that you really believe in. Think of it this way: when you are exhibiting your own work, what do you want to get out of a show? Your experience as an artist will give you some insight into what a great exhibition might be, and as an independent curator you won’t be tied to institutional concerns. So what if you think you might look like a fool? Be a determined fool, a brave fool, a fool who makes things happen. Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m an artist and art writer and would like to complete the trifecta by seriously trying to curate. However, since I’ve only been on the curated side of the table I know embarrassingly little about the nitty-gritty of it. For example, when I have a proposal ready, do I inform the proposed artists of my intentions before or after I submit the proposal? Who arranges and pays for shipping work? I only know how I’ve personally been treated and not what is typical. I’m too afraid of looking like a fool to give it a shot. \u003c/b>\u003c/p>\n\u003cp>Last things first: if you’re an artist and a writer, you must be used to sticking your neck out by now — at least a little — so I don’t believe that part about looking like a fool. You already know that the best way to learn is by doing, so stop worrying what other people think and get to work. \u003c/p>\n\u003cp>If you want to curate, you’ll need an idea or curatorial premise, some artists and artworks, and a space to exhibit the show. The process of putting together those items will often provide answers to many of the other questions, such as who pays for shipping. If the space you’re working with does not, you’ll have to pay for it yourself, or split the costs with the artists, or only work with local artists, or get a grant. You have lots of options for workarounds, and you’ll find that many of the smaller details will fall into place once you account for the fundamental parts of the exhibition. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/export2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />VALIE EXPORT, \u003ci> Fragments of Images of Contingence\u003c/i>, 1994.\u003c/p>\n\u003cp>A proposal is important, and you should talk to the artists. I forwarded your question to curator Dena Beard and she noted, “It is exceedingly important that your curatorial proposal conveys to the artist both your intentions for the exhibition and that, in requesting their participation, you will be taking responsibility for their artwork, conceptually, logistically, financially, and physically. The latter bit is often overlooked, but it is absolutely the backbone of the curator/artist relationship.” \u003c/p>\n\u003cp>Ms. Beard was kind enough to give you some real insight into her process: “I generally start out with a couple of paragraphs detailing the exhibition and explaining why I consider their art to be an invaluable part of the project. How will their work translate in the context of the exhibition space and, if applicable, in relation to the other artists included? How will the exhibition create a new dialogue or audience for their work? [You can] follow those paragraphs with a formal request to borrow the work (list title, date, medium) and state that, in close consultation with the artist, you will be covering the costs of safe transportation of the work to and from the exhibition space, insurance, installation, and deinstallation.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/export-3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>VALIE EXPORT, installation view of \u003ci> Images of Contingence\u003c/i>, 2013.\u003c/p>\n\u003cp>Ms. Beard also said, “Consider your email communications to be contractual agreements — the more thorough you are, the better. Also, as with any contract, include prompts within the email to verify the artists’ mutual agreement to the terms of the project and the loan of their artwork.” I should note that Dena Beard curates for a major arts institution with resources and concerns far beyond those of an upstart independent curator. However, her advice is especially valuable for the beginner because it is absolutely essential to act as a professional from the very start. You should do so in order to establish good habits, a good reputation, and long-term credibility. So be as clear as possible in your communications with artists and other exhibition participants. \u003c/p>\n\u003cp>That information ought to get you started, but curating can be about more than just writing documents and plonking the art in a space. I also contacted curator Jesse McKee, and he recommended that you, “speak with all the artists and parties [you] would like to be involved from the beginning, before the proposals and pitches are sent out. Having a congress and momentum of the group behind you is always the best place to start a project.” For first timers, Mr. McKee suggests you look at the \u003cem>Constitution for Temporary Display\u003c/em>, a document produced by the \u003ca href=\"http://www.erstestiftung.org/factory/tranzit/\">Tranzit Network\u003c/a> for organizing the 8\u003csup>th\u003c/sup> Manifesta Biennial in Murcia, Spain (2010). He says, “A \u003ca href=\"http://www.tranzit.org/en/archive/0/2010-10-01/constitution-for-temporary-display\">couple of documents pertaining to this constitution\u003c/a> can be found at tranzit.org. It’s not so much a how-to, instead it puts the exhibition maker in a position of questioning their own context and allowing the group (artists, curators, and other actors) to answer the questions in a way that best suits their needs and demands of the time and place.” \u003c/p>\n\u003cp>I checked out these documents and found them very interesting, especially the Constitution Questions, which encourage non-traditional thinking by opening up the curatorial process as a form of inquiry. Now that curating is a \u003ci>thing\u003c/i> and it feels almost obligatory for an artist/writer to “complete the trifecta,” it would be easy to follow the conventional model in order to just get an exhibition made and tick the box labeled “curator.” Don’t do it! Curating is a chance to define what an exhibition could or should be on your own terms. Work with artists and other art workers who are genuinely enthusiastic about doing something new. Take the opportunity to make something that you really believe in. Think of it this way: when you are exhibiting your own work, what do you want to get out of a show? Your experience as an artist will give you some insight into what a great exhibition might be, and as an independent curator you won’t be tied to institutional concerns. So what if you think you might look like a fool? Be a determined fool, a brave fool, a fool who makes things happen. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For most arts organizations fundraising “season” is yearlong, with activity heightened by major events in the spring and fall. More often than not, these events are auctions. Traditionally, fundraising auctions meant organizations would solicit donations in order to sell objects to the highest bidder and retain the proceeds. Artists were frequently excluded from the events, unless they purchased tickets — or were invited in after the food had been served. (I once saw an artist nibble on leftover lettuce garnish scattered on an otherwise empty buffet.) In recent years, many arts organizations have revamped the traditional auction model, making it more equitable for the artists’ communities they serve and better reflections of their organizational values.\u003c/p>\n\u003cp>Several Bay Area arts organizations will host crucial fundraisers this month. It is noteworthy that many organizations feature overlapping lists of participating artists: non-profit arts organizations form the bedrock of the Bay Area arts scene and many artists generously give back so that still more artists can move ahead. The Lab, Headlands Center for the Arts, and Southern Exposure have all reinvented the fundraiser, largely by focusing on inclusivity. Here is how I would spend, spend, spend to support art, if money was no object.\u003c/p>\n\u003cp>\u003cb>The Lab\u003c/b>\u003cbr>\nJune 1, 2013, 6:30pm\u003c/p>\n\u003cp>Historically, the Lab has been one of San Francisco’s premiere alternative spaces — artists such as Barry McGee, Margaret Kilgallen, Alicia McCarthy, and Xylor Jane showed there early on. In recent years, the number of experimental spaces has dwindled dramatically, making the Lab’s sustainability all the more critical. This summer the Lab is renovating its gallery, as well as building artists’ studios in the space next door; of the ten studios being built one will be reserved for the artist-in-residence program. New programming will be announced in the fall, to coincide with the organization’s 30th anniversary.\u003c/p>\n\u003cp>“We are trying to change the auction model,” explained board president Jesse Houlding, “to give artists something substantial in exchange for their involvement.” The Lab published two suites of limited editions, one box set, and a series of prints available for individual sale; in exchange participating artists receive a complete suite of works by their esteemed peers. This gesture elevates the intentions of the auction through reciprocity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/Borruso.jpg\">\u003cbr>\nMatt Borruso, \u003ci>Tropical / Pastoral\u003c/i>, 2010\u003c/p>\n\u003cp>The limited edition box set, available in an edition of five, promises to make the most discerning collector’s heart skip a beat — it features works by a righteous list of art stars including Anthony Discenza, Desirée Holman, Chris Johanson, Alicia McCarthy, Barry McGee, Ruby Neri, Trevor Paglen, and Clare Rojas, in a wooden box designed by Andrew Berg. Individual prints by Randy Colosky, Mary Anne Kluth and Zachary Royer Scholz, among others, are also on offer, along with works by the likes of Matt Borruso, Ala Ebtekar, and Kota Ezawa during the live auction. For \u003ca href=\"http://www.thelab.org/\">tickets and more information\u003c/a> visit thelab.org or their online auction site \u003ca href=\"http://paddle8.com/auctions/thelab\">paddle8.com/auction.thelab\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Headlands Center for the Arts\u003c/b>\u003cbr>\nOnline May 17 through June 4, 2013, live auction June 5, 6:30pm\u003c/p>\n\u003cp>Headlands Center for the Arts is an extraordinary artist residency program located on the coast in the Marin Headlands. Nearly 1,000 highly acclaimed artists from all disciplines have spent time at the Headlands, often during formative periods of their careers, including Sapphire and Walter Kitundu, among others. The upcoming auction is “mission driven” and directly supports artists through sales opportunities. Participating artists may retain up to 50% of the sales price for their work, though artists often defer their percentage to further support Headlands’ programs. Artists are also given a pair of tickets to the VIP preview event.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/guardiola.jpg\">\u003cbr>\nPablo Guardiola, \u003ci>Caribe Color II\u003c/i>, 2012\u003c/p>\n\u003cp>My pick of the artworks, featured in the online auction to whet appetites, is numerous including works by Val Britton, Jedediah Caesar, Christina Empedocles, Pablo Guardiola, Todd Hido, Desirée Holman, Amy Franceschini, and Noah Murphy-Reinhertz, Eve Sussman, and Andy Vogt. To that end, I also openly covet some of the “experiences” on offer, including the LA Art Tour and a private party for ten at Aesop’s beautiful flagship store, featuring Recchiuti chocolates selected by Michael Recchiuti, wine pairings and spa treats. For \u003ca href=\"http://www.headlands.org/\">tickets and more information\u003c/a> visit headlands.org or \u003ca href=\"http://paddle8.com/auctions/headlands\">paddle8.com/auctions/headlands\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Southern Exposure\u003c/b>\u003cbr>\nJune 14, 2013, 6-11pm\u003c/p>\n\u003cp>Southern Exposure is one of the most vital artist-driven organizations in San Francisco, catering to a wide reaching number of artists working at the grassroots level. It is also perhaps the most openhanded: it has created open source models of many of its programs so that other organizations around the country may follow suit, including this annual fundraiser. By formulating equitable sustainability and sharing ideas, Southern Exposure has supported artists in numerous communities around the country. The Monster Drawing Rally is a live, generative event featuring hundreds of artists. At each event artists make and sell work on site over the course of the evening, at the very accessible price of $60 each. It is one of the most popular events of the year and it can be quite competitive — if you want work by a certain artist, you’d better be ready — but it is also lively and a fun way to raise vital funds for Southern Exposure’s year-long programs, while offering a glimpse of the creative process in real time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/soex.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My picks include Val Britton, John Casey, Michael Hall, Mary Anne Kluth, Sam Lopes, Masako Miki, Maria Porges, Genevieve Quick, Zachary Royer Scholz, Allison Smith, Lorna Stevens, and Bruce Tomb. And then, of course, there is the chance for new discoveries. Be prepared to sprint. For \u003ca href=\"http://soex.org/monsterdrawingrally.html\">tickets and more information\u003c/a> visit soex.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most arts organizations fundraising “season” is yearlong, with activity heightened by major events in the spring and fall. More often than not, these events are auctions. Traditionally, fundraising auctions meant organizations would solicit donations in order to sell objects to the highest bidder and retain the proceeds. Artists were frequently excluded from the events, unless they purchased tickets — or were invited in after the food had been served. (I once saw an artist nibble on leftover lettuce garnish scattered on an otherwise empty buffet.) In recent years, many arts organizations have revamped the traditional auction model, making it more equitable for the artists’ communities they serve and better reflections of their organizational values.\u003c/p>\n\u003cp>Several Bay Area arts organizations will host crucial fundraisers this month. It is noteworthy that many organizations feature overlapping lists of participating artists: non-profit arts organizations form the bedrock of the Bay Area arts scene and many artists generously give back so that still more artists can move ahead. The Lab, Headlands Center for the Arts, and Southern Exposure have all reinvented the fundraiser, largely by focusing on inclusivity. Here is how I would spend, spend, spend to support art, if money was no object.\u003c/p>\n\u003cp>\u003cb>The Lab\u003c/b>\u003cbr>\nJune 1, 2013, 6:30pm\u003c/p>\n\u003cp>Historically, the Lab has been one of San Francisco’s premiere alternative spaces — artists such as Barry McGee, Margaret Kilgallen, Alicia McCarthy, and Xylor Jane showed there early on. In recent years, the number of experimental spaces has dwindled dramatically, making the Lab’s sustainability all the more critical. This summer the Lab is renovating its gallery, as well as building artists’ studios in the space next door; of the ten studios being built one will be reserved for the artist-in-residence program. New programming will be announced in the fall, to coincide with the organization’s 30th anniversary.\u003c/p>\n\u003cp>“We are trying to change the auction model,” explained board president Jesse Houlding, “to give artists something substantial in exchange for their involvement.” The Lab published two suites of limited editions, one box set, and a series of prints available for individual sale; in exchange participating artists receive a complete suite of works by their esteemed peers. This gesture elevates the intentions of the auction through reciprocity.\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\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/Borruso.jpg\">\u003cbr>\nMatt Borruso, \u003ci>Tropical / Pastoral\u003c/i>, 2010\u003c/p>\n\u003cp>The limited edition box set, available in an edition of five, promises to make the most discerning collector’s heart skip a beat — it features works by a righteous list of art stars including Anthony Discenza, Desirée Holman, Chris Johanson, Alicia McCarthy, Barry McGee, Ruby Neri, Trevor Paglen, and Clare Rojas, in a wooden box designed by Andrew Berg. Individual prints by Randy Colosky, Mary Anne Kluth and Zachary Royer Scholz, among others, are also on offer, along with works by the likes of Matt Borruso, Ala Ebtekar, and Kota Ezawa during the live auction. For \u003ca href=\"http://www.thelab.org/\">tickets and more information\u003c/a> visit thelab.org or their online auction site \u003ca href=\"http://paddle8.com/auctions/thelab\">paddle8.com/auction.thelab\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Headlands Center for the Arts\u003c/b>\u003cbr>\nOnline May 17 through June 4, 2013, live auction June 5, 6:30pm\u003c/p>\n\u003cp>Headlands Center for the Arts is an extraordinary artist residency program located on the coast in the Marin Headlands. Nearly 1,000 highly acclaimed artists from all disciplines have spent time at the Headlands, often during formative periods of their careers, including Sapphire and Walter Kitundu, among others. The upcoming auction is “mission driven” and directly supports artists through sales opportunities. Participating artists may retain up to 50% of the sales price for their work, though artists often defer their percentage to further support Headlands’ programs. Artists are also given a pair of tickets to the VIP preview event.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/guardiola.jpg\">\u003cbr>\nPablo Guardiola, \u003ci>Caribe Color II\u003c/i>, 2012\u003c/p>\n\u003cp>My pick of the artworks, featured in the online auction to whet appetites, is numerous including works by Val Britton, Jedediah Caesar, Christina Empedocles, Pablo Guardiola, Todd Hido, Desirée Holman, Amy Franceschini, and Noah Murphy-Reinhertz, Eve Sussman, and Andy Vogt. To that end, I also openly covet some of the “experiences” on offer, including the LA Art Tour and a private party for ten at Aesop’s beautiful flagship store, featuring Recchiuti chocolates selected by Michael Recchiuti, wine pairings and spa treats. For \u003ca href=\"http://www.headlands.org/\">tickets and more information\u003c/a> visit headlands.org or \u003ca href=\"http://paddle8.com/auctions/headlands\">paddle8.com/auctions/headlands\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Southern Exposure\u003c/b>\u003cbr>\nJune 14, 2013, 6-11pm\u003c/p>\n\u003cp>Southern Exposure is one of the most vital artist-driven organizations in San Francisco, catering to a wide reaching number of artists working at the grassroots level. It is also perhaps the most openhanded: it has created open source models of many of its programs so that other organizations around the country may follow suit, including this annual fundraiser. By formulating equitable sustainability and sharing ideas, Southern Exposure has supported artists in numerous communities around the country. The Monster Drawing Rally is a live, generative event featuring hundreds of artists. At each event artists make and sell work on site over the course of the evening, at the very accessible price of $60 each. It is one of the most popular events of the year and it can be quite competitive — if you want work by a certain artist, you’d better be ready — but it is also lively and a fun way to raise vital funds for Southern Exposure’s year-long programs, while offering a glimpse of the creative process in real time.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/31/soex.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My picks include Val Britton, John Casey, Michael Hall, Mary Anne Kluth, Sam Lopes, Masako Miki, Maria Porges, Genevieve Quick, Zachary Royer Scholz, Allison Smith, Lorna Stevens, and Bruce Tomb. And then, of course, there is the chance for new discoveries. Be prepared to sprint. For \u003ca href=\"http://soex.org/monsterdrawingrally.html\">tickets and more information\u003c/a> visit soex.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Clock Watching: Ruminations on SFMOMA's Transformations",
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"content": "\u003cp>As I watched Christian Marclay’s \u003ci>The Clock\u003c/i> at SFMOMA last week, I was struck by the transformation of the museum’s galleries. I had been told that everything about the viewing space was organized according to the artist’s specifications, including the theatre-like curtains on the walls and the spacious arrangement of comfy couches (\u003ci>“We could have fit more, but he wanted everyone to have a good view”\u003c/i>). Despite the rare privilege to view what many consider to be the artist’s \u003ci>magnum opus\u003c/i> in this fastidiously considered environment, I was distracted by, well, the surroundings.\u003c/p>\n\u003cp>The passage of time intrinsic to the work itself prompted a heightened awareness of its transformation. Hadn’t I just been in this same space a few months ago, taking in \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/450\">Jay DeFeo\u003c/a>‘s \u003ci>The Rose\u003c/i>? At the thought of DeFeo, memories of other shows over the years came back to me. With every passing minute of \u003ci>The Clock\u003c/i>, I became more fixated on my memories in the same space and more aware of just how soon it will all change, yet again, into something wholly new and unfamiliar. A wave of sentimentality flooded over me, just as an image flashed of John Belushi checking his watch at the end of National Lampoon’s \u003ci>Animal House\u003c/i>, and my own memories of the museum filtered in time with the fractious transitions of \u003ci>The Clock\u003c/i>.\u003c/p>\n\u003cp>I recalled the sublime \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/482\">\u003cb>Magritte\u003c/b>\u003c/a> exhibition of 2000 and how I was enamored with everything about the show. Remember how the walls of each gallery transitioned to different shades of blue throughout?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/magritte.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>René Magritte, \u003ci>Les valeurs personnelles\u003c/i>, 1952\u003c/center>\n\u003cp>A year later I snagged an internship at SFMOMA and was delighted to walk through the stillness of the empty museum each morning. I helped with promotions for the off-site exhibition \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/8\">\u003cb>Revelatory Landscapes\u003c/b>\u003c/a>, a series of interventions by landscape architects, and my eyes were opened to the possibility of working in public space. Someone suggested I should ask then-director David Ross for a cup of tea and mentorship. When he said yes, I mentioned it to my astonished colleagues, and casually pointed out that it was much easier to connect with him then than it might be in the future. (I had no idea how right I would be — Ross soon left the museum in a dramatic cloud of contention.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was the year of \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/2\">\u003cb>010101\u003c/b>\u003c/a>, the year Sarah Sze had a huge \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/101257\"> installation\u003c/a> in the stairwell. Sze is this year’s U.S. representative at Venice Biennale. Time flies, doesn’t it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/sze.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Sarah Sze, \u003ci>Things Fall Apart\u003c/i>, 2001\u003c/center>\n\u003cp>Remember too the \u003ca href=\"http://www.sfmoma.org/explore/multimedia/videos/38\">Sol LeWitt\u003c/a> in the atrium — and later, the optical tricks in \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/388\">Kerry James Marshall\u003c/a>‘s mural in the same site. At the thought of the atrium, my memories fast-forward to the lovely Jim Campbell \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/436\">\u003ci>Exploded Views\u003c/i>\u003c/a> over the entry last year, its images coherent only from the second floor landing.\u003c/p>\n\u003cp>Other shows rushed to mind: the fragile works of \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/24\">Eva Hesse\u003c/a>, Ann Hamilton’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/multimedia/interactive_features/10\">indigo blue\u003c/a>\u003c/i>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/380\">William Kentridge\u003c/a>‘s everything, and the fearless \u003ca href=\"http://www.sfmoma.org/explore/multimedia/interactive_features/70\">Kara Walker\u003c/a>. There was a cautionary notice at the entrance of Walker’s installation. Would they still do that today, I wonder? I also recall navigating the crowded \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/310\">\u003cb>Frida Kahlo\u003c/b>\u003c/a> exhibition with my ten-day-old newborn in his covered stroller. What was I thinking, taking such a tiny baby to such a crowded museum? It felt right at the time, despite an awkward attempt to breastfeed in the lobby. I was a little anxious that I would accidentally expose myself to the likes of director Neal Benezra, but I also felt a little defiant. This was \u003ci>my\u003c/i> museum after all.\u003c/p>\n\u003cp>I think too about the shows that were lost on me: Matthew Barney’s \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/230\">\u003cb>Drawing Restraint\u003c/b>\u003c/a> (over my head, but, oh, remember that wonderful interactive website for visitor comments), \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/232\">Olafur Eliason\u003c/a> (I heard it was amazing, but I missed it altogether during a vomitous first trimester), \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/280\"> Brice Marden\u003c/a> (it left me cold). I remember profound sorrow after experiencing Doris Salcedo’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/118670\">Atrabiliarios\u003c/a>\u003c/i> and, again too, after the death of Jeremy Blake, whose piece \u003ci>\u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/200\">Winchester\u003c/a>\u003c/i> had been transformative.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/2004.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Doris Salcedo, \u003ci>Atrabiliarios\u003c/i>, 1992-2003\u003c/center>\n\u003cp>All art is a singular, personal experience, fleeting and whole only in that moment. There is no way to replicate the breathless wonder I felt following the directions of Janet Cardiff’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/103203\">The Telephone Call\u003c/a>\u003c/i> as it steered me up a service stairwell; there is no way to conjure up the thick oil smell that hung in the galleries during the exhibition of Richard Serra’s massive, black drawings. I can only recall, not recapture, that moment of champagne-like silliness I experienced when talking with Cindy Sherman about her bicycle rides during preparations for her \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/448\">show\u003c/a> — and wondering out loud if she wore spandex on her jaunts. (We both laughed at the thought, and, no, she doesn’t.)\u003c/p>\n\u003cp>Once, as the museum was beginning preparations to build the Rooftop Garden, I stood with SFMOMA curator of painting and sculpture Janet Bishop, looking up at a red string pulled taut in the air between buildings. She carefully explained how the string represented the architecture yet to come, pointing out where different features would appear. I was awed by this rare intimacy with the curator, which felt like holding a hummingbird in my hand. After that I would look up at the red string, thinking about what had been and what was to come.\u003c/p>\n\u003cp>As the museum’s closing looms forth \u003ci>The Clock\u003c/i> counts the hours, summoning memories and revelations in real time. After I emerged from my reverie and gave up my seat to walk through the museum, I marveled at the line of people on the stairwell waiting to see the Marclay. \u003ci>Don’t waste this time waiting\u003c/i>, I wanted to say to everyone in line, \u003ci>go take it all in before it’s gone\u003c/i>. There was a metaphor somewhere in that moment, about waiting and watching and keeping time, as it were, but an artwork caught my eye and led me in a new direction.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art will close after Sunday, June 2 to undergo a massive, multi-year expansion. Admission is free May 30-June 2, 2013. The museum will be open around the clock from Saturday, June 1 at 10am until Sunday, June 2 at 5:45pm. The newly expanded and redesigned SFMOMA will reopen in early 2016. For \u003ca href=\"http://www.sfmoma.org/\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All images courtesy of SFMOMA.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I watched Christian Marclay’s \u003ci>The Clock\u003c/i> at SFMOMA last week, I was struck by the transformation of the museum’s galleries. I had been told that everything about the viewing space was organized according to the artist’s specifications, including the theatre-like curtains on the walls and the spacious arrangement of comfy couches (\u003ci>“We could have fit more, but he wanted everyone to have a good view”\u003c/i>). Despite the rare privilege to view what many consider to be the artist’s \u003ci>magnum opus\u003c/i> in this fastidiously considered environment, I was distracted by, well, the surroundings.\u003c/p>\n\u003cp>The passage of time intrinsic to the work itself prompted a heightened awareness of its transformation. Hadn’t I just been in this same space a few months ago, taking in \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/450\">Jay DeFeo\u003c/a>‘s \u003ci>The Rose\u003c/i>? At the thought of DeFeo, memories of other shows over the years came back to me. With every passing minute of \u003ci>The Clock\u003c/i>, I became more fixated on my memories in the same space and more aware of just how soon it will all change, yet again, into something wholly new and unfamiliar. A wave of sentimentality flooded over me, just as an image flashed of John Belushi checking his watch at the end of National Lampoon’s \u003ci>Animal House\u003c/i>, and my own memories of the museum filtered in time with the fractious transitions of \u003ci>The Clock\u003c/i>.\u003c/p>\n\u003cp>I recalled the sublime \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/482\">\u003cb>Magritte\u003c/b>\u003c/a> exhibition of 2000 and how I was enamored with everything about the show. Remember how the walls of each gallery transitioned to different shades of blue throughout?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/magritte.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>René Magritte, \u003ci>Les valeurs personnelles\u003c/i>, 1952\u003c/center>\n\u003cp>A year later I snagged an internship at SFMOMA and was delighted to walk through the stillness of the empty museum each morning. I helped with promotions for the off-site exhibition \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/8\">\u003cb>Revelatory Landscapes\u003c/b>\u003c/a>, a series of interventions by landscape architects, and my eyes were opened to the possibility of working in public space. Someone suggested I should ask then-director David Ross for a cup of tea and mentorship. When he said yes, I mentioned it to my astonished colleagues, and casually pointed out that it was much easier to connect with him then than it might be in the future. (I had no idea how right I would be — Ross soon left the museum in a dramatic cloud of contention.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was the year of \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/2\">\u003cb>010101\u003c/b>\u003c/a>, the year Sarah Sze had a huge \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/101257\"> installation\u003c/a> in the stairwell. Sze is this year’s U.S. representative at Venice Biennale. Time flies, doesn’t it?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/sze.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Sarah Sze, \u003ci>Things Fall Apart\u003c/i>, 2001\u003c/center>\n\u003cp>Remember too the \u003ca href=\"http://www.sfmoma.org/explore/multimedia/videos/38\">Sol LeWitt\u003c/a> in the atrium — and later, the optical tricks in \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/388\">Kerry James Marshall\u003c/a>‘s mural in the same site. At the thought of the atrium, my memories fast-forward to the lovely Jim Campbell \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/436\">\u003ci>Exploded Views\u003c/i>\u003c/a> over the entry last year, its images coherent only from the second floor landing.\u003c/p>\n\u003cp>Other shows rushed to mind: the fragile works of \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/24\">Eva Hesse\u003c/a>, Ann Hamilton’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/multimedia/interactive_features/10\">indigo blue\u003c/a>\u003c/i>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/380\">William Kentridge\u003c/a>‘s everything, and the fearless \u003ca href=\"http://www.sfmoma.org/explore/multimedia/interactive_features/70\">Kara Walker\u003c/a>. There was a cautionary notice at the entrance of Walker’s installation. Would they still do that today, I wonder? I also recall navigating the crowded \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/310\">\u003cb>Frida Kahlo\u003c/b>\u003c/a> exhibition with my ten-day-old newborn in his covered stroller. What was I thinking, taking such a tiny baby to such a crowded museum? It felt right at the time, despite an awkward attempt to breastfeed in the lobby. I was a little anxious that I would accidentally expose myself to the likes of director Neal Benezra, but I also felt a little defiant. This was \u003ci>my\u003c/i> museum after all.\u003c/p>\n\u003cp>I think too about the shows that were lost on me: Matthew Barney’s \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/230\">\u003cb>Drawing Restraint\u003c/b>\u003c/a> (over my head, but, oh, remember that wonderful interactive website for visitor comments), \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/232\">Olafur Eliason\u003c/a> (I heard it was amazing, but I missed it altogether during a vomitous first trimester), \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/280\"> Brice Marden\u003c/a> (it left me cold). I remember profound sorrow after experiencing Doris Salcedo’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/118670\">Atrabiliarios\u003c/a>\u003c/i> and, again too, after the death of Jeremy Blake, whose piece \u003ci>\u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/200\">Winchester\u003c/a>\u003c/i> had been transformative.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/29/2004.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Doris Salcedo, \u003ci>Atrabiliarios\u003c/i>, 1992-2003\u003c/center>\n\u003cp>All art is a singular, personal experience, fleeting and whole only in that moment. There is no way to replicate the breathless wonder I felt following the directions of Janet Cardiff’s \u003ci>\u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/103203\">The Telephone Call\u003c/a>\u003c/i> as it steered me up a service stairwell; there is no way to conjure up the thick oil smell that hung in the galleries during the exhibition of Richard Serra’s massive, black drawings. I can only recall, not recapture, that moment of champagne-like silliness I experienced when talking with Cindy Sherman about her bicycle rides during preparations for her \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/448\">show\u003c/a> — and wondering out loud if she wore spandex on her jaunts. (We both laughed at the thought, and, no, she doesn’t.)\u003c/p>\n\u003cp>Once, as the museum was beginning preparations to build the Rooftop Garden, I stood with SFMOMA curator of painting and sculpture Janet Bishop, looking up at a red string pulled taut in the air between buildings. She carefully explained how the string represented the architecture yet to come, pointing out where different features would appear. I was awed by this rare intimacy with the curator, which felt like holding a hummingbird in my hand. After that I would look up at the red string, thinking about what had been and what was to come.\u003c/p>\n\u003cp>As the museum’s closing looms forth \u003ci>The Clock\u003c/i> counts the hours, summoning memories and revelations in real time. After I emerged from my reverie and gave up my seat to walk through the museum, I marveled at the line of people on the stairwell waiting to see the Marclay. \u003ci>Don’t waste this time waiting\u003c/i>, I wanted to say to everyone in line, \u003ci>go take it all in before it’s gone\u003c/i>. There was a metaphor somewhere in that moment, about waiting and watching and keeping time, as it were, but an artwork caught my eye and led me in a new direction.\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art will close after Sunday, June 2 to undergo a massive, multi-year expansion. Admission is free May 30-June 2, 2013. The museum will be open around the clock from Saturday, June 1 at 10am until Sunday, June 2 at 5:45pm. The newly expanded and redesigned SFMOMA will reopen in early 2016. For \u003ca href=\"http://www.sfmoma.org/\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "on_permanence_barbara_shawcrofts_legs_and_the_challenges_of",
"title": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art",
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"headTitle": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art | KQED",
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"content": "\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"title": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow HELP DESK on Twitter: @BeanGilsdorf \u003c/i>\u003c/p>\n\u003cp>\u003cb>I have recently been the lucky recipient of an unprecedented amount of small, but not insubstantial, payments. Some are for arts writing and editing, others are one-time grants, art sales, and various art-world related odd jobs. All have been issued through W-9s and will show up come tax time as 1099-MISC income. None have been taxed. I do have a regular 9-5 job that gives me a more stable income and provides for my room and board. This new, supplemental income will mostly go toward studio rent and art supplies. I understand I should set aside a portion of these funds for the state and feds, but where do I start? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>First, congratulations! Nice job on your grants and sales, and good hustle on the art-related income. Second, I can’t believe you came to \u003ci>me\u003c/i> for advice that involves numbers. All I can recall about Algebra 1 was that my teacher had a glass eye, and there is honestly a question in my mind as to whether I ever once attended Algebra 2. My strongest memory related to arithmetic doesn’t even have to do with numbers: one summer in college I took a remedial math class and the guy who sat next to me wore a Stone Temple Pilots shirt \u003ci>every day\u003c/i>. \u003c/p>\n\u003cp>Now that I’m wiser and more mature, I shove art-related receipts into an envelope and then hand the whole thing off to an accountant while hyperventilating. \u003c/p>\n\u003cp>If that’s not enough to scare you away, read on, because I’ve unearthed information that will help us both.* To start, I contacted a friend who is an accountant in a museum, and she backed me up about hiring an accountant: “The best advice I can give you is to seek the counsel of a professional tax accountant who specializes in artists and freelancers. He/she will be able to really analyze your situation and give you advice that is current to state and federal tax law.” It may seem like a cop-out to point you to a professional, but the U.S. tax code gets changed every year; so depending on the specifics of your situation, it may be better to hire an expert who can captain your little financial tugboat through the choppy waters of deductions, exemptions, withholdings, etc. \u003c/p>\n\u003cp>My friend sends you some more advice: “The quick and dirty is this: reduce your exemptions at your day job and save your receipts on all expenses related to your practice. Review the W-4 you submitted to your employer and resubmit it with fewer exemptions. Many people I know who freelance and have day jobs take zero exemptions on their W-4. A Certified Public Accountant can help you determine the best exemption rate for your situation so that you neither owe nor get a refund, which is the best possible outcome. You want that money in your pocket, as you earn it.” \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/26/LlynFoulkes2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr /> Llyn Foulkes, \u003ci>Dali and Me\u003c/i>, 2006\u003c/center>\u003c/p>\n\u003cp>She also pointed me to the book \u003cem>\u003ca href=\"http://www.powells.com/biblio?show=TRADE%20PAPER:USED:9781581157420:15.00&page=excerpt\">Legal Guide for the Visual Artist\u003c/a>\u003c/em>, by Tad Crawford. Chapter 20 deals with taxes on income and expenses, and though I glazed over somewhat in a tax-vernacular-inspired stupor, I actually learned a few things we can both bear in mind. \u003c/p>\n\u003cp>First, “[t]he artist realizes ordinary income from \u003ci>all\u003c/i> income-producing activities of the artist’s profession” [italics mine]. Ordinary income (what you’re earning with your many jobs) is taxed at a higher rate than capital gains income (when you sell stocks or real estate), up to 35%. This tidbit is important for two reasons: one, you can estimate your own tax and set that money aside so that you don’t get caught short when April 15, 2014 rolls around (since you file W9s and claim all your income \u003ci>as a good citizen should\u003c/i>, the IRS will tax you on all of it). Two, if you lump all your art-related income together, you’re less likely to claim a loss after you subtract your deductions (see below), which means you’re also less likely to have to prove to the IRS that what you do is a profession and not a hobby.** \u003c/p>\n\u003cp>Bear in mind that grants can be tax-tricky but can generally only be excluded from your net income if you’re enrolled in a school (“degree candidates”) and using it for tuition and so on. Prizes and awards are also included in taxable income, so again, expect to pay around 35% of their value to the government. You might end up paying a lower percentage, but it’s worth it to assume the worst and put the money aside. \u003c/p>\n\u003cp>You probably already know that you can offset your taxable income by claiming deductions: for example, the art supplies and materials you use; the rent and expenses on your workspace if it’s outside your home; some professional equipment; and “meals, lodging, and transportation…incurred in pursuit of professional activities.” Again, this is where it might pay to hire a professional who specifically helps artists. My first accountant — a very conservative man with a deep suspicion of the visual arts — never let me deduct anything and seemed to live in terror that I would get audited. My new accountant makes sure my deductions are fair and appears to believe that I am in legitimate pursuit of a profit, even when my art revenue falls short of my art expenses. Much better!\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/26/LlynFoulkes3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr /> Llyn Foulkes, \u003ci>Deliverance\u003c/i>, 2004-2007\u003c/center>\u003c/p>\n\u003cp>The book has a sample 1040 Schedule C (which you can also get \u003ca href=\"http://www.irs.gov/pub/irs-pdf/f1040sc.pdf\">here\u003c/a>). Look it over. If it makes you frown so hard that your eyebrows fuse together, that might be a sign that you don’t have what it takes to tackle this kind of thing on your own. Conversely, you might think, \u003cem>is this all?\u003c/em> and feel confident that you’re able to take it on. Perusing the form as well as the materials I have mentioned above will help you decide if your financial life is truly simple enough for you to handle a 1040 solo, or if it’s more complicated and could use the help of a dedicated professional. Whichever you choose, good luck! \u003c/p>\n\u003cp>*I’m not an accountant. If I had a lawyer, I bet she would make me write some kind of disclaimer here about how the counsel I provide is for informational purposes only.You should consult a tax professional, and you shouldn’t sue me if you get audited or whatever. \u003c/p>\n\u003cp>**It’s complicated, but the gist is: if you’re a professional you can take deductions; if you’re a hobbyist, you cannot. See \u003ca href=\"http://www.powells.com/biblio?show=TRADE%20PAPER:USED:9781581157420:15.00&page=excerpt\">\u003ci>Legal Guide for the Visual Artist\u003c/i>\u003c/a> chapter 22, “Taxes: The Hobby Loss Challenge” for more information on the difference between the two, and the nine factors that determine “profit motive.” \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow HELP DESK on Twitter: @BeanGilsdorf \u003c/i>\u003c/p>\n\u003cp>\u003cb>I have recently been the lucky recipient of an unprecedented amount of small, but not insubstantial, payments. Some are for arts writing and editing, others are one-time grants, art sales, and various art-world related odd jobs. All have been issued through W-9s and will show up come tax time as 1099-MISC income. None have been taxed. I do have a regular 9-5 job that gives me a more stable income and provides for my room and board. This new, supplemental income will mostly go toward studio rent and art supplies. I understand I should set aside a portion of these funds for the state and feds, but where do I start? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>First, congratulations! Nice job on your grants and sales, and good hustle on the art-related income. Second, I can’t believe you came to \u003ci>me\u003c/i> for advice that involves numbers. All I can recall about Algebra 1 was that my teacher had a glass eye, and there is honestly a question in my mind as to whether I ever once attended Algebra 2. My strongest memory related to arithmetic doesn’t even have to do with numbers: one summer in college I took a remedial math class and the guy who sat next to me wore a Stone Temple Pilots shirt \u003ci>every day\u003c/i>. \u003c/p>\n\u003cp>Now that I’m wiser and more mature, I shove art-related receipts into an envelope and then hand the whole thing off to an accountant while hyperventilating. \u003c/p>\n\u003cp>If that’s not enough to scare you away, read on, because I’ve unearthed information that will help us both.* To start, I contacted a friend who is an accountant in a museum, and she backed me up about hiring an accountant: “The best advice I can give you is to seek the counsel of a professional tax accountant who specializes in artists and freelancers. He/she will be able to really analyze your situation and give you advice that is current to state and federal tax law.” It may seem like a cop-out to point you to a professional, but the U.S. tax code gets changed every year; so depending on the specifics of your situation, it may be better to hire an expert who can captain your little financial tugboat through the choppy waters of deductions, exemptions, withholdings, etc. \u003c/p>\n\u003cp>My friend sends you some more advice: “The quick and dirty is this: reduce your exemptions at your day job and save your receipts on all expenses related to your practice. Review the W-4 you submitted to your employer and resubmit it with fewer exemptions. Many people I know who freelance and have day jobs take zero exemptions on their W-4. A Certified Public Accountant can help you determine the best exemption rate for your situation so that you neither owe nor get a refund, which is the best possible outcome. You want that money in your pocket, as you earn it.” \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/26/LlynFoulkes2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr /> Llyn Foulkes, \u003ci>Dali and Me\u003c/i>, 2006\u003c/center>\u003c/p>\n\u003cp>She also pointed me to the book \u003cem>\u003ca href=\"http://www.powells.com/biblio?show=TRADE%20PAPER:USED:9781581157420:15.00&page=excerpt\">Legal Guide for the Visual Artist\u003c/a>\u003c/em>, by Tad Crawford. Chapter 20 deals with taxes on income and expenses, and though I glazed over somewhat in a tax-vernacular-inspired stupor, I actually learned a few things we can both bear in mind. \u003c/p>\n\u003cp>First, “[t]he artist realizes ordinary income from \u003ci>all\u003c/i> income-producing activities of the artist’s profession” [italics mine]. Ordinary income (what you’re earning with your many jobs) is taxed at a higher rate than capital gains income (when you sell stocks or real estate), up to 35%. This tidbit is important for two reasons: one, you can estimate your own tax and set that money aside so that you don’t get caught short when April 15, 2014 rolls around (since you file W9s and claim all your income \u003ci>as a good citizen should\u003c/i>, the IRS will tax you on all of it). Two, if you lump all your art-related income together, you’re less likely to claim a loss after you subtract your deductions (see below), which means you’re also less likely to have to prove to the IRS that what you do is a profession and not a hobby.** \u003c/p>\n\u003cp>Bear in mind that grants can be tax-tricky but can generally only be excluded from your net income if you’re enrolled in a school (“degree candidates”) and using it for tuition and so on. Prizes and awards are also included in taxable income, so again, expect to pay around 35% of their value to the government. You might end up paying a lower percentage, but it’s worth it to assume the worst and put the money aside. \u003c/p>\n\u003cp>You probably already know that you can offset your taxable income by claiming deductions: for example, the art supplies and materials you use; the rent and expenses on your workspace if it’s outside your home; some professional equipment; and “meals, lodging, and transportation…incurred in pursuit of professional activities.” Again, this is where it might pay to hire a professional who specifically helps artists. My first accountant — a very conservative man with a deep suspicion of the visual arts — never let me deduct anything and seemed to live in terror that I would get audited. My new accountant makes sure my deductions are fair and appears to believe that I am in legitimate pursuit of a profit, even when my art revenue falls short of my art expenses. Much better!\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/26/LlynFoulkes3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr /> Llyn Foulkes, \u003ci>Deliverance\u003c/i>, 2004-2007\u003c/center>\u003c/p>\n\u003cp>The book has a sample 1040 Schedule C (which you can also get \u003ca href=\"http://www.irs.gov/pub/irs-pdf/f1040sc.pdf\">here\u003c/a>). Look it over. If it makes you frown so hard that your eyebrows fuse together, that might be a sign that you don’t have what it takes to tackle this kind of thing on your own. Conversely, you might think, \u003cem>is this all?\u003c/em> and feel confident that you’re able to take it on. Perusing the form as well as the materials I have mentioned above will help you decide if your financial life is truly simple enough for you to handle a 1040 solo, or if it’s more complicated and could use the help of a dedicated professional. Whichever you choose, good luck! \u003c/p>\n\u003cp>*I’m not an accountant. If I had a lawyer, I bet she would make me write some kind of disclaimer here about how the counsel I provide is for informational purposes only.You should consult a tax professional, and you shouldn’t sue me if you get audited or whatever. \u003c/p>\n\u003cp>**It’s complicated, but the gist is: if you’re a professional you can take deductions; if you’re a hobbyist, you cannot. See \u003ca href=\"http://www.powells.com/biblio?show=TRADE%20PAPER:USED:9781581157420:15.00&page=excerpt\">\u003ci>Legal Guide for the Visual Artist\u003c/i>\u003c/a> chapter 22, “Taxes: The Hobby Loss Challenge” for more information on the difference between the two, and the nine factors that determine “profit motive.” \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow HELP DESK on twitter: @BeanGilsdorf \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been meeting with a commercial gallery in my city for some time, and they’ve extended me an offer to come aboard. I’m excited about the idea of professional representation, having a platform to promote myself to a larger audience, and further opportunity for sale of work. I feel strongly about some of the work the gallery represents, but some of it is totally not my style, which is to say, artwork that favors more commercially viable subject matter or style at the cost of exercising any real dynamic or conceptual verve. How much should this influence my decision to join the gallery? I think deep down I’m afraid my work may be negatively evaluated against some of this work in question, and will affect my just-budding career moving forward. How crucial is it that a potential gallery fully affirm your conceptual ideal as an artist?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>\u003ci>This is a great question, one which I am definitely not qualified to answer. Accordingly, I sent this query to a half-dozen represented artists and below are the replies I received.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Despite the fact that these artists are speaking from viewpoints all along the career continuum, their answers overlap considerably. They range from mid-career artists with New York and international representation plus several important museum shows, all the way to an artist in a second-tier city who has been represented for less than a year. I vowed to protect the identities of these artists in exchange for their candid replies, but I would like to thank them here for their thoughtful contributions.\u003c/i>\u003c/p>\n\u003cp>\u003ci>-BG\u003c/i>\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>This is a legitimate concern, but it’s only one among a number of questions an artist should consider when deciding to work with a gallery. It’s certainly important to feel as though your work and the gallery’s program are in sync, but that consideration exists in a nexus with other issues of equal or greater importance. First and foremost among these might be, do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is doing? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship? \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bear in mind that it’s generally unlikely that you will love all the gallery’s artists. If you like/respect/are excited by at least half the artists represented, that’s probably the best ratio you can hope for. A gallery is essentially a retail store, selling a very rarefied product to a capricious clientele. If the owners of the gallery make all their money solely from the gallery’s sales (as opposed to coming from a lot of money, or generating the bulk of their income from selling on the secondary market) they will almost certainly have to diversify their inventory, especially if they are based in a city without a strong collector base. While it is to be hoped (and should be expected) that a gallery “stands behind” every artist that they represent equally, the reality is also that there are some artists a gallery works with not because the work is especially cutting edge, but because the owners know they can move it and thereby pay their bills. (If you want a window into what this looks like, try watching the movie \u003ci>Untitled\u003c/i>, which, while far from great, depicts some of these interior art world mechanisms at work.) In other words, the presence of some artists will lend credibility and “edginess” to a gallery’s roster, while others may make sure the rent gets paid. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>Pay attention to how conceptually aware and involved the gallerists are. If they seem to be supportive of your practice and any risks you might take with your work, that could trump what other more commercial work they might represent to keep the lights on. However, if you feel that they could stifle your drive, or set limits to your work, or get in the way of what makes your art something you feel is conceptually brave and forward thinking, then you should re-evaluate the agreement and possibly very cordially end the conversation. It’s good to see these opportunities as steps toward something greater, and if you are given free reign and a platform of exposure, it could be very beneficial down the road. It is smart to be mindful of these decisions though, because if you find yourself hemmed in \u003ci>and\u003c/i> next to work you don’t respect, that can only lead to artistic and professional frustration. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>This topic has confronted me before — in general it’s a pretty common discussion amongst artists with commercial representation. Generally, galleries have to maintain a roster of artists that differ from each other in order to cater to a range of potential clients. So some artists on the roster may be considered more “commercial” or easily sold than others, or the artists may appear to be diverse and not necessarily relating to each other. But that’s not necessarily a bad thing — I’ve had several gallerists tell me that some of the artists they represent are considered the “bread and butter” ones — the ones that sell well and thus support the ability to show or represent the other artists who are less commercially viable but whose work the gallery wants to support for other reasons. Overall, you just want to make sure that the gallery you work with has a taste that you resonate with in general and that if push comes to shove, they can speak about your work in an enthusiastic way without you having to be there. Perhaps not all the artists in the roster are to your liking, but that is a common situation. If you think the gallery has \u003ci>bad\u003c/i> taste however, then by all means run in the opposite direction. \u003c/p>\n\u003cp>I have left a gallery before that I felt was not in line with my work, and it took a while to come to that decision because it was a very respectable blue-chip gallery. But in the end I wanted to work with a smaller, perhaps scrappier gallery because I felt their roster better reflected my own concerns of politics and social issues. There are definitely artists in the current gallery’s roster that I don’t care for, but I let that go because I know [the owner] works hard for me and represents me well. \u003c/p>\n\u003cp>I suggest that [artists] resolve this issue for themselves by asking several questions:\u003cbr /> – Does the gallery you are considering seem to thoughtfully pick their roster of artists, or is it a hit-or-miss affair?\u003cbr />– Can the gallery understand what your work is about and represent it lucidly?\u003cbr />– Can you identify what the gallery’s “taste” is, and understand why they choose their artists?\u003cbr />– Will you cringe or feel embarrassed when asked who your gallery is?\u003cbr />– Do the other artists appear so “left field” that your peers will wonder why you are showing with them?\u003cbr />– Will it confuse clients as to why you are with that gallery?\u003cbr />– Do you feel comfortable showing up to the openings of the other gallery artists to support them and the gallery? \u003c/p>\n\u003cp>If this is all too much and you don’t feel enthusiastic, then it is best to wait for better representation to come along. If you are working hard and making good work, this is not your only shot at working with a gallery. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>Your work should actually \u003ci>not\u003c/i> be similar in style to other artists showing with the gallery. The worst thing is a gallery that only shows one style. Good galleries will select a range of work, so that each artist’s practice speaks to a different potential audience. This is a common misconception among emerging artists, because you think that if you like the work at a given gallery, then that is where you should show. But again, better galleries will not choose two of the same, or similar thing. So chances are that if you like an artist they show because their work has a lot in common with yours, then that is probably not the right gallery for you. \u003c/p>\n\u003cp>Everyone has cold feet before joining their first gallery, because you know it will affect the way your work is framed and viewed and usually you are entrusting your work to someone you are just getting to know. It may be a gallery that is emerging, like you, and hasn’t been tested yet. It is only natural to be concerned with the reputation of the gallery, and that is wise. If the work is really poor, then you do have to consider whether you want to associate yourself with it, or that dealer. In fact it is more important to feel comfortable with the dealer one-on-one than to be buddy-buddy with the other artists. Do you trust the dealer? Do you like the way they speak about your work to others? \u003c/p>\n\u003cp>Every gallery has some artists that make money and others that earn street cred. Don’t worry if you are not the moneymaker in the bunch, and be thankful for those who are because they keep the gallery afloat and that includes you. Galleries do not generally have the money and power we assume they have. They are fragile institutions, and dealers work extremely hard under a lot of pressure. Never reveal to a dealer that you are not keen on the other artists they show. That is a real faux pas that could get you dropped from the gallery. Essentially it is none of your business, and if the dealer likes your work, why would you question their taste level? \u003c/p>\n\u003cp>If you believe in the gallerist as a solid, smart person with good business sense, then go with your gut and build your relationship. The artists they show who are not as good may eventually drop off, and better artists will be taken on. If you really feel in your gut that this is not the right fit, then it is worth it to wait. But if you pass up too many opportunities waiting for a better gallery to come along, it may not happen. Don’t be too picky or you might miss the boat. If your career takes off, and you are unhappy, you can leave the gallery and be picked up by someone else. It happens all the time. It may feel like a gamble, and it totally is. At some level you have to accept that you only have so much control and the rest is really out of your hands. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel4.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>I love this question, but it is a bit complex. Right off the bat, I stumble over words like “commercially viable” and “conceptual verve.” Surely we have all encountered commercially viable work that has conceptual guts and intellectual rigor. So in order for this question to find an answer, I think we have to make some assumptions that this kind of pejorative delineation is common. \u003c/p>\n\u003cp>I enjoy a gallery that knows itself and can express itself as an idea or an ethic. Through months and years of exhibiting works and cultivating an audience, the gallery represents its characteristics as if it were a person. We recognize the gallery as intelligent, occasionally sly and provoking, has a sense of humor, etc. This is often at the hand of the gallery’s owner. The gallery should reflect the owner. \u003c/p>\n\u003cp>Any artist would be fortunate to be in the hands of a gallery whose ethic is transparent. In other words, you and your work reflect those ethics, and in turn you are with the gallery because you fortify and enhance the characteristics of the gallery. And honestly, I think any great gallery makes very few exceptions in the presentation of its character. Despite the viable or conceptual differences between gallery artists, if there is an ethic that binds you together you should be in good shape. If that ethic is not there, I would think twice. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003ci>And finally, in the interest of representing all possible ways to confront this dilemma, I include this dispatch from the kingdom of I Got Mine: \u003c/i>\u003c/p>\n\u003cp>I honestly don’t have much to say about professional development issues of artists. I think artists should concentrate on their work and not spend all this energy on career strategy. Strong work will find its proper context over time. If your reader is courted by top-level New York galleries then her decision would carry some weight. In most other cases I think the whole issue is not so important. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow HELP DESK on twitter: @BeanGilsdorf \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been meeting with a commercial gallery in my city for some time, and they’ve extended me an offer to come aboard. I’m excited about the idea of professional representation, having a platform to promote myself to a larger audience, and further opportunity for sale of work. I feel strongly about some of the work the gallery represents, but some of it is totally not my style, which is to say, artwork that favors more commercially viable subject matter or style at the cost of exercising any real dynamic or conceptual verve. How much should this influence my decision to join the gallery? I think deep down I’m afraid my work may be negatively evaluated against some of this work in question, and will affect my just-budding career moving forward. How crucial is it that a potential gallery fully affirm your conceptual ideal as an artist?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>\u003ci>This is a great question, one which I am definitely not qualified to answer. Accordingly, I sent this query to a half-dozen represented artists and below are the replies I received.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Despite the fact that these artists are speaking from viewpoints all along the career continuum, their answers overlap considerably. They range from mid-career artists with New York and international representation plus several important museum shows, all the way to an artist in a second-tier city who has been represented for less than a year. I vowed to protect the identities of these artists in exchange for their candid replies, but I would like to thank them here for their thoughtful contributions.\u003c/i>\u003c/p>\n\u003cp>\u003ci>-BG\u003c/i>\u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>This is a legitimate concern, but it’s only one among a number of questions an artist should consider when deciding to work with a gallery. It’s certainly important to feel as though your work and the gallery’s program are in sync, but that consideration exists in a nexus with other issues of equal or greater importance. First and foremost among these might be, do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is doing? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship? \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bear in mind that it’s generally unlikely that you will love all the gallery’s artists. If you like/respect/are excited by at least half the artists represented, that’s probably the best ratio you can hope for. A gallery is essentially a retail store, selling a very rarefied product to a capricious clientele. If the owners of the gallery make all their money solely from the gallery’s sales (as opposed to coming from a lot of money, or generating the bulk of their income from selling on the secondary market) they will almost certainly have to diversify their inventory, especially if they are based in a city without a strong collector base. While it is to be hoped (and should be expected) that a gallery “stands behind” every artist that they represent equally, the reality is also that there are some artists a gallery works with not because the work is especially cutting edge, but because the owners know they can move it and thereby pay their bills. (If you want a window into what this looks like, try watching the movie \u003ci>Untitled\u003c/i>, which, while far from great, depicts some of these interior art world mechanisms at work.) In other words, the presence of some artists will lend credibility and “edginess” to a gallery’s roster, while others may make sure the rent gets paid. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>Pay attention to how conceptually aware and involved the gallerists are. If they seem to be supportive of your practice and any risks you might take with your work, that could trump what other more commercial work they might represent to keep the lights on. However, if you feel that they could stifle your drive, or set limits to your work, or get in the way of what makes your art something you feel is conceptually brave and forward thinking, then you should re-evaluate the agreement and possibly very cordially end the conversation. It’s good to see these opportunities as steps toward something greater, and if you are given free reign and a platform of exposure, it could be very beneficial down the road. It is smart to be mindful of these decisions though, because if you find yourself hemmed in \u003ci>and\u003c/i> next to work you don’t respect, that can only lead to artistic and professional frustration. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>This topic has confronted me before — in general it’s a pretty common discussion amongst artists with commercial representation. Generally, galleries have to maintain a roster of artists that differ from each other in order to cater to a range of potential clients. So some artists on the roster may be considered more “commercial” or easily sold than others, or the artists may appear to be diverse and not necessarily relating to each other. But that’s not necessarily a bad thing — I’ve had several gallerists tell me that some of the artists they represent are considered the “bread and butter” ones — the ones that sell well and thus support the ability to show or represent the other artists who are less commercially viable but whose work the gallery wants to support for other reasons. Overall, you just want to make sure that the gallery you work with has a taste that you resonate with in general and that if push comes to shove, they can speak about your work in an enthusiastic way without you having to be there. Perhaps not all the artists in the roster are to your liking, but that is a common situation. If you think the gallery has \u003ci>bad\u003c/i> taste however, then by all means run in the opposite direction. \u003c/p>\n\u003cp>I have left a gallery before that I felt was not in line with my work, and it took a while to come to that decision because it was a very respectable blue-chip gallery. But in the end I wanted to work with a smaller, perhaps scrappier gallery because I felt their roster better reflected my own concerns of politics and social issues. There are definitely artists in the current gallery’s roster that I don’t care for, but I let that go because I know [the owner] works hard for me and represents me well. \u003c/p>\n\u003cp>I suggest that [artists] resolve this issue for themselves by asking several questions:\u003cbr /> – Does the gallery you are considering seem to thoughtfully pick their roster of artists, or is it a hit-or-miss affair?\u003cbr />– Can the gallery understand what your work is about and represent it lucidly?\u003cbr />– Can you identify what the gallery’s “taste” is, and understand why they choose their artists?\u003cbr />– Will you cringe or feel embarrassed when asked who your gallery is?\u003cbr />– Do the other artists appear so “left field” that your peers will wonder why you are showing with them?\u003cbr />– Will it confuse clients as to why you are with that gallery?\u003cbr />– Do you feel comfortable showing up to the openings of the other gallery artists to support them and the gallery? \u003c/p>\n\u003cp>If this is all too much and you don’t feel enthusiastic, then it is best to wait for better representation to come along. If you are working hard and making good work, this is not your only shot at working with a gallery. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>Your work should actually \u003ci>not\u003c/i> be similar in style to other artists showing with the gallery. The worst thing is a gallery that only shows one style. Good galleries will select a range of work, so that each artist’s practice speaks to a different potential audience. This is a common misconception among emerging artists, because you think that if you like the work at a given gallery, then that is where you should show. But again, better galleries will not choose two of the same, or similar thing. So chances are that if you like an artist they show because their work has a lot in common with yours, then that is probably not the right gallery for you. \u003c/p>\n\u003cp>Everyone has cold feet before joining their first gallery, because you know it will affect the way your work is framed and viewed and usually you are entrusting your work to someone you are just getting to know. It may be a gallery that is emerging, like you, and hasn’t been tested yet. It is only natural to be concerned with the reputation of the gallery, and that is wise. If the work is really poor, then you do have to consider whether you want to associate yourself with it, or that dealer. In fact it is more important to feel comfortable with the dealer one-on-one than to be buddy-buddy with the other artists. Do you trust the dealer? Do you like the way they speak about your work to others? \u003c/p>\n\u003cp>Every gallery has some artists that make money and others that earn street cred. Don’t worry if you are not the moneymaker in the bunch, and be thankful for those who are because they keep the gallery afloat and that includes you. Galleries do not generally have the money and power we assume they have. They are fragile institutions, and dealers work extremely hard under a lot of pressure. Never reveal to a dealer that you are not keen on the other artists they show. That is a real faux pas that could get you dropped from the gallery. Essentially it is none of your business, and if the dealer likes your work, why would you question their taste level? \u003c/p>\n\u003cp>If you believe in the gallerist as a solid, smart person with good business sense, then go with your gut and build your relationship. The artists they show who are not as good may eventually drop off, and better artists will be taken on. If you really feel in your gut that this is not the right fit, then it is worth it to wait. But if you pass up too many opportunities waiting for a better gallery to come along, it may not happen. Don’t be too picky or you might miss the boat. If your career takes off, and you are unhappy, you can leave the gallery and be picked up by someone else. It happens all the time. It may feel like a gamble, and it totally is. At some level you have to accept that you only have so much control and the rest is really out of your hands. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/12/LotharHempel4.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Lothar Hempel, Installation view of \u003ci>Cafe Kaputt\u003c/i> at Gio Marconi Gallery, 2009\u003c/p>\n\u003cp>I love this question, but it is a bit complex. Right off the bat, I stumble over words like “commercially viable” and “conceptual verve.” Surely we have all encountered commercially viable work that has conceptual guts and intellectual rigor. So in order for this question to find an answer, I think we have to make some assumptions that this kind of pejorative delineation is common. \u003c/p>\n\u003cp>I enjoy a gallery that knows itself and can express itself as an idea or an ethic. Through months and years of exhibiting works and cultivating an audience, the gallery represents its characteristics as if it were a person. We recognize the gallery as intelligent, occasionally sly and provoking, has a sense of humor, etc. This is often at the hand of the gallery’s owner. The gallery should reflect the owner. \u003c/p>\n\u003cp>Any artist would be fortunate to be in the hands of a gallery whose ethic is transparent. In other words, you and your work reflect those ethics, and in turn you are with the gallery because you fortify and enhance the characteristics of the gallery. And honestly, I think any great gallery makes very few exceptions in the presentation of its character. Despite the viable or conceptual differences between gallery artists, if there is an ethic that binds you together you should be in good shape. If that ethic is not there, I would think twice. \u003c/p>\n\u003cp>* * *\u003c/p>\n\u003cp>\u003ci>And finally, in the interest of representing all possible ways to confront this dilemma, I include this dispatch from the kingdom of I Got Mine: \u003c/i>\u003c/p>\n\u003cp>I honestly don’t have much to say about professional development issues of artists. I think artists should concentrate on their work and not spend all this energy on career strategy. Strong work will find its proper context over time. If your reader is courted by top-level New York galleries then her decision would carry some weight. In most other cases I think the whole issue is not so important. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Motherhood is a recurring motif throughout art history, from Michelangelo’s mournful figure of Mary in \u003ci>Pietà\u003c/i> (1498-1499) to Berthe Morisot’s portrait of her sister anxiously eyeing a sleeping newborn in \u003ci>The Cradle\u003c/i> (1872). Much of art history presents motherhood as fully consuming. The central maternal figures of early painting and sculpture are not presented — nor are they perceived — as multi-faceted women with hopes and ambitions that run parallel with, or perhaps complicate, motherhood. The 20th century rise of feminism presented a shift in visual culture wherein artists began to contend with the social expectations of women and the complexities of motherhood. It is largely within recent contemporary art that we see artists address the unique challenges of working motherhood. This is often evidenced in the work itself, such as with Mierle Laderman Ukeles’ 1969 declaration of herself as a “maintenance artist” in the development of works that engaged both domestic life and sanitation work. Another work on par with this, Mary Kelly’s \u003ci>Post-Partum Document\u003c/i> (1973 – 1979) was an early conceptual work that explored the mother-child relationship. The first iteration of Kelly’s work shown at the London Institute of Contemporary Arts featured soiled diapers among other documentation, causing a public uproar.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/11/artmotherhood2.jpg\">\u003cbr>\nMary Kelly, \u003ci>Post-Partum Document\u003c/i>, 1973 – 1979\u003c/p>\n\u003cp>In October 2011, Mierle Laderman Ukeles gave a moving talk-cum-performance about her work at the Creative Time Summit in New York, archived in a video now available on YouTube. During this performance, the artist delivers a manifesto written in the early ’70s that discusses the merger of her life as a wife and a mother with her work as an artist. “Here is my manifesto,” she recites, “written as a young artist, age thirty, who decided to survive even though she became a mother-maintenance worker and fell out of the picture of her autonomous, avant-garde Western heroes. I had an epiphany: If I am the boss of my freedom, then I name maintenance art. It is art and art history that must change.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Y38PjCYSaqM&w=480&h=270]\u003c/p>\n\u003cp>Mierle Laderman Ukeles, Creative Time Summit 2011, New York\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This short video provides a resonating counterpoint to the recent dialogue around work and motherhood generated by other high profile female professionals. Anne-Marie Slaughter’s article for the \u003ci>Atlantic Monthly\u003c/i> last July, titled “Why Women Still Can’t Have it All,” chronicled the overwhelming difficulties of dividing one’s time between career and family and critiqued the ways in which conventional business models eclipse the capacities of women who aren’t “super-human, rich or self-employed.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/11/artmotherhood1.jpg\">\u003cbr>\nRenée Cox, \u003ci>Yo Mama and the Statue\u003c/i>, 1993\u003c/p>\n\u003cp>Facebook executive Sheryl Sandburg’s recent book \u003ci>Lean In\u003c/i> advises women to engage more deeply with corporate careers in the hopes of cultivating top tier female leadership, a notion that found its genesis in her 2011 commencement address at Barnard College. Both viewpoints have been met with much discussion. In the midst these debates, New York’s School of Visual Arts organized a panel discussion titled “Taking Custody: The Double Life of the Artist Mother.” Now archived on Vimeo, the video features seven prominent artists talking about their careers and motherhood, including Suzanne McClelland and Renée Cox. (Cox was the first pregnant woman to attend the Whitney Independent Study Program in 1993, which resulted in her \u003ci>Yo Mama\u003c/i> series of images of empowered maternal figures, including a seven-foot tall statue featured in Marcia Tucker’s seminal \u003cb>Bad Girls\u003c/b> exhibition at the New Museum.) The conversation careens through the concerns that many women artists face: when to have children, how much time to spend with them, when to work, when to travel, and so on, with an emphasis on finding one’s own answers.\u003c/p>\n\u003cp>[vimeo 53013613 w=480 h=270]\u003c/p>\n\u003cp>“Taking Custody: The Double Life of Artist Mother,” School of Visual Arts, New York, October 2012\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The prevailing impressions are multi-faceted and complex. Essentially each woman must choose for herself what is best for her own life. \u003ci>If motherhood matters to you\u003c/i>, the general message dictates, \u003ci>make it happen. Don’t wait for permission\u003c/i>. Though the din of so many opinions about working motherhood is sometimes overwhelming — \u003ci>Let go, Lean in, Soldier on\u003c/i> — it is humbling to recognize that we live in a time when so many opinions are being voiced and that so many ways of working exist. We don’t have to agree in order for things to change — it is enough to model our own ideals. With the diverse working styles of so many women underway, art and art history is changing, just as Ukeles demanded, and only for the better.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Motherhood is a recurring motif throughout art history, from Michelangelo’s mournful figure of Mary in \u003ci>Pietà\u003c/i> (1498-1499) to Berthe Morisot’s portrait of her sister anxiously eyeing a sleeping newborn in \u003ci>The Cradle\u003c/i> (1872). Much of art history presents motherhood as fully consuming. The central maternal figures of early painting and sculpture are not presented — nor are they perceived — as multi-faceted women with hopes and ambitions that run parallel with, or perhaps complicate, motherhood. The 20th century rise of feminism presented a shift in visual culture wherein artists began to contend with the social expectations of women and the complexities of motherhood. It is largely within recent contemporary art that we see artists address the unique challenges of working motherhood. This is often evidenced in the work itself, such as with Mierle Laderman Ukeles’ 1969 declaration of herself as a “maintenance artist” in the development of works that engaged both domestic life and sanitation work. Another work on par with this, Mary Kelly’s \u003ci>Post-Partum Document\u003c/i> (1973 – 1979) was an early conceptual work that explored the mother-child relationship. The first iteration of Kelly’s work shown at the London Institute of Contemporary Arts featured soiled diapers among other documentation, causing a public uproar.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/11/artmotherhood2.jpg\">\u003cbr>\nMary Kelly, \u003ci>Post-Partum Document\u003c/i>, 1973 – 1979\u003c/p>\n\u003cp>In October 2011, Mierle Laderman Ukeles gave a moving talk-cum-performance about her work at the Creative Time Summit in New York, archived in a video now available on YouTube. During this performance, the artist delivers a manifesto written in the early ’70s that discusses the merger of her life as a wife and a mother with her work as an artist. “Here is my manifesto,” she recites, “written as a young artist, age thirty, who decided to survive even though she became a mother-maintenance worker and fell out of the picture of her autonomous, avant-garde Western heroes. I had an epiphany: If I am the boss of my freedom, then I name maintenance art. It is art and art history that must change.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y38PjCYSaqM'\n title='//www.youtube.com/embed/Y38PjCYSaqM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mierle Laderman Ukeles, Creative Time Summit 2011, New York\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This short video provides a resonating counterpoint to the recent dialogue around work and motherhood generated by other high profile female professionals. Anne-Marie Slaughter’s article for the \u003ci>Atlantic Monthly\u003c/i> last July, titled “Why Women Still Can’t Have it All,” chronicled the overwhelming difficulties of dividing one’s time between career and family and critiqued the ways in which conventional business models eclipse the capacities of women who aren’t “super-human, rich or self-employed.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://u.s.kqed.net/2013/05/11/artmotherhood1.jpg\">\u003cbr>\nRenée Cox, \u003ci>Yo Mama and the Statue\u003c/i>, 1993\u003c/p>\n\u003cp>Facebook executive Sheryl Sandburg’s recent book \u003ci>Lean In\u003c/i> advises women to engage more deeply with corporate careers in the hopes of cultivating top tier female leadership, a notion that found its genesis in her 2011 commencement address at Barnard College. Both viewpoints have been met with much discussion. In the midst these debates, New York’s School of Visual Arts organized a panel discussion titled “Taking Custody: The Double Life of the Artist Mother.” Now archived on Vimeo, the video features seven prominent artists talking about their careers and motherhood, including Suzanne McClelland and Renée Cox. (Cox was the first pregnant woman to attend the Whitney Independent Study Program in 1993, which resulted in her \u003ci>Yo Mama\u003c/i> series of images of empowered maternal figures, including a seven-foot tall statue featured in Marcia Tucker’s seminal \u003cb>Bad Girls\u003c/b> exhibition at the New Museum.) The conversation careens through the concerns that many women artists face: when to have children, how much time to spend with them, when to work, when to travel, and so on, with an emphasis on finding one’s own answers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Taking Custody: The Double Life of Artist Mother,” School of Visual Arts, New York, October 2012\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The prevailing impressions are multi-faceted and complex. Essentially each woman must choose for herself what is best for her own life. \u003ci>If motherhood matters to you\u003c/i>, the general message dictates, \u003ci>make it happen. Don’t wait for permission\u003c/i>. Though the din of so many opinions about working motherhood is sometimes overwhelming — \u003ci>Let go, Lean in, Soldier on\u003c/i> — it is humbling to recognize that we live in a time when so many opinions are being voiced and that so many ways of working exist. We don’t have to agree in order for things to change — it is enough to model our own ideals. With the diverse working styles of so many women underway, art and art history is changing, just as Ukeles demanded, and only for the better.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow us on twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m just about to finish my first really serious series of paintings, and I’m curious about which approach is the best for self-promotion. Is it better to go all out and submit art to blogs, magazines, post cards, business cards, etc., or is it better to play it subtly, try and meet the right people, and become that hidden gem that someone finds and then shows to the world? Is it possible that being over-exposed on blogs can be a turn off to galleries, like they don’t have the pleasure of being able to say, “Look what I found!”? (I’m talking about the galleries that like to showcase new talent rather than blue chips, the kind you get your foot in the door with as an artist.) \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Apparently you missed that day in Catholic school when they taught us Matthew 5:15-16: “Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house. Let your light so shine before men, that they may see your good works.” Notice that this verse doesn’t advise, “get thine light discovered by cunning means” or “have another man lighteth thine candle for thee.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/29/Parreno2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Philippe Parreno, \u003ci>No More Reality\u003c/i>, 2013.\u003c/p>\n\u003cp>Where are all these imaginary people who have ample time and inclination to discover you? I can’t imagine a single gallerist who, after curating, framing, installing, promoting, and selling a show — in addition to managing a staff, courting new collectors and arts patrons, and maybe even having a home life in the odd moment outside of work — who is going to be able to wade through the deep seas of information put out there by artists who \u003ci>are\u003c/i> promoting their work, in order to find you. I hope I am making this point clear for artists who sit in their studios hoping to be “discovered”: when you hear the phone not ringing, it will be the galleries not calling. \u003c/p>\n\u003cp>But you don’t have to take my word for it. I wrote to several arts professionals about being found and they all said the same thing: it doesn’t work like that. One gallerist from Boston said, “I would agree with you on the ‘discovery’ idea. With all the ‘noise’ in our contemporary culture, subtlety when it comes to self-promotion is a losing idea. Years ago, before social media, [another] gallerist told me he had a rule of three: if he heard the same name from three different people he would check out the work. The more ‘buzz’ around the work the more attention it is going to get.” A gallerist in San Francisco told me, “I couldn’t agree more. An emerging artist should be doing as much as he/she can to connect with others and find exhibition opportunities. So much can be learned from showing and working with others. This is how an artist builds his/her community within the art world and an important audience for their work. From a marketing or sales perspective, it’s of course far easier for a gallery to work with an artist who has already established a positive reputation.” \u003c/p>\n\u003cp>As for “playing it subtly” and trying to meet the “right people,” those are strategies likely to disappoint \u003ci>unless you already know influential arts professionals who have previously indicated that they are happy to promote your work.\u003c/i> Here’s where you need to be honest about your ability to get within shouting distance of whomever these “right people” might be — I’m guessing that you’re not currently rubbing elbows with a bunch of gallerists and collectors who summer in the Hamptons. In the long run it’s better to rely on the quality of your work and your marketing than to try to strong-arm friendships with the mighty. I’d rather see you take a more sensible route, one that will keep you from dying with a note to David Zwirner clutched in your paint-stained hand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/29/Parreno3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Philippe Parreno, \u003ci>From November 5th Until They Fell Down\u003c/i>, 2013.\u003c/p>\n\u003cp>Since your ultimate goal is to get some attention from galleries, you’re going to have to start elsewhere and build up that “buzz” that our friend in Boston is talking about. Have your work photographed by a professional. Make it easy for people to find you by having a website with a good layout and visible contact info. Email a few images and a short press release to online and print publications likely to be interested in your work. Make a Facebook page, a tumblr, or an instagram account. Contact the local papers. Sometimes you can get other groups interested—for example, if you paint trains you could send an email to the National Model Railroad Society. Don’t laugh! It’s a somewhat-facetious example but I do know artists who have made sales and built a buzz on the basis of their work’s subject matter, so brainstorm people and organizations who might connect to what you’re doing. Don’t discount any avenue you have for creating a dialogue around the work.\u003c/p>\n\u003cp>While you’re doing all that, line up some \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a> with arts professionals — gallerists, independent curators, even arts writers. Do your homework and figure out who might be interested in your paintings. If you’re not used to doing studio visits, practice by swapping visits with art friends and/or ask a few former professors to come for a short visit so you can “warm up” and be ready for when a gallerist arrives. \u003c/p>\n\u003cp>In about every third column I find myself flogging the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>, and the reason is that it’s a tremendously useful resource for artists who want to be on the gallery track. Please buy a copy and read it cover to cover. You will find that it answers many of the questions that are bound to come up after the buzz starts. Get your work out there, and good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions 100% anonymously here: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Follow us on twitter: @ArtHelpDesk\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m just about to finish my first really serious series of paintings, and I’m curious about which approach is the best for self-promotion. Is it better to go all out and submit art to blogs, magazines, post cards, business cards, etc., or is it better to play it subtly, try and meet the right people, and become that hidden gem that someone finds and then shows to the world? Is it possible that being over-exposed on blogs can be a turn off to galleries, like they don’t have the pleasure of being able to say, “Look what I found!”? (I’m talking about the galleries that like to showcase new talent rather than blue chips, the kind you get your foot in the door with as an artist.) \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Apparently you missed that day in Catholic school when they taught us Matthew 5:15-16: “Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house. Let your light so shine before men, that they may see your good works.” Notice that this verse doesn’t advise, “get thine light discovered by cunning means” or “have another man lighteth thine candle for thee.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/29/Parreno2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Philippe Parreno, \u003ci>No More Reality\u003c/i>, 2013.\u003c/p>\n\u003cp>Where are all these imaginary people who have ample time and inclination to discover you? I can’t imagine a single gallerist who, after curating, framing, installing, promoting, and selling a show — in addition to managing a staff, courting new collectors and arts patrons, and maybe even having a home life in the odd moment outside of work — who is going to be able to wade through the deep seas of information put out there by artists who \u003ci>are\u003c/i> promoting their work, in order to find you. I hope I am making this point clear for artists who sit in their studios hoping to be “discovered”: when you hear the phone not ringing, it will be the galleries not calling. \u003c/p>\n\u003cp>But you don’t have to take my word for it. I wrote to several arts professionals about being found and they all said the same thing: it doesn’t work like that. One gallerist from Boston said, “I would agree with you on the ‘discovery’ idea. With all the ‘noise’ in our contemporary culture, subtlety when it comes to self-promotion is a losing idea. Years ago, before social media, [another] gallerist told me he had a rule of three: if he heard the same name from three different people he would check out the work. The more ‘buzz’ around the work the more attention it is going to get.” A gallerist in San Francisco told me, “I couldn’t agree more. An emerging artist should be doing as much as he/she can to connect with others and find exhibition opportunities. So much can be learned from showing and working with others. This is how an artist builds his/her community within the art world and an important audience for their work. From a marketing or sales perspective, it’s of course far easier for a gallery to work with an artist who has already established a positive reputation.” \u003c/p>\n\u003cp>As for “playing it subtly” and trying to meet the “right people,” those are strategies likely to disappoint \u003ci>unless you already know influential arts professionals who have previously indicated that they are happy to promote your work.\u003c/i> Here’s where you need to be honest about your ability to get within shouting distance of whomever these “right people” might be — I’m guessing that you’re not currently rubbing elbows with a bunch of gallerists and collectors who summer in the Hamptons. In the long run it’s better to rely on the quality of your work and your marketing than to try to strong-arm friendships with the mighty. I’d rather see you take a more sensible route, one that will keep you from dying with a note to David Zwirner clutched in your paint-stained hand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/29/Parreno3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Philippe Parreno, \u003ci>From November 5th Until They Fell Down\u003c/i>, 2013.\u003c/p>\n\u003cp>Since your ultimate goal is to get some attention from galleries, you’re going to have to start elsewhere and build up that “buzz” that our friend in Boston is talking about. Have your work photographed by a professional. Make it easy for people to find you by having a website with a good layout and visible contact info. Email a few images and a short press release to online and print publications likely to be interested in your work. Make a Facebook page, a tumblr, or an instagram account. Contact the local papers. Sometimes you can get other groups interested—for example, if you paint trains you could send an email to the National Model Railroad Society. Don’t laugh! It’s a somewhat-facetious example but I do know artists who have made sales and built a buzz on the basis of their work’s subject matter, so brainstorm people and organizations who might connect to what you’re doing. Don’t discount any avenue you have for creating a dialogue around the work.\u003c/p>\n\u003cp>While you’re doing all that, line up some \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a> with arts professionals — gallerists, independent curators, even arts writers. Do your homework and figure out who might be interested in your paintings. If you’re not used to doing studio visits, practice by swapping visits with art friends and/or ask a few former professors to come for a short visit so you can “warm up” and be ready for when a gallerist arrives. \u003c/p>\n\u003cp>In about every third column I find myself flogging the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>, and the reason is that it’s a tremendously useful resource for artists who want to be on the gallery track. Please buy a copy and read it cover to cover. You will find that it answers many of the questions that are bound to come up after the buzz starts. Get your work out there, and good luck! \u003c/p>\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": "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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"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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"on-the-media": {
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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