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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. Help Desk spreads the love on Twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a painter with good gallery representation. There seems to be public interest in the work I make and I am sometimes asked about prints or reproductions. As a printmaker, I don’t like the idea of “limited edition” art prints that blur the line between hand-pulled work and technically limitless reproductions, but I’ve always been a fan of the accessibility of posters and the 9″ x 12″ reproductions you can buy in museum gift shops. I’m not so successful I can afford to print off and give away a big run of such things. Is there a middle ground in publishing reproductions? Something where non-collector fans could spend $10 – $50 on a picture? I’d rather like to send a nice .tif to anyone who asks and suggest they print it out on their own computer. For $5 I could mail them a sticker with my actual signature.\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>This is the Art Police! Put the mouse down and step away from the computer!\u003c/p>\n\u003cp>While I appreciate the spirit of your generosity, I beg you to abandon the idea of sending .tif files of your work to your admirers. For one thing, you can’t control what the recipient of such a file would do with it once it’s in her possession. She might blow it up or crop it, change the colors, or run it through some ghastly Photoshop filter. There’s also the issue of the subsequent printing, since a home-use HP or Epson isn’t calibrated for color or quality in the same way that a printing house has control of their giclee printers. In the end, who knows what might happen to your image: it could end up re-sized, re-colored, and smudgy — and then it would bear a sticker with your name on the bottom. I won’t arrest you this time, but consider this an Official Warning.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jules de Balincourt, \u003ci>Idol Hands\u003c/i>, 2012.\u003c/p>\n\u003cp>Anyone asking about prints or reproductions either wants a painting that’s already sold or they’re looking for a low-cost way of collecting your work. Notice that I said \u003ci>low cost\u003c/i> and not \u003ci>free\u003c/i>. There are all sorts of middle-ground options available that make your work more accessible to the entry-level buyer — because a “non-collector fan” is just a collector waiting to happen, right? So let’s review your options. \u003c/p>\n\u003cp>If you have a high-quality digital file made from a completed painting, and if you work with a good printer, there’s nothing wrong with making giclee prints. Since you control both the file and the edition size, the way to get around the “technically limitless” character of giclees is to print all the editions at one time and then destroy the digital file. And if you don’t want to go the full giclee route, you could make a limited edition of prints that you hand color (so, your edition size might be ten, “each unique”). \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jules de Balincourt, \u003ci>Illuminated\u003c/i>, 2012.\u003c/p>\n\u003cp>Another way to make a low-cost printed edition would be to scan a work from your studio and have it hosted on a print-on-demand site like \u003ca href=\"http://www.fineartamerica.com\">fineartamerica.com\u003c/a>. Though I personally can’t vouch for the quality, it seems like an option worth exploring, as they will print, frame, mat, package, and ship it for you (and send you a check at the end of the month). The site is kind of cheesy, but you’d have an immediate way of meeting entry-level collectors’ desires — just give them the URL where your work resides and let them do the clicking. Likewise, you could put together a small book of your work and have it printed-on-demand through a site like \u003ca href=\"http://www.lulu.com/us/en\">Lulu\u003c/a> or \u003ca href=\"http://www.blurb.com/\">Blurb\u003c/a>. There are a few permutations of this idea that you could explore, go to \u003ca href=\"http://www.squidoo.com/Art-pod\">squidoo.com to find more information about printing art on demand\u003c/a>, along with reviews of the businesses that provide such services.\u003c/p>\n\u003cp>For future reference, Jen Bekman’s \u003ca href=\"http://www.20x200.com/\">20×200\u003c/a> is a website offering a curated selection of low-cost prints by artists. The opportunity to submit unsolicited work is not available right now, but you can be notified of future open calls for work by entering your information on \u003ca href=\"http://www.20x200.com/artist-submissions\">their submission form\u003c/a>. The wonderful thing about 20×200 is that it also markets the work for you, reaching beyond the collectors you already have and getting the work into new hands, so it’s worth it to sign up. \u003c/p>\n\u003cp>Whatever option you choose, you need to have an in-depth conversation with your galleries about this issue. They might be interested in giving you the financial backing to create a run of really high quality reproductions, or if you really want to stay traditional, they might help find access to equipment and facilities for more established printing methods like screen printing or etching. Those that don’t ask don’t receive, so determine exactly what you’d like to do and approach them with a plan. The worst that happens is a \u003ci>no\u003c/i>, but it’s in their interest to help you get your work out into the world and increase your collector base, so it’s quite possible that the answer might be \u003ci>yes\u003c/i>. Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with questions. All submissions remain strictly confidential and become the property of Daily Serving. Help Desk spreads the love on Twitter: @ArtHelpDesk \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a painter with good gallery representation. There seems to be public interest in the work I make and I am sometimes asked about prints or reproductions. As a printmaker, I don’t like the idea of “limited edition” art prints that blur the line between hand-pulled work and technically limitless reproductions, but I’ve always been a fan of the accessibility of posters and the 9″ x 12″ reproductions you can buy in museum gift shops. I’m not so successful I can afford to print off and give away a big run of such things. Is there a middle ground in publishing reproductions? Something where non-collector fans could spend $10 – $50 on a picture? I’d rather like to send a nice .tif to anyone who asks and suggest they print it out on their own computer. For $5 I could mail them a sticker with my actual signature.\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>This is the Art Police! Put the mouse down and step away from the computer!\u003c/p>\n\u003cp>While I appreciate the spirit of your generosity, I beg you to abandon the idea of sending .tif files of your work to your admirers. For one thing, you can’t control what the recipient of such a file would do with it once it’s in her possession. She might blow it up or crop it, change the colors, or run it through some ghastly Photoshop filter. There’s also the issue of the subsequent printing, since a home-use HP or Epson isn’t calibrated for color or quality in the same way that a printing house has control of their giclee printers. In the end, who knows what might happen to your image: it could end up re-sized, re-colored, and smudgy — and then it would bear a sticker with your name on the bottom. I won’t arrest you this time, but consider this an Official Warning.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jules de Balincourt, \u003ci>Idol Hands\u003c/i>, 2012.\u003c/p>\n\u003cp>Anyone asking about prints or reproductions either wants a painting that’s already sold or they’re looking for a low-cost way of collecting your work. Notice that I said \u003ci>low cost\u003c/i> and not \u003ci>free\u003c/i>. There are all sorts of middle-ground options available that make your work more accessible to the entry-level buyer — because a “non-collector fan” is just a collector waiting to happen, right? So let’s review your options. \u003c/p>\n\u003cp>If you have a high-quality digital file made from a completed painting, and if you work with a good printer, there’s nothing wrong with making giclee prints. Since you control both the file and the edition size, the way to get around the “technically limitless” character of giclees is to print all the editions at one time and then destroy the digital file. And if you don’t want to go the full giclee route, you could make a limited edition of prints that you hand color (so, your edition size might be ten, “each unique”). \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/21/JdB2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jules de Balincourt, \u003ci>Illuminated\u003c/i>, 2012.\u003c/p>\n\u003cp>Another way to make a low-cost printed edition would be to scan a work from your studio and have it hosted on a print-on-demand site like \u003ca href=\"http://www.fineartamerica.com\">fineartamerica.com\u003c/a>. Though I personally can’t vouch for the quality, it seems like an option worth exploring, as they will print, frame, mat, package, and ship it for you (and send you a check at the end of the month). The site is kind of cheesy, but you’d have an immediate way of meeting entry-level collectors’ desires — just give them the URL where your work resides and let them do the clicking. Likewise, you could put together a small book of your work and have it printed-on-demand through a site like \u003ca href=\"http://www.lulu.com/us/en\">Lulu\u003c/a> or \u003ca href=\"http://www.blurb.com/\">Blurb\u003c/a>. There are a few permutations of this idea that you could explore, go to \u003ca href=\"http://www.squidoo.com/Art-pod\">squidoo.com to find more information about printing art on demand\u003c/a>, along with reviews of the businesses that provide such services.\u003c/p>\n\u003cp>For future reference, Jen Bekman’s \u003ca href=\"http://www.20x200.com/\">20×200\u003c/a> is a website offering a curated selection of low-cost prints by artists. The opportunity to submit unsolicited work is not available right now, but you can be notified of future open calls for work by entering your information on \u003ca href=\"http://www.20x200.com/artist-submissions\">their submission form\u003c/a>. The wonderful thing about 20×200 is that it also markets the work for you, reaching beyond the collectors you already have and getting the work into new hands, so it’s worth it to sign up. \u003c/p>\n\u003cp>Whatever option you choose, you need to have an in-depth conversation with your galleries about this issue. They might be interested in giving you the financial backing to create a run of really high quality reproductions, or if you really want to stay traditional, they might help find access to equipment and facilities for more established printing methods like screen printing or etching. Those that don’t ask don’t receive, so determine exactly what you’d like to do and approach them with a plan. The worst that happens is a \u003ci>no\u003c/i>, but it’s in their interest to help you get your work out into the world and increase your collector base, so it’s quite possible that the answer might be \u003ci>yes\u003c/i>. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area artist Jay Nelson has always been into building tree houses, and now he does it for a living. Starting a few years back with a couple of installations in local art galleries, Jay, who has no formal carpentry training, taught himself how to build the imaginary structures that were floating around in his head. We talked to Jay about how he has been able to turn his passion into a business, learning more about his philosophy of life and his definition of success.\u003c/p>\n\u003cp>This is the pilot episode of \u003ci>Working Title\u003c/i>, a collaboration between KQED and \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, hosted by Kelly Lynn Jones of LPP and Andrew Martin Scott, co-owner of \u003ca href=\"http://www.needles-pens.com/\">Needles and Pens\u003c/a>. Through this program, which will include videos, interviews, articles and essays, we will explore how local artist entrepreneurs are re-inventing the American Dream, creating alternative economies and redefining success in the Bay Area. Stay tuned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artist Jay Nelson has always been into building tree houses, and now he does it for a living. Starting a few years back with a couple of installations in local art galleries, Jay, who has no formal carpentry training, taught himself how to build the imaginary structures that were floating around in his head. We talked to Jay about how he has been able to turn his passion into a business, learning more about his philosophy of life and his definition of success.\u003c/p>\n\u003cp>This is the pilot episode of \u003ci>Working Title\u003c/i>, a collaboration between KQED and \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, hosted by Kelly Lynn Jones of LPP and Andrew Martin Scott, co-owner of \u003ca href=\"http://www.needles-pens.com/\">Needles and Pens\u003c/a>. Through this program, which will include videos, interviews, articles and essays, we will explore how local artist entrepreneurs are re-inventing the American Dream, creating alternative economies and redefining success in the Bay Area. Stay tuned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area offers a rich history of alternative and experimental art spaces that have served as platforms for a diverse range of artists. Dig below the surface of contemporary art and you will find alternative spaces at the roots. But what is an alternative space? The definition is open-ended. They are sometimes storefronts or apartments, stairwells or windows — basically any space that might be used to present art.\u003c/p>\n\u003cp>In fact alternative spaces are more often defined by what they aren’t: they are not conventional commercial galleries, or white cubes, or museums. They are sometimes temporary gestures, defined less by built space than by a drive to support artistic experimentation. They are typically run on a shoestring budget — or no budget, as the case may be. There may be a hint of commercial activity — and why shouldn’t there be? — but they do not offer representation in the traditional sense. They do, however, support artists by providing space to realize new ideas. They are always a labor of love and an ongoing investigation of sustainability. Hours may be spotty — sometimes these folks work day jobs and night jobs to sustain their art habit, so call ahead. Here are a few spaces to consider the next time you are looking for an alternative.\u003c/p>\n\u003cp>\u003cb>Aggregate Space, Oakland\u003c/b>\u003cbr>Aggregate Space is an artist-run gallery with a specific focus on sculpture and digital media. The \u003ca href=\"http://featherboard.wordpress.com/\">Featherboard Writing Series\u003c/a>, a regular program, brings together visual artists and writers “to explore a new set of themes, tropes, or images.” Up now: New sculpture and video by \u003ca href=\"http://petehickok.com/home.html\">Pete Hickok\u003c/a>. For \u003ca href=\"http://www.aggregatespace.com/\">more information\u003c/a> visit aggregatespace.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/alterspace2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Alter Space\u003c/p>\n\u003cp>\u003cb>Alter Space, San Francisco\u003c/b>\u003cbr>Alter Space occupies a 5,000 square foot section of the building that formerly housed Stormy Leather, the city’s premier leather and bondage retailer. In addition to studios and collaborative workshops, Alter Space’s programming engages remnant history of the former occupants with a jail cell residency and peephole gallery; also featured is the “The Bowery,” a permanently situated, \u003ca href=\"http://alterspace.co/about-2/bowery/\">evolving display of dioramas\u003c/a> by the artist Koak. Upcoming: \u003ca href=\"http://alterspace.co/portfolio/rememberingiseverything/\">\u003ci>Remembering is Everything\u003c/i>\u003c/a> curated by Bean Gilsdorf and A. Will Brown. For \u003ca href=\"http://alterspace.co/visit/\">more information\u003c/a> visit alterspace.co.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Krowswork, Oakland\u003c/b>\u003cbr>Krowswork, directed by Jasmine Moorhead, specifically focuses on new media artists working in video and photography — it is a hybrid gallery with an alternative agenda. Rows of former church pews in the main gallery create an oddly inviting space to take in time-based media. Moorhead solicits submissions on the website by stating “Out-there ideas welcome.” Up now: \u003ca href=\"http://www.krowswork.com/sheworld.html\">Ursula Brookbank: SHE WORLD\u003c/a>. For \u003ca href=\"http://www.krowswork.com/\">more information\u003c/a> visit krowswork.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/royalnonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Royal Nonesuch Gallery\u003c/p>\n\u003cp>\u003cb>Royal Nonesuch Gallery, Oakland\u003c/b>\u003cbr>Royal Nonesuch is an artist-run space in Oakland’s Temescal district. It is a small storefront space with a community-driven agenda and a clear focus on participatory events and projects. Up now: \u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/january-2013-curated-by-jackie-im--aaron-harbour/\">Three weekend-long shows in January\u003c/a> curated by Jackie Im and Aaron Harbour. For \u003ca href=\"http://www.royalnonesuchgallery.com/\">more information\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/stairwells2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stairwells\u003c/p>\n\u003cp>\u003cb>Stairwells, San Francisco\u003c/b>\u003cbr>Stairwells is an itinerant series of temporary site-specific exhibitions accompanied by new publications and off-site “field trips,” organized by Sarah Hotchkiss and Carey Lin. A recent series of projects was staged in a private home in Bernal Heights. Coming up: Field Trip #3 on February 10, location to be announced. For \u003ca href=\"http://stairwells.org/\">more information\u003c/a> visit stairwells.org.\u003c/p>\n\u003cp>\u003cb>2nd Floor Projects, San Francisco\u003c/b>\u003cbr>Margaret Tedesco founded 2nd Floor Projects in 2007 out of her San Francisco flat. Another hybrid project space, 2nd Floor Projects straddles gallery objectives and an alternative agenda. Limited edition broadsides, often hand assembled by Tedesco, are commissioned for each show by writers who may or may not respond to the exhibition. Coming up: 2nd Floor Projects will participate in \u003ca href=\"http://www.e-flux.com/announcements/la-art-book-fair/\">Printed Matter’s LA Art Book Fair\u003c/a>. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/storefront2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Store Front Lab\u003c/p>\n\u003cp>\u003cb>Store Front Lab, San Francisco\u003c/b>\u003cbr>Store Front Lab is a special project by Yosh Asato and David Baker occupying a storefront space in the Mission District and featuring “experiments of community interest,” which last anywhere from a day to a month. Up now: Obsolete Californias presented by Shipping and Receiving (Heather Smith and Torreya Cummings). For \u003ca href=\"http://www.storefrontlab.org/\">more information\u003c/a> visit storefrontlab.org.\u003c/p>\n\u003cp>[vimeo 24492068 w=480 h=354] \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/24492068\">Great Wall Of Oakland\u003c/a> from \u003ca href=\"http://vimeo.com/user1397428\">alva films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003cb>The Great Wall of Oakland\u003c/b>\u003cbr>The Great Wall of Oakland is a 100′ x 100′ projection wall on the exterior of a downtown Oakland building. Every first Friday of the month, barring inclement weather, features an international variety of video and animations — audio is broadcast on 89.5 FM for viewers to tune in from their cars, in addition to speakers on site. Oakland School for the Arts Digital Media is running a Kickstarter campaign right now for their upcoming show in February. For \u003ca href=\"http://greatwallofoakland.org/\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Will Brown, San Francisco\u003c/b>\u003cbr>Will Brown is a collaborative project, organized by Lindsey White, Jordan Stein, and David Kazprzak — it presently manifests as an experimental exhibition space in the Mission district storefront that was formerly home to Triple Base gallery. A recent event, launching a limited edition “fun(d)raiser” with artist Tauba Auerbach, promised “champagne, cake, and spontaneous applause.” For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area offers a rich history of alternative and experimental art spaces that have served as platforms for a diverse range of artists. Dig below the surface of contemporary art and you will find alternative spaces at the roots. But what is an alternative space? The definition is open-ended. They are sometimes storefronts or apartments, stairwells or windows — basically any space that might be used to present art.\u003c/p>\n\u003cp>In fact alternative spaces are more often defined by what they aren’t: they are not conventional commercial galleries, or white cubes, or museums. They are sometimes temporary gestures, defined less by built space than by a drive to support artistic experimentation. They are typically run on a shoestring budget — or no budget, as the case may be. There may be a hint of commercial activity — and why shouldn’t there be? — but they do not offer representation in the traditional sense. They do, however, support artists by providing space to realize new ideas. They are always a labor of love and an ongoing investigation of sustainability. Hours may be spotty — sometimes these folks work day jobs and night jobs to sustain their art habit, so call ahead. Here are a few spaces to consider the next time you are looking for an alternative.\u003c/p>\n\u003cp>\u003cb>Aggregate Space, Oakland\u003c/b>\u003cbr>Aggregate Space is an artist-run gallery with a specific focus on sculpture and digital media. The \u003ca href=\"http://featherboard.wordpress.com/\">Featherboard Writing Series\u003c/a>, a regular program, brings together visual artists and writers “to explore a new set of themes, tropes, or images.” Up now: New sculpture and video by \u003ca href=\"http://petehickok.com/home.html\">Pete Hickok\u003c/a>. For \u003ca href=\"http://www.aggregatespace.com/\">more information\u003c/a> visit aggregatespace.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/alterspace2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Alter Space\u003c/p>\n\u003cp>\u003cb>Alter Space, San Francisco\u003c/b>\u003cbr>Alter Space occupies a 5,000 square foot section of the building that formerly housed Stormy Leather, the city’s premier leather and bondage retailer. In addition to studios and collaborative workshops, Alter Space’s programming engages remnant history of the former occupants with a jail cell residency and peephole gallery; also featured is the “The Bowery,” a permanently situated, \u003ca href=\"http://alterspace.co/about-2/bowery/\">evolving display of dioramas\u003c/a> by the artist Koak. Upcoming: \u003ca href=\"http://alterspace.co/portfolio/rememberingiseverything/\">\u003ci>Remembering is Everything\u003c/i>\u003c/a> curated by Bean Gilsdorf and A. Will Brown. For \u003ca href=\"http://alterspace.co/visit/\">more information\u003c/a> visit alterspace.co.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Krowswork, Oakland\u003c/b>\u003cbr>Krowswork, directed by Jasmine Moorhead, specifically focuses on new media artists working in video and photography — it is a hybrid gallery with an alternative agenda. Rows of former church pews in the main gallery create an oddly inviting space to take in time-based media. Moorhead solicits submissions on the website by stating “Out-there ideas welcome.” Up now: \u003ca href=\"http://www.krowswork.com/sheworld.html\">Ursula Brookbank: SHE WORLD\u003c/a>. For \u003ca href=\"http://www.krowswork.com/\">more information\u003c/a> visit krowswork.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/royalnonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Royal Nonesuch Gallery\u003c/p>\n\u003cp>\u003cb>Royal Nonesuch Gallery, Oakland\u003c/b>\u003cbr>Royal Nonesuch is an artist-run space in Oakland’s Temescal district. It is a small storefront space with a community-driven agenda and a clear focus on participatory events and projects. Up now: \u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/january-2013-curated-by-jackie-im--aaron-harbour/\">Three weekend-long shows in January\u003c/a> curated by Jackie Im and Aaron Harbour. For \u003ca href=\"http://www.royalnonesuchgallery.com/\">more information\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/stairwells2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Stairwells\u003c/p>\n\u003cp>\u003cb>Stairwells, San Francisco\u003c/b>\u003cbr>Stairwells is an itinerant series of temporary site-specific exhibitions accompanied by new publications and off-site “field trips,” organized by Sarah Hotchkiss and Carey Lin. A recent series of projects was staged in a private home in Bernal Heights. Coming up: Field Trip #3 on February 10, location to be announced. For \u003ca href=\"http://stairwells.org/\">more information\u003c/a> visit stairwells.org.\u003c/p>\n\u003cp>\u003cb>2nd Floor Projects, San Francisco\u003c/b>\u003cbr>Margaret Tedesco founded 2nd Floor Projects in 2007 out of her San Francisco flat. Another hybrid project space, 2nd Floor Projects straddles gallery objectives and an alternative agenda. Limited edition broadsides, often hand assembled by Tedesco, are commissioned for each show by writers who may or may not respond to the exhibition. Coming up: 2nd Floor Projects will participate in \u003ca href=\"http://www.e-flux.com/announcements/la-art-book-fair/\">Printed Matter’s LA Art Book Fair\u003c/a>. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/15/storefront2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Store Front Lab\u003c/p>\n\u003cp>\u003cb>Store Front Lab, San Francisco\u003c/b>\u003cbr>Store Front Lab is a special project by Yosh Asato and David Baker occupying a storefront space in the Mission District and featuring “experiments of community interest,” which last anywhere from a day to a month. Up now: Obsolete Californias presented by Shipping and Receiving (Heather Smith and Torreya Cummings). For \u003ca href=\"http://www.storefrontlab.org/\">more information\u003c/a> visit storefrontlab.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/24492068\">Great Wall Of Oakland\u003c/a> from \u003ca href=\"http://vimeo.com/user1397428\">alva films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003cb>The Great Wall of Oakland\u003c/b>\u003cbr>The Great Wall of Oakland is a 100′ x 100′ projection wall on the exterior of a downtown Oakland building. Every first Friday of the month, barring inclement weather, features an international variety of video and animations — audio is broadcast on 89.5 FM for viewers to tune in from their cars, in addition to speakers on site. Oakland School for the Arts Digital Media is running a Kickstarter campaign right now for their upcoming show in February. For \u003ca href=\"http://greatwallofoakland.org/\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Will Brown, San Francisco\u003c/b>\u003cbr>Will Brown is a collaborative project, organized by Lindsey White, Jordan Stein, and David Kazprzak — it presently manifests as an experimental exhibition space in the Mission district storefront that was formerly home to Triple Base gallery. A recent event, launching a limited edition “fun(d)raiser” with artist Tauba Auerbach, promised “champagne, cake, and spontaneous applause.” For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\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. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy New Year! For 2013, Help Desk is going to be published every other week to make time for my other art adventures. But there are always ideas I want to share that don’t require a whole column, so now Help Desk spreads the love on Twitter: @ArtHelpDesk.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is an artist ready to approach galleries? I’ve been exhibiting my art for about 5 years with a couple decent solo shows and a few big sales. It’s not an extensive track record, but I’m dedicated and need to increase sales if I want to keep making art (I do!). I keep thinking I’m “almost” ready and don’t want to waste my time or the gallerists’ or risk making a poor first impression with them by jumping the gun. I’ve read different advice in books but still feel unsure about this important step. \u003c/b>\u003c/p>\n\u003cp>Nice spin on an old favorite! Usually the query is about \u003ci>how\u003c/i> to find a gallery, but equally weighty is the question of \u003ci>when\u003c/i>. Begin soliciting galleries before you’re ready and you’re likely to receive rejection after rejection as you waste your time on administrative tasks instead of making artwork. You’re right to think about the initial impression you make on a gallerist, too, since you risk being labeled a rank amateur. On the other hand, if you and your work are ready to start seeking representation, there’s no reason to hang back shyly. You’re unlikely to be discovered à la Lana Turner at the soda fountain — you need to get your work out there in front of people.\u003c/p>\n\u003cp>So how do you know when you’re ready? It’s going to come down to the work’s quality, your determination, and — for some galleries — your resume. Let’s start with the work: you will have a better response from gallerists if you present a body of high quality work that feels cohesive. A body of work doesn’t have to \u003ci>look\u003c/i> all the same (perhaps your studio practice has been dedicated to investigating different material forms of a particular concept, for example), but the individual pieces should have some clear commonalities. Quality is subjective and therefore trickier, and different gallerists will have various ideas of what it means. We’ll come back to the idea of quality in a moment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/07/Sosnowska1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Monika Sosnowska, \u003ci>Stairway\u003c/i>, 2010.\u003c/p>\n\u003cp>The next question is, how’s your stamina? I don’t want to harsh your mellow, but by pursuing gallery representation you’re entering into one of those “prepare for the worst and hope for the best” situations. This will include some tough, time-consuming work: carefully researching galleries that exhibit art in your style/medium/concept, networking at openings and art events, and reaching out via emails, submissions, and in-person meetings. All of this takes major effort, and anticipating the worst means steeling yourself for the inevitable rejections — so that when they come you can brush them off and forge ahead. Conversely, you also have to prepare for success by continuing to make good work and studying legal and logistical protocols so that you’re ready to go when you hear a “yes.” Gallery representation might mean studio visits, dealing with consignment forms and other contracts, and packing and shipping work. Part of being ready to approach a gallery means understanding various conventions of behavior and codes of the art market, and if doing this kind of homework doesn’t sound exhausting then perhaps it’s a sign that you’re ready to move forward. \u003c/p>\n\u003cp>On to your resume and sales: you mention a couple of “decent” solo shows, but since that might mean anything from the lobby of the public library to an exhibition at an art non-profit, it’s on you to make a clear-eyed assessment of how much credibility and cachet you’ve built up. Sales, if they have been made to strangers and not just Aunt Ada, demonstrate that your work is admired and collectible. While I appreciate your mention of how long you’ve been exhibiting — it gives me a general sense for your professionalism — in the end there’s no real correlation between the amount of time spent working and the ease with which one attains representation. \u003c/p>\n\u003cp>Ultimately, before you approach a gallery you must look at what you have already achieved and the work that is yet to come, and you must do it with a realistic and pragmatic eye. Bearing the above in mind, I recommend that you pursue a number of studio visits with curators, gallerists, art consultants, and other artists. This is where the notion of quality comes back into the picture. You can get feedback about your work, gauge its reception, and — if the response is positive — you can ask your visitor if she thinks you are ready to start reaching out to galleries. Make a list of all the art people you know in your area and start sending out invitations. The best resources you have for resolving this issue are probably right there in your address book. 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. All submissions are strictly confidential and become the property of Daily Serving. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your dilemma.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy New Year! For 2013, Help Desk is going to be published every other week to make time for my other art adventures. But there are always ideas I want to share that don’t require a whole column, so now Help Desk spreads the love on Twitter: @ArtHelpDesk.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When is an artist ready to approach galleries? I’ve been exhibiting my art for about 5 years with a couple decent solo shows and a few big sales. It’s not an extensive track record, but I’m dedicated and need to increase sales if I want to keep making art (I do!). I keep thinking I’m “almost” ready and don’t want to waste my time or the gallerists’ or risk making a poor first impression with them by jumping the gun. I’ve read different advice in books but still feel unsure about this important step. \u003c/b>\u003c/p>\n\u003cp>Nice spin on an old favorite! Usually the query is about \u003ci>how\u003c/i> to find a gallery, but equally weighty is the question of \u003ci>when\u003c/i>. Begin soliciting galleries before you’re ready and you’re likely to receive rejection after rejection as you waste your time on administrative tasks instead of making artwork. You’re right to think about the initial impression you make on a gallerist, too, since you risk being labeled a rank amateur. On the other hand, if you and your work are ready to start seeking representation, there’s no reason to hang back shyly. You’re unlikely to be discovered à la Lana Turner at the soda fountain — you need to get your work out there in front of people.\u003c/p>\n\u003cp>So how do you know when you’re ready? It’s going to come down to the work’s quality, your determination, and — for some galleries — your resume. Let’s start with the work: you will have a better response from gallerists if you present a body of high quality work that feels cohesive. A body of work doesn’t have to \u003ci>look\u003c/i> all the same (perhaps your studio practice has been dedicated to investigating different material forms of a particular concept, for example), but the individual pieces should have some clear commonalities. Quality is subjective and therefore trickier, and different gallerists will have various ideas of what it means. We’ll come back to the idea of quality in a moment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/01/07/Sosnowska1.jpg\" style=\"margin-bottom: 10px\">\u003cbr /> Monika Sosnowska, \u003ci>Stairway\u003c/i>, 2010.\u003c/p>\n\u003cp>The next question is, how’s your stamina? I don’t want to harsh your mellow, but by pursuing gallery representation you’re entering into one of those “prepare for the worst and hope for the best” situations. This will include some tough, time-consuming work: carefully researching galleries that exhibit art in your style/medium/concept, networking at openings and art events, and reaching out via emails, submissions, and in-person meetings. All of this takes major effort, and anticipating the worst means steeling yourself for the inevitable rejections — so that when they come you can brush them off and forge ahead. Conversely, you also have to prepare for success by continuing to make good work and studying legal and logistical protocols so that you’re ready to go when you hear a “yes.” Gallery representation might mean studio visits, dealing with consignment forms and other contracts, and packing and shipping work. Part of being ready to approach a gallery means understanding various conventions of behavior and codes of the art market, and if doing this kind of homework doesn’t sound exhausting then perhaps it’s a sign that you’re ready to move forward. \u003c/p>\n\u003cp>On to your resume and sales: you mention a couple of “decent” solo shows, but since that might mean anything from the lobby of the public library to an exhibition at an art non-profit, it’s on you to make a clear-eyed assessment of how much credibility and cachet you’ve built up. Sales, if they have been made to strangers and not just Aunt Ada, demonstrate that your work is admired and collectible. While I appreciate your mention of how long you’ve been exhibiting — it gives me a general sense for your professionalism — in the end there’s no real correlation between the amount of time spent working and the ease with which one attains representation. \u003c/p>\n\u003cp>Ultimately, before you approach a gallery you must look at what you have already achieved and the work that is yet to come, and you must do it with a realistic and pragmatic eye. Bearing the above in mind, I recommend that you pursue a number of studio visits with curators, gallerists, art consultants, and other artists. This is where the notion of quality comes back into the picture. You can get feedback about your work, gauge its reception, and — if the response is positive — you can ask your visitor if she thinks you are ready to start reaching out to galleries. Make a list of all the art people you know in your area and start sending out invitations. The best resources you have for resolving this issue are probably right there in your address book. Good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Merry Hanukkwanzmas and Happy New Solstice Apocalypse! ‘Tis the season for gifting, so this week I’ve prepared a list to make your holiday shopping easier. My suggestions are based around the idea of advice — this is an advice column, after all, and who doesn’t need a little wise counsel now and then? For those on a tight budget who still want to share the love, I’ve thrown in a few items at the end that don’t rely on the almighty dollar. \u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Art School Student:\u003c/b>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.papermonument.com/i-like-your-work/\"> I Like Your Work: Art and Etiquette\u003c/a>\u003c/em>\u003cbr />As the title suggests, this edited collection of essays explains the social mores of the professional art community. From studio etiquette to what to say and do at openings (as well as a fun essay on how to dress!), this sometimes-serious, sometimes-tongue-in-cheek volume will have you nodding in (weary) agreement. There are also a few juicy sections by anonymous authors that supply a bit of keen insight into the workings of our little world. Warning: thumbing through will only make you want to keep it, so order a copy for yourself and a copy to give away.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/DIWYEC.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Paper Monument, \u003ci>Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/i>, 2012.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Art Teacher:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003cem> Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/em>\u003c/a>\u003cbr />As with \u003ci>I Like Your Work\u003c/i>, this book is also a collection of essays edited by Paper Monument. While the title makes it sound a bit dry, the contents are actually quite touching and amusing. Some articles are written about professors’ own attempts to teach their students, and some are written by former art students about the relative efficacy of the assignments they received. As you might imagine, the pedagogical tasks described herein run the gamut from Zen-koan-like simplicity to arduously complicated, making this a winner for both the seasoned instructor and the neophyte. One personal favorite is Kevin Zucker’s tragically comic essay, “Seemingly Innocuous Assignments That Will Lead to Improbable Calamities: Cautionary Notes for Teachers, Unfortunately Based on Personal Experience” — as far as I’m concerned, this one alone is worth the price.\u003c/p>\n\u003cp>\u003cb>For the Critique Leader/Art School Program Director:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thebolditalic.com/shop/collections/desk/products/stamps-of-disapproval\">\u003cem> Stamps of Disapproval\u003c/em>\u003c/a>\u003cbr />Okay, it’s not a book (but it is text) and it’s not really advice (unless “I’m not convinced” counts), but this set of six stamps is a great gift for anyone who has anything to do with art — they’re easily presented to everyone from your Art History T.A. to your pal the freelance graphic designer. If you don’t already have someone in mind for these babies, they’re cheap enough to keep on hand in case you are ensnared in one of those last-second gifting situations: \u003ci>Oh, you got me a gift? Well, here’s something for you.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/GGP.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Guillermo Gómez-Peña, co-author of \u003ci>Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Budding Performance Artist or Instructor:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.powells.com/biblio/72-9780415549233-0\">\u003cem> Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/em>\u003c/a>\u003cbr />Here’s another slim volume chock-a-block with fun and exciting things to do. Though it is specifically about performance, I found some of the information adaptable to other kinds of classroom settings where you need to get people moving and thinking — or when you just need to shake things up. Written by long-term practitioners Guillermo Gómez-Peña and Roberto Sifuentes, this book is replete with honest, playful advice for artists and it walks the reader through a series of step-by-step exercises that create public spectacles, circumvent convention, and question all kinds of borders and boundaries.\u003c/p>\n\u003cp>\u003cb>For the Aspiring Gallerist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=How+to+Start+and+Run+a+Commercial+Art+Gallery\">\u003cem> How to Start and Run a Commercial Art Gallery\u003c/em>\u003c/a>\u003cbr />Godblessim, that Edward Winkleman. Not only does he write \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">a blog that offers advice to artists\u003c/a> (and contributed to \u003ca href=\"http://dailyserving.com/2012/08/help-desk-art-fairs-everywhere/\">this column\u003c/a>), but he’s also penned an in-depth look at what it takes to found and maintain a successful art gallery. From writing a business plan to finding and renovating a space to promoting the gallery and representing artists, Edward has you covered. If you’re thinking about opening a gallery, don’t miss out on his hard-earned wisdom.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Advice Columnist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Dear-Asshole-Tear-Out-Letters-Morons/dp/0762442867\">\u003cem> Dear Asshole: 101 Tear-Out Letters to the Morons Who Muck Up Your Life\u003c/em>\u003c/a>\u003cbr />Even enthusiastic writers get tired of having to pen correctional missives, and this book steps in to fill the void. The publisher’s info says, “Ever wish you could leave a nasty note for that jerk in the Hummer who blocked you in, or the idiot who didn’t clean up after his dog? Now you can! \u003ci>Dear Asshole\u003c/i> includes 101 letters to all of the assholes you encounter on a daily basis, each letter conveniently perforated so you can tear it out and give it to the desired offender.” Amazon reviewer shadowcat410 says, “The book covers almost every type of moron out there,” and I’m hoping that means there’s a note for the haughty gallerinas who grudgingly and disdainfully hand over a press release — \u003ci>even after I tell them I’m reviewing the exhibition.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some additional tips for those who are flat broke:\u003c/b>\u003c/p>\n\u003cp>Need to give a present, but you’re totally skint? Consider a gift of your time and energy. Certificates for your time and assistance are always appreciated: a little drawing or collage in a nifty envelope costs next to nothing, but means a lot to those who are short on help. Here are some ideas: \u003c/p>\n\u003cp>Build a Website\u003cbr />This one is definitely an undertaking, so save it for a loved one. There are quite a few template-based sites out there, but you’ll have to pay for hosting, which runs about $8/month. If you use \u003ca href=\"http://www.weebly.com/\">Weebly\u003c/a>, you can build and host a professional-looking site for free. Check it out. \u003c/p>\n\u003cp>Make a New Mailing List\u003cbr />If you’ve got a pal who’s not very organized, you can offer to help them by taking all their little scraps of paper, random business cards, and neglected Open Studios mailing-list sign-up sheets and inputting them into a useable system. This person will be singing your name to the heavens when she has to mail postcards or send an email invitation for her next solo show. \u003c/p>\n\u003cp>Studio Assistance\u003cbr />We could all use a hand in the studio now and again, whether it’s to construct a project or just clean up and rearrange the furniture. A gift certificate for a set number of hours is a wonderful way to support your favorite artist without spending a dime. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Merry Hanukkwanzmas and Happy New Solstice Apocalypse! ‘Tis the season for gifting, so this week I’ve prepared a list to make your holiday shopping easier. My suggestions are based around the idea of advice — this is an advice column, after all, and who doesn’t need a little wise counsel now and then? For those on a tight budget who still want to share the love, I’ve thrown in a few items at the end that don’t rely on the almighty dollar. \u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Art School Student:\u003c/b>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.papermonument.com/i-like-your-work/\"> I Like Your Work: Art and Etiquette\u003c/a>\u003c/em>\u003cbr />As the title suggests, this edited collection of essays explains the social mores of the professional art community. From studio etiquette to what to say and do at openings (as well as a fun essay on how to dress!), this sometimes-serious, sometimes-tongue-in-cheek volume will have you nodding in (weary) agreement. There are also a few juicy sections by anonymous authors that supply a bit of keen insight into the workings of our little world. Warning: thumbing through will only make you want to keep it, so order a copy for yourself and a copy to give away.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/DIWYEC.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Paper Monument, \u003ci>Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/i>, 2012.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Art Teacher:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003cem> Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/em>\u003c/a>\u003cbr />As with \u003ci>I Like Your Work\u003c/i>, this book is also a collection of essays edited by Paper Monument. While the title makes it sound a bit dry, the contents are actually quite touching and amusing. Some articles are written about professors’ own attempts to teach their students, and some are written by former art students about the relative efficacy of the assignments they received. As you might imagine, the pedagogical tasks described herein run the gamut from Zen-koan-like simplicity to arduously complicated, making this a winner for both the seasoned instructor and the neophyte. One personal favorite is Kevin Zucker’s tragically comic essay, “Seemingly Innocuous Assignments That Will Lead to Improbable Calamities: Cautionary Notes for Teachers, Unfortunately Based on Personal Experience” — as far as I’m concerned, this one alone is worth the price.\u003c/p>\n\u003cp>\u003cb>For the Critique Leader/Art School Program Director:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thebolditalic.com/shop/collections/desk/products/stamps-of-disapproval\">\u003cem> Stamps of Disapproval\u003c/em>\u003c/a>\u003cbr />Okay, it’s not a book (but it is text) and it’s not really advice (unless “I’m not convinced” counts), but this set of six stamps is a great gift for anyone who has anything to do with art — they’re easily presented to everyone from your Art History T.A. to your pal the freelance graphic designer. If you don’t already have someone in mind for these babies, they’re cheap enough to keep on hand in case you are ensnared in one of those last-second gifting situations: \u003ci>Oh, you got me a gift? Well, here’s something for you.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/GGP.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Guillermo Gómez-Peña, co-author of \u003ci>Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Budding Performance Artist or Instructor:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.powells.com/biblio/72-9780415549233-0\">\u003cem> Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/em>\u003c/a>\u003cbr />Here’s another slim volume chock-a-block with fun and exciting things to do. Though it is specifically about performance, I found some of the information adaptable to other kinds of classroom settings where you need to get people moving and thinking — or when you just need to shake things up. Written by long-term practitioners Guillermo Gómez-Peña and Roberto Sifuentes, this book is replete with honest, playful advice for artists and it walks the reader through a series of step-by-step exercises that create public spectacles, circumvent convention, and question all kinds of borders and boundaries.\u003c/p>\n\u003cp>\u003cb>For the Aspiring Gallerist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=How+to+Start+and+Run+a+Commercial+Art+Gallery\">\u003cem> How to Start and Run a Commercial Art Gallery\u003c/em>\u003c/a>\u003cbr />Godblessim, that Edward Winkleman. Not only does he write \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">a blog that offers advice to artists\u003c/a> (and contributed to \u003ca href=\"http://dailyserving.com/2012/08/help-desk-art-fairs-everywhere/\">this column\u003c/a>), but he’s also penned an in-depth look at what it takes to found and maintain a successful art gallery. From writing a business plan to finding and renovating a space to promoting the gallery and representing artists, Edward has you covered. If you’re thinking about opening a gallery, don’t miss out on his hard-earned wisdom.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Advice Columnist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Dear-Asshole-Tear-Out-Letters-Morons/dp/0762442867\">\u003cem> Dear Asshole: 101 Tear-Out Letters to the Morons Who Muck Up Your Life\u003c/em>\u003c/a>\u003cbr />Even enthusiastic writers get tired of having to pen correctional missives, and this book steps in to fill the void. The publisher’s info says, “Ever wish you could leave a nasty note for that jerk in the Hummer who blocked you in, or the idiot who didn’t clean up after his dog? Now you can! \u003ci>Dear Asshole\u003c/i> includes 101 letters to all of the assholes you encounter on a daily basis, each letter conveniently perforated so you can tear it out and give it to the desired offender.” Amazon reviewer shadowcat410 says, “The book covers almost every type of moron out there,” and I’m hoping that means there’s a note for the haughty gallerinas who grudgingly and disdainfully hand over a press release — \u003ci>even after I tell them I’m reviewing the exhibition.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some additional tips for those who are flat broke:\u003c/b>\u003c/p>\n\u003cp>Need to give a present, but you’re totally skint? Consider a gift of your time and energy. Certificates for your time and assistance are always appreciated: a little drawing or collage in a nifty envelope costs next to nothing, but means a lot to those who are short on help. Here are some ideas: \u003c/p>\n\u003cp>Build a Website\u003cbr />This one is definitely an undertaking, so save it for a loved one. There are quite a few template-based sites out there, but you’ll have to pay for hosting, which runs about $8/month. If you use \u003ca href=\"http://www.weebly.com/\">Weebly\u003c/a>, you can build and host a professional-looking site for free. Check it out. \u003c/p>\n\u003cp>Make a New Mailing List\u003cbr />If you’ve got a pal who’s not very organized, you can offer to help them by taking all their little scraps of paper, random business cards, and neglected Open Studios mailing-list sign-up sheets and inputting them into a useable system. This person will be singing your name to the heavens when she has to mail postcards or send an email invitation for her next solo show. \u003c/p>\n\u003cp>Studio Assistance\u003cbr />We could all use a hand in the studio now and again, whether it’s to construct a project or just clean up and rearrange the furniture. A gift certificate for a set number of hours is a wonderful way to support your favorite artist without spending a dime. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Art books are easy to wrap and will score you points for being athoughtful gift giver who recognizes the creative side in everyone. Hereare three outstanding options to brighten up any bookshelf, published justin time for the holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Contact-Sheet-Steve-Crist/dp/1934429082\">\u003cb>\u003ci>TheContact Sheet\u003c/i>\u003c/b>\u003c/a>\u003cbr>Everyone is a photographer these days, and owning a photography book couldhelp Instagrammers feel more legit. Before there was the iPhone “cameraroll” there were these things called contact sheets — all the images froma photo shoot printed on one page. \u003ci>The Contact Sheet\u003c/i> reveals thebefore-and-after shots of iconic photographs, like Dorothea Lange’sDepression-era \u003ci>Migrant Mother\u003c/i>, and that ubiquitous image of aFrench couple kissing by Robert Doisneau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/doisneau-kiss.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Contact sheet for “Le baiser de l’hotel de ville (The Kiss by the Hotel de Ville)” by Robert Doisneau.\u003cbr>\u003c/center>\n\u003cp> The thing about photographs is that you can never assume they’re honest. \u003ci>The Contact Sheet\u003c/i> reveals the truth behind some of photography’s best known images.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/milk-and-honey.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ca href=\"http://work.thedutchpress.com/Milk-Honey-Contemporary-Art-in-California%20\">\u003cb>\u003ci>Milk and Honey: Contemporary Art in California\u003c/i>\u003c/b>\u003c/a>\u003cbr>Sage Vaughn’s luscious dripping color graces the cover of this beautifuland substantial book featuring artists who live in the Golden State. It’strue, California is the land of \u003ci>Milk and Honey\u003c/i>, warm and sweet withinspirational landscapes and culture. It’s no wonder so many artists livehere. Among those featured in the book are some of our favorites featuredon KQED Arts: Mel Kadel, Barry McGee, Richard Colman, Andrew Schoultz, andcountless others. This book honors the legacy of its curator and author, awell-loved L.A. artist, who passed away recently. Justin Van Hoy wasa big supporter of his community, and \u003ci>Milk and Honey\u003c/i> is one of hismany gifts to the world. He curated an exhibition featuring artists fromthe book, which will open in January, 2013 at \u003cahref>Guerrero Gallery in San Francisco.\u003c/ahref>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cartoon-network.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003cb>\u003ci>Cartoon Network’s 20th Anniversary Book\u003c/i>\u003c/b>\u003cbr>This book arrived in a box that said, “It’s our birthday, so we got you apresent.” Thanks, Cartoon Network! Thanks for dedicating two decades toartist-driven animation and cartoons that are OK for grown-ups to like. Aninternational group of artists are featured in the anniversary book, andwere “personally invited to interpret a Cartoon Network show orcharacter.” \u003ci>Adventure Time\u003c/i>, \u003ci>The Powerpuff Girls\u003c/i>, and\u003ci>Foster’s Home for Imaginary Friends\u003c/i> were among the most popularshows reimagined by the artists, who talk about the cartoons that inspiredthem as budding creatives. This book proves that their early interests inanimation continue to inspire their work, and that Cartoon Network’s castof characters and narratives will influence generations to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bonus: The book’s cover is a nifty fold-out poster. Bummer: We recentlydiscovered that this book was published in an edition of 2500 and notoffered to the public. Win our copy by telling us why you should be thelucky owner of this collectible art book: submissions accepted @KQEDartson Twitter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art books are easy to wrap and will score you points for being athoughtful gift giver who recognizes the creative side in everyone. Hereare three outstanding options to brighten up any bookshelf, published justin time for the holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Contact-Sheet-Steve-Crist/dp/1934429082\">\u003cb>\u003ci>TheContact Sheet\u003c/i>\u003c/b>\u003c/a>\u003cbr>Everyone is a photographer these days, and owning a photography book couldhelp Instagrammers feel more legit. Before there was the iPhone “cameraroll” there were these things called contact sheets — all the images froma photo shoot printed on one page. \u003ci>The Contact Sheet\u003c/i> reveals thebefore-and-after shots of iconic photographs, like Dorothea Lange’sDepression-era \u003ci>Migrant Mother\u003c/i>, and that ubiquitous image of aFrench couple kissing by Robert Doisneau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/doisneau-kiss.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Contact sheet for “Le baiser de l’hotel de ville (The Kiss by the Hotel de Ville)” by Robert Doisneau.\u003cbr>\u003c/center>\n\u003cp> The thing about photographs is that you can never assume they’re honest. \u003ci>The Contact Sheet\u003c/i> reveals the truth behind some of photography’s best known images.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/milk-and-honey.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ca href=\"http://work.thedutchpress.com/Milk-Honey-Contemporary-Art-in-California%20\">\u003cb>\u003ci>Milk and Honey: Contemporary Art in California\u003c/i>\u003c/b>\u003c/a>\u003cbr>Sage Vaughn’s luscious dripping color graces the cover of this beautifuland substantial book featuring artists who live in the Golden State. It’strue, California is the land of \u003ci>Milk and Honey\u003c/i>, warm and sweet withinspirational landscapes and culture. It’s no wonder so many artists livehere. Among those featured in the book are some of our favorites featuredon KQED Arts: Mel Kadel, Barry McGee, Richard Colman, Andrew Schoultz, andcountless others. This book honors the legacy of its curator and author, awell-loved L.A. artist, who passed away recently. Justin Van Hoy wasa big supporter of his community, and \u003ci>Milk and Honey\u003c/i> is one of hismany gifts to the world. He curated an exhibition featuring artists fromthe book, which will open in January, 2013 at \u003cahref>Guerrero Gallery in San Francisco.\u003c/ahref>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. So my question is this: how do I explore and grow within my own art style while I’m still within a structured group setting, when my professor is enforcing a completely different style? \u003c/b>\u003c/p>\n\u003cp>Three ideas: 1.) it seems unlikely that your professor really wants you to copy the ingenious squiggler — maybe he or she is just urging you to appreciate something you’re not accustomed to; 2.) if you’re still in school then you’re too young to have developed a style, so stop worrying about all that for now; 3.) figure out \u003ci>why\u003c/i> those three squiggles are considered ingenious. When you answer this question for yourself, you’ll be farther along your path to being an artist than if you spent four years on a “style.” Style is nothing but surface unless there is a deep understanding behind it. You’re in school to cultivate your knowledge, so the next time you’re told some work is brilliant and you think it’s not, ask for the reasons behind your professor’s opinion. You don’t have to agree, but you do have to know exactly why you disagree. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Joav BarEl, \u003ci>Models in Red and Green (“Up Set”)\u003c/i>, 1969.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light. \u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Joav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?” \u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. Instead, I’ll just give you my general opinion: I think street art is good (let’s let go of the word “appropriate,” because lots of good art is wonderfully inappropriate) when it’s bold, subversive, witty, hopeful, sarcastic, inventive, committed, clever, punk, and empowering. The ubiquitous, illegible paint-markered tag on the side of a dumpster is just a boring pseudo-rebellion. I do wish more street art lived up to its claim of real resistance. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. So my question is this: how do I explore and grow within my own art style while I’m still within a structured group setting, when my professor is enforcing a completely different style? \u003c/b>\u003c/p>\n\u003cp>Three ideas: 1.) it seems unlikely that your professor really wants you to copy the ingenious squiggler — maybe he or she is just urging you to appreciate something you’re not accustomed to; 2.) if you’re still in school then you’re too young to have developed a style, so stop worrying about all that for now; 3.) figure out \u003ci>why\u003c/i> those three squiggles are considered ingenious. When you answer this question for yourself, you’ll be farther along your path to being an artist than if you spent four years on a “style.” Style is nothing but surface unless there is a deep understanding behind it. You’re in school to cultivate your knowledge, so the next time you’re told some work is brilliant and you think it’s not, ask for the reasons behind your professor’s opinion. You don’t have to agree, but you do have to know exactly why you disagree. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Joav BarEl, \u003ci>Models in Red and Green (“Up Set”)\u003c/i>, 1969.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light. \u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Joav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?” \u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. 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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. So my question is this: how do I explore and grow within my own art style while I’m still within a structured group setting, when my professor is enforcing a completely different style? \u003c/b>\u003c/p>\n\u003cp>Three ideas: 1.) it seems unlikely that your professor really wants you to copy the ingenious squiggler — maybe he or she is just urging you to appreciate something you’re not accustomed to; 2.) if you’re still in school then you’re too young to have developed a style, so stop worrying about all that for now; 3.) figure out \u003ci>why\u003c/i> those three squiggles are considered ingenious. When you answer this question for yourself, you’ll be farther along your path to being an artist than if you spent four years on a “style.” Style is nothing but surface unless there is a deep understanding behind it. You’re in school to cultivate your knowledge, so the next time you’re told some work is brilliant and you think it’s not, ask for the reasons behind your professor’s opinion. You don’t have to agree, but you do have to know exactly why you disagree.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl1.jpg\" />\u003cbr />\nJoav BarEl, \u003ci>Models in Red and Green (“Up Set”)\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light.\u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" />\u003cbr />\nJoav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?”\u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. Instead, I’ll just give you my general opinion: I think street art is good (let’s let go of the word “appropriate,” because lots of good art is wonderfully inappropriate) when it’s bold, subversive, witty, hopeful, sarcastic, inventive, committed, clever, punk, and empowering. The ubiquitous, illegible paint-markered tag on the side of a dumpster is just a boring pseudo-rebellion. I do wish more street art lived up to its claim of real resistance.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. So my question is this: how do I explore and grow within my own art style while I’m still within a structured group setting, when my professor is enforcing a completely different style? \u003c/b>\u003c/p>\n\u003cp>Three ideas: 1.) it seems unlikely that your professor really wants you to copy the ingenious squiggler — maybe he or she is just urging you to appreciate something you’re not accustomed to; 2.) if you’re still in school then you’re too young to have developed a style, so stop worrying about all that for now; 3.) figure out \u003ci>why\u003c/i> those three squiggles are considered ingenious. When you answer this question for yourself, you’ll be farther along your path to being an artist than if you spent four years on a “style.” Style is nothing but surface unless there is a deep understanding behind it. You’re in school to cultivate your knowledge, so the next time you’re told some work is brilliant and you think it’s not, ask for the reasons behind your professor’s opinion. You don’t have to agree, but you do have to know exactly why you disagree.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl1.jpg\" />\u003cbr />\nJoav BarEl, \u003ci>Models in Red and Green (“Up Set”)\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light.\u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" />\u003cbr />\nJoav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?”\u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. Instead, I’ll just give you my general opinion: I think street art is good (let’s let go of the word “appropriate,” because lots of good art is wonderfully inappropriate) when it’s bold, subversive, witty, hopeful, sarcastic, inventive, committed, clever, punk, and empowering. The ubiquitous, illegible paint-markered tag on the side of a dumpster is just a boring pseudo-rebellion. I do wish more street art lived up to its claim of real resistance.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Building Stories: Chris Ware's Antidote to Our Distracted Times",
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"content": "\u003cp>Did you hear that, according to a disappeared tribe who knew a thing or two about a solid cliffhanger, the world is totally going to end in a few weeks? As cinematic as all of us waiting to be incinerated by a gas giant on a collision course with Earth sounds (\u003ca href=\"http://25.media.tumblr.com/tumblr_m3vbmgMDx91qbxh0uo7_r1_500.gif\">you could call it Kirsten Dunst-ing\u003c/a>), perhaps the apocalypse the Mayans had in mind was more about the death of our culture’s collective attention span.\u003c/p>\n\u003cp>You probably had to start that paragraph over because you got distracted by checking whether your crush liked your latest photo on Instagram or not. It’s an illness that we multi-tasking monsters all suffer from: compulsive texting on top of neurotic emoji assemblage on top of listening to some album that just leaked while playing Words with Friends and walking at the same time. What happened to enjoying a double rainbow (\u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-top-10-double-rainbow-tweets\">omg, it was so crazy!\u003c/a>), a kitten in a sweater, or just a good hair day without immortalizing it on the internets?\u003c/p>\n\u003cp>Well, something cataclysmic definitely happened to the simpler times of liking something purely in your brain and that’s not entirely a terrible thing. Social media does allow for a village-type mentality that fosters a sense of community (however warped it might seem to our ancestors), but it’s important to take a breather every now and then from being connected to everything everyone else is doing and zero in on what’s right in front of you. And with the release of \u003ci>Building Stories\u003c/i>, Chris Ware (a.k.a. the dude to thank for the lovely 826 Valencia mural) has created a graphic novel that is the perfect antidote to our distracted times, a work of art that forces you to consider it, not while elbow-warring on the bus or during other transitory in-between moments, but while keeping things stationary in a quiet place where you feel comfortable having your world rocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, classicist poet Anne Carson released \u003ci>Nox\u003c/i>, an elegy for her lost brother packaged in a box with \u003ca href=\"http://4.bp.blogspot.com/_UWoW2cVfc68/TARl2T301KI/AAAAAAAAENk/E9J4OE8s6ys/s1600/P5304001_edited-1+%281024x577%29.jpg\">pages connected in one long cumbersome accordion\u003c/a>. By creating something treasurable and impractical, Carson defied the increasingly immaterial text conduits like the Kindle and resurrected the book as an object. \u003ci>Building Stories\u003c/i> aims at the same target with an unwieldy box of its own, containing 14 components: zines, newspapers, pamphlets, books that resemble the Little Golden Books from childhood, etc. There are no rules to how you interact with the separate parts that make the whole, no right order, just an individual experience, something we have all been sorely missing, whether we realize it or not.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs4.jpg\">\u003c/p>\n\u003cp>Ware’s style, a love child of early 20th century American design and ragtime paraphernalia, commands the gaze with vibrant colors, meticulous details, intricate lettering, and perfectly geometrical layouts. And the way he handles the narrative is just as remarkable. Four isolated events on one small fold-out to a newspaper describing life in a beehive to a book detailing a 24-hour period in the life of a 100+ year old residential building. Ware takes a non-linear approach to unspooling the destinies of his characters. Everything that has happened, is happening, or will happen shares a common space, no era more relevant than another.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs7.jpg\">\u003c/p>\n\u003cp>The graphic novel’s cast of misfits all suffer from a common ailment: a bad case of dashed dreams, the blues, and an unshakeable sense of isolation. At times, treading through this precise and hyper-stylized wasteland feels like gazing into a reflection of our own world, one full of virtual interconnectedness, yet lacking in actual contact. \u003ci>Building Stories\u003c/i> is a warning against where we could end up and a reminder of where we ought to. And it couldn’t have come at a better time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs5.jpg\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you hear that, according to a disappeared tribe who knew a thing or two about a solid cliffhanger, the world is totally going to end in a few weeks? As cinematic as all of us waiting to be incinerated by a gas giant on a collision course with Earth sounds (\u003ca href=\"http://25.media.tumblr.com/tumblr_m3vbmgMDx91qbxh0uo7_r1_500.gif\">you could call it Kirsten Dunst-ing\u003c/a>), perhaps the apocalypse the Mayans had in mind was more about the death of our culture’s collective attention span.\u003c/p>\n\u003cp>You probably had to start that paragraph over because you got distracted by checking whether your crush liked your latest photo on Instagram or not. It’s an illness that we multi-tasking monsters all suffer from: compulsive texting on top of neurotic emoji assemblage on top of listening to some album that just leaked while playing Words with Friends and walking at the same time. What happened to enjoying a double rainbow (\u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-top-10-double-rainbow-tweets\">omg, it was so crazy!\u003c/a>), a kitten in a sweater, or just a good hair day without immortalizing it on the internets?\u003c/p>\n\u003cp>Well, something cataclysmic definitely happened to the simpler times of liking something purely in your brain and that’s not entirely a terrible thing. Social media does allow for a village-type mentality that fosters a sense of community (however warped it might seem to our ancestors), but it’s important to take a breather every now and then from being connected to everything everyone else is doing and zero in on what’s right in front of you. And with the release of \u003ci>Building Stories\u003c/i>, Chris Ware (a.k.a. the dude to thank for the lovely 826 Valencia mural) has created a graphic novel that is the perfect antidote to our distracted times, a work of art that forces you to consider it, not while elbow-warring on the bus or during other transitory in-between moments, but while keeping things stationary in a quiet place where you feel comfortable having your world rocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, classicist poet Anne Carson released \u003ci>Nox\u003c/i>, an elegy for her lost brother packaged in a box with \u003ca href=\"http://4.bp.blogspot.com/_UWoW2cVfc68/TARl2T301KI/AAAAAAAAENk/E9J4OE8s6ys/s1600/P5304001_edited-1+%281024x577%29.jpg\">pages connected in one long cumbersome accordion\u003c/a>. By creating something treasurable and impractical, Carson defied the increasingly immaterial text conduits like the Kindle and resurrected the book as an object. \u003ci>Building Stories\u003c/i> aims at the same target with an unwieldy box of its own, containing 14 components: zines, newspapers, pamphlets, books that resemble the Little Golden Books from childhood, etc. There are no rules to how you interact with the separate parts that make the whole, no right order, just an individual experience, something we have all been sorely missing, whether we realize it or not.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs4.jpg\">\u003c/p>\n\u003cp>Ware’s style, a love child of early 20th century American design and ragtime paraphernalia, commands the gaze with vibrant colors, meticulous details, intricate lettering, and perfectly geometrical layouts. And the way he handles the narrative is just as remarkable. Four isolated events on one small fold-out to a newspaper describing life in a beehive to a book detailing a 24-hour period in the life of a 100+ year old residential building. Ware takes a non-linear approach to unspooling the destinies of his characters. Everything that has happened, is happening, or will happen shares a common space, no era more relevant than another.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs7.jpg\">\u003c/p>\n\u003cp>The graphic novel’s cast of misfits all suffer from a common ailment: a bad case of dashed dreams, the blues, and an unshakeable sense of isolation. At times, treading through this precise and hyper-stylized wasteland feels like gazing into a reflection of our own world, one full of virtual interconnectedness, yet lacking in actual contact. \u003ci>Building Stories\u003c/i> is a warning against where we could end up and a reminder of where we ought to. And it couldn’t have come at a better time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs5.jpg\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I want to start applying for artists’ residencies and I don’t know where to begin. Is there a good place to find a listing of residencies, what are the best ones, and what advice could you give for putting together a stunning application? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Residencies can be an artist’s joy: time and space (and sometimes technical facilities) to make your work, a community of dedicated peers, and stimulating conversation. But beware: they can also be financially — and emotionally — draining environments where a bunch of alcoholic drama queens keep you up all night, every night, for a month, so you need to do some very careful research before you pack your bags.\u003c/p>\n\u003cp>There are a number of online resources for finding residency programs, from collective listings to the programs’ own sites, so begin with some basic searches. I also suggest that you start semi-local: you might have a better chance of getting in, and you’ll be able to test the waters without having to sublet your apartment and move to another state or country for a few months. Try googling “[your state] artist residency” to see what comes up — my trial search for California returned a ton of opportunities. To find international residencies you can use the same Google search with the name of the city or country you’d like to go to, or you can find sites like \u003ca href=\"http://www.resartis.org/en/residencies/upcoming_deadlines/\">ResArtis.org\u003c/a> and \u003ca href=\"http://www.residencyunlimited.org/category/opportunites/ongoing/\">Residency Unlimited\u003c/a> that list international residency programs and their deadlines.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-residency.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Ellen Kooi, \u003ci>Nagele – wachthuis,\u003c/i> 2011.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Which are the best residency programs? Well, that depends on what you’d like to accomplish. If you’re looking for some quiet time away from the pressures of everyday life, then you might prefer a cabin in the woods. If you’re desperate for interaction and dialogue, then you should look for something workshop-based or community oriented. If you’re hoping to crank out a large amount of work in a short amount of time, then you need to find a space that has the facilities you require to complete your project. I suggest you check out \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">this HELP DESK column on finding the right MFA program\u003c/a> (scroll down to the second Q&A) — my advice for pinpointing “the best” applies to your question, too. In either case, the bottom line is that you need to be honest with yourself about what’s right for you at this stage of your practice. No single residency program can fulfill every desire, so narrow your list of goals down to one or two and then investigate residency opportunities to find the best match for what you hope to achieve. \u003c/p>\n\u003cp>Incidentally, a good match will also make a stronger application and you have a better chance of getting in if your goals fit closely with the program’s own mission. Conversely, if you’re a studio painter applying for a residency dedicated to experimental social interaction, you have what my friend Sylvan once dubbed “a rat’s-ass chance in a gator pit” of being accepted, so don’t waste time and energy — and maybe application fees — applying to residencies that don’t correspond to your aims. \u003c/p>\n\u003cp>A great resource for information on applying to residency programs is Chapter 6 of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>. This section of the book discusses considerations for your own practice vis-a-vis different types of residency programs, and it reviews the basic parts of an application or proposal. It also has quite a few crucial pointers for completing a successful application, such as this one: \u003c/p>\n\u003cp>“Many programs will tell you what they focus on when evaluating applications. Of all the directions to follow, these are the most important. They’re not as easy to spot because they’re not necessarily written in the form of direct directions but rather as ‘criteria.’ You might see something like this: ‘Artists’ Fellowships are chosen based on the single criterion of work that demonstrates a compelling vision as defined by the assembled panel’s collective opinion.’ Note the words \u003ci>single criterion\u003c/i>. They’re telling you up front that there’s only one thing that matters… [t]his program will make a qualitative assessment of your work, period. You therefore need to spend the most time on that part of the application and submit the best-quality images you can.” \u003c/p>\n\u003cp>Another source for information is \u003ca href=\"http://www.transartists.org/deadlines\">Trans Artists\u003c/a>, a self-described “knowledge centre on cultural mobility, with a strong focus on artist-in-residence opportunities.” Check out the \u003ca href=\"http://www.transartists.org/artist-in-residence\">Artist in Residence\u003c/a> page which describes types of programs and residency experience; and the \u003ca href=\"http://www.transartists.org/checklist\">Checklist\u003c/a> page, which has information that will help you with your research. Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I want to start applying for artists’ residencies and I don’t know where to begin. Is there a good place to find a listing of residencies, what are the best ones, and what advice could you give for putting together a stunning application? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Residencies can be an artist’s joy: time and space (and sometimes technical facilities) to make your work, a community of dedicated peers, and stimulating conversation. But beware: they can also be financially — and emotionally — draining environments where a bunch of alcoholic drama queens keep you up all night, every night, for a month, so you need to do some very careful research before you pack your bags.\u003c/p>\n\u003cp>There are a number of online resources for finding residency programs, from collective listings to the programs’ own sites, so begin with some basic searches. I also suggest that you start semi-local: you might have a better chance of getting in, and you’ll be able to test the waters without having to sublet your apartment and move to another state or country for a few months. Try googling “[your state] artist residency” to see what comes up — my trial search for California returned a ton of opportunities. To find international residencies you can use the same Google search with the name of the city or country you’d like to go to, or you can find sites like \u003ca href=\"http://www.resartis.org/en/residencies/upcoming_deadlines/\">ResArtis.org\u003c/a> and \u003ca href=\"http://www.residencyunlimited.org/category/opportunites/ongoing/\">Residency Unlimited\u003c/a> that list international residency programs and their deadlines.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-residency.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Ellen Kooi, \u003ci>Nagele – wachthuis,\u003c/i> 2011.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Which are the best residency programs? Well, that depends on what you’d like to accomplish. If you’re looking for some quiet time away from the pressures of everyday life, then you might prefer a cabin in the woods. If you’re desperate for interaction and dialogue, then you should look for something workshop-based or community oriented. If you’re hoping to crank out a large amount of work in a short amount of time, then you need to find a space that has the facilities you require to complete your project. I suggest you check out \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">this HELP DESK column on finding the right MFA program\u003c/a> (scroll down to the second Q&A) — my advice for pinpointing “the best” applies to your question, too. In either case, the bottom line is that you need to be honest with yourself about what’s right for you at this stage of your practice. No single residency program can fulfill every desire, so narrow your list of goals down to one or two and then investigate residency opportunities to find the best match for what you hope to achieve. \u003c/p>\n\u003cp>Incidentally, a good match will also make a stronger application and you have a better chance of getting in if your goals fit closely with the program’s own mission. Conversely, if you’re a studio painter applying for a residency dedicated to experimental social interaction, you have what my friend Sylvan once dubbed “a rat’s-ass chance in a gator pit” of being accepted, so don’t waste time and energy — and maybe application fees — applying to residencies that don’t correspond to your aims. \u003c/p>\n\u003cp>A great resource for information on applying to residency programs is Chapter 6 of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>. This section of the book discusses considerations for your own practice vis-a-vis different types of residency programs, and it reviews the basic parts of an application or proposal. It also has quite a few crucial pointers for completing a successful application, such as this one: \u003c/p>\n\u003cp>“Many programs will tell you what they focus on when evaluating applications. Of all the directions to follow, these are the most important. They’re not as easy to spot because they’re not necessarily written in the form of direct directions but rather as ‘criteria.’ You might see something like this: ‘Artists’ Fellowships are chosen based on the single criterion of work that demonstrates a compelling vision as defined by the assembled panel’s collective opinion.’ Note the words \u003ci>single criterion\u003c/i>. They’re telling you up front that there’s only one thing that matters… [t]his program will make a qualitative assessment of your work, period. You therefore need to spend the most time on that part of the application and submit the best-quality images you can.” \u003c/p>\n\u003cp>Another source for information is \u003ca href=\"http://www.transartists.org/deadlines\">Trans Artists\u003c/a>, a self-described “knowledge centre on cultural mobility, with a strong focus on artist-in-residence opportunities.” Check out the \u003ca href=\"http://www.transartists.org/artist-in-residence\">Artist in Residence\u003c/a> page which describes types of programs and residency experience; and the \u003ca href=\"http://www.transartists.org/checklist\">Checklist\u003c/a> page, which has information that will help you with your research. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I recently had to pick the edition size of a digital interactive project I made. I just went with a standard ten but it got me thinking. I understand that when you are making prints for example each piece in the edition has to be physically produced by the artist. Thus it makes sense to limit the number of pieces that can be made. But why arbitrarily constrict the number of something that can be copied infinitely at no cost or time to me? Video works would be another example of this. Movies, music, and literature don’t have this type of artificial supply constriction. Can you please explain the function and process of editioning digital art? \u003c/b>\u003c/p>\n\u003cp>In general, edition numbers vary for reasons both pragmatic and market-driven. Traditionally, the edition run of a print on paper is determined partially by its technology; most printmaking media such as etching plates degrade with repeated use. Therefore, if you want the last print to look as good as the first, you have to limit the overall number of prints produced so that every print is of nearly the same quality. It has less to do with being physically produced by the artist — many editions are contracted out to printing houses — and more to do with the inverse relationship between edition size and print quality. \u003c/p>\n\u003cp>But, of course, there is no limit to the amount of digital copies you can generate from an original file, because unlike prints on paper, the reproduction quality never deteriorates no matter how many CDs or DVDs you burn. So should you limit the number of copies available? It’s a great question, but the answer isn’t arbitrary even though it may be artificial. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"https://u.s.kqed.net/2012/11/19/Cfakepathsweet16675450.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Sweet 16\u003c/i>, 2006.\u003cbr>\u003c/center>\n\u003cp>One factor to remember in digital editioning is that it’s contingent on the art-historical precedent set by the conventions of more traditional media. Capital-A Art typically has an aura, in part because the art object is singular (a painting) or because the technology that produced it can only last through a limited number of runs (lithography stones, ceramic molds). This has a direct bearing on digital editioning — generally, when a new technology is introduced to the arts it has to fit into the established paradigm. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to its reliance on preexisting standards absorbed from other media, editioning of digital work is also market-driven. In a capitalist society, restricted supply means increased value, so when the medium itself is cheap and infinitely reproducible, value can be contrived by limiting its availability. \u003c/p>\n\u003cp>In the case of digital editioning, historical precedence and market forces conspire — sometimes to an absurd extent. For instance, some videos are now created in editions that include “artist’s proofs” — a term used in traditional printing for the very first prints, of higher quality resulting from the fresh printing stone. Print-on-paper APs, it can be reasoned, are more valuable because they are generally sharper and more colorful than subsequent prints; but video APs have no such enhanced clarity, making them into something between an embarrassment and an in-joke. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>I Shot Andy Warhol\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>All skepticism aside, creating a limited run of a digital work is a perfectly legitimate practice. Doing so is a promise to collectors that you will not devalue their purchase by making additional copies of the work at a later date. And if you do limit the edition, it is important that you stick to this promise, painful though it may be in the long run if demand for the work increases. The question of whether or not to limit an edition of a digital work hinges on your priorities. If wide distribution is your first priority then it would be more advantageous to produce a larger edition or an open edition. If you desire a high financial value for the work then a limited edition and the scarcity it creates will serve you better. \u003c/p>\n\u003cp>But beware, there are many factors that will make a big difference to the success of an editioned project. For example, if you are very early on in your career and your reputation is not widespread enough to add any value to the work, then it might be better to create a large or open edition that will get your work in front of more people. On the other hand, if the work will be exhibited at a gallery that has a good history of sales and you can reasonably expect to sell most of the works in the edition, then limiting it will allow you to command a higher price. \u003c/p>\n\u003cp>One resource for ideas about editioning is the \u003ca href=\"http://www.ccp.org.au/podcasts/Editioning.mp3\">recording of the 2009 panel discussion\u003c/a> at the \u003ca href=\"http://www.ccp.org.au/\">Centre for Contemporary Photography\u003c/a> in Australia entitled, “\u003ca href=\"http://www.ccp.org.au/news.php?id=58\">Editioning: Photography and Video\u003c/a>.” The first speaker, Elena Galimberti (who collaboratively built the Australian Video Art Archive), discusses the minutiae of editioning videos, noting, “Emerging artists will generally offer early works in larger editions, lowering the price to more accessible levels. As an artist becomes more established, the edition size will usually decrease.” Another issue that Galimberti touches on briefly in her remarks is the manner in which the perceived value of an edition may be enhanced by certificates of authenticity, signed copies, special packaging, or other related ephemera. If you’re working with a commercial gallery, creating related materials that accompany the CD or DVD can reinforce a sense of significance and value. And when in doubt, the gallerist or dealer should be able to help you decide on an edition size. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Super Mario Clouds v2k3\u003c/i>, 2003.\u003cbr>\u003c/center>\n\u003cp>However, if you prefer to try for the widest possible distribution, or if the idea of accessible dissemination fits more closely with the conceptual goals of your work, you may choose to produce unlimited open edition. It’s important to note that an uneditioned work is not necessarily free for those who exhibit it. The \u003ca href=\"http://www.eai.org/resourceguide/exhibition.html\">Electronic Arts Intermix Online Resource Guide\u003c/a> explains that the creator of an open-edition video can still enforce, “restrictions governing who may make copies, how they are made, and how they may be used… With uneditioned video, artists are typically paid a royalty when the work is exhibited or sold. Thus, exhibitors pay a fee for the inclusion of an uneditioned work in an exhibition or screening.” That is, they pay if you want them to; remember that \u003ci>you\u003c/i> make the rules here. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of course, interactive digital artwork is a relatively new field that fits rather poorly into traditional structures governing the distribution of editioned works. The EAI also has \u003ca href=\"http://www.eai.org/resourceguide/exhibition/computer/bestpractices.html\">a section on best practices for computer-based arts\u003c/a>, noting, “…most works and exhibitions need to be considered on a case-by-case basis… Although distinctions between single-channel video, video installation and computer-based arts continue to blur, the interactive attributes of many computer-based installations create unique requirements.” It’s likely that there exists an entirely novel solution to the problem of editioning your next project, one that serves the needs of producer and consumers, and will be as new as the media on which it is based. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I recently had to pick the edition size of a digital interactive project I made. I just went with a standard ten but it got me thinking. I understand that when you are making prints for example each piece in the edition has to be physically produced by the artist. Thus it makes sense to limit the number of pieces that can be made. But why arbitrarily constrict the number of something that can be copied infinitely at no cost or time to me? Video works would be another example of this. Movies, music, and literature don’t have this type of artificial supply constriction. Can you please explain the function and process of editioning digital art? \u003c/b>\u003c/p>\n\u003cp>In general, edition numbers vary for reasons both pragmatic and market-driven. Traditionally, the edition run of a print on paper is determined partially by its technology; most printmaking media such as etching plates degrade with repeated use. Therefore, if you want the last print to look as good as the first, you have to limit the overall number of prints produced so that every print is of nearly the same quality. It has less to do with being physically produced by the artist — many editions are contracted out to printing houses — and more to do with the inverse relationship between edition size and print quality. \u003c/p>\n\u003cp>But, of course, there is no limit to the amount of digital copies you can generate from an original file, because unlike prints on paper, the reproduction quality never deteriorates no matter how many CDs or DVDs you burn. So should you limit the number of copies available? It’s a great question, but the answer isn’t arbitrary even though it may be artificial. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"https://u.s.kqed.net/2012/11/19/Cfakepathsweet16675450.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Sweet 16\u003c/i>, 2006.\u003cbr>\u003c/center>\n\u003cp>One factor to remember in digital editioning is that it’s contingent on the art-historical precedent set by the conventions of more traditional media. Capital-A Art typically has an aura, in part because the art object is singular (a painting) or because the technology that produced it can only last through a limited number of runs (lithography stones, ceramic molds). This has a direct bearing on digital editioning — generally, when a new technology is introduced to the arts it has to fit into the established paradigm. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to its reliance on preexisting standards absorbed from other media, editioning of digital work is also market-driven. In a capitalist society, restricted supply means increased value, so when the medium itself is cheap and infinitely reproducible, value can be contrived by limiting its availability. \u003c/p>\n\u003cp>In the case of digital editioning, historical precedence and market forces conspire — sometimes to an absurd extent. For instance, some videos are now created in editions that include “artist’s proofs” — a term used in traditional printing for the very first prints, of higher quality resulting from the fresh printing stone. Print-on-paper APs, it can be reasoned, are more valuable because they are generally sharper and more colorful than subsequent prints; but video APs have no such enhanced clarity, making them into something between an embarrassment and an in-joke. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>I Shot Andy Warhol\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>All skepticism aside, creating a limited run of a digital work is a perfectly legitimate practice. Doing so is a promise to collectors that you will not devalue their purchase by making additional copies of the work at a later date. And if you do limit the edition, it is important that you stick to this promise, painful though it may be in the long run if demand for the work increases. The question of whether or not to limit an edition of a digital work hinges on your priorities. If wide distribution is your first priority then it would be more advantageous to produce a larger edition or an open edition. If you desire a high financial value for the work then a limited edition and the scarcity it creates will serve you better. \u003c/p>\n\u003cp>But beware, there are many factors that will make a big difference to the success of an editioned project. For example, if you are very early on in your career and your reputation is not widespread enough to add any value to the work, then it might be better to create a large or open edition that will get your work in front of more people. On the other hand, if the work will be exhibited at a gallery that has a good history of sales and you can reasonably expect to sell most of the works in the edition, then limiting it will allow you to command a higher price. \u003c/p>\n\u003cp>One resource for ideas about editioning is the \u003ca href=\"http://www.ccp.org.au/podcasts/Editioning.mp3\">recording of the 2009 panel discussion\u003c/a> at the \u003ca href=\"http://www.ccp.org.au/\">Centre for Contemporary Photography\u003c/a> in Australia entitled, “\u003ca href=\"http://www.ccp.org.au/news.php?id=58\">Editioning: Photography and Video\u003c/a>.” The first speaker, Elena Galimberti (who collaboratively built the Australian Video Art Archive), discusses the minutiae of editioning videos, noting, “Emerging artists will generally offer early works in larger editions, lowering the price to more accessible levels. As an artist becomes more established, the edition size will usually decrease.” Another issue that Galimberti touches on briefly in her remarks is the manner in which the perceived value of an edition may be enhanced by certificates of authenticity, signed copies, special packaging, or other related ephemera. If you’re working with a commercial gallery, creating related materials that accompany the CD or DVD can reinforce a sense of significance and value. And when in doubt, the gallerist or dealer should be able to help you decide on an edition size. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Super Mario Clouds v2k3\u003c/i>, 2003.\u003cbr>\u003c/center>\n\u003cp>However, if you prefer to try for the widest possible distribution, or if the idea of accessible dissemination fits more closely with the conceptual goals of your work, you may choose to produce unlimited open edition. It’s important to note that an uneditioned work is not necessarily free for those who exhibit it. The \u003ca href=\"http://www.eai.org/resourceguide/exhibition.html\">Electronic Arts Intermix Online Resource Guide\u003c/a> explains that the creator of an open-edition video can still enforce, “restrictions governing who may make copies, how they are made, and how they may be used… With uneditioned video, artists are typically paid a royalty when the work is exhibited or sold. Thus, exhibitors pay a fee for the inclusion of an uneditioned work in an exhibition or screening.” That is, they pay if you want them to; remember that \u003ci>you\u003c/i> make the rules here. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, interactive digital artwork is a relatively new field that fits rather poorly into traditional structures governing the distribution of editioned works. The EAI also has \u003ca href=\"http://www.eai.org/resourceguide/exhibition/computer/bestpractices.html\">a section on best practices for computer-based arts\u003c/a>, noting, “…most works and exhibitions need to be considered on a case-by-case basis… Although distinctions between single-channel video, video installation and computer-based arts continue to blur, the interactive attributes of many computer-based installations create unique requirements.” It’s likely that there exists an entirely novel solution to the problem of editioning your next project, one that serves the needs of producer and consumers, and will be as new as the media on which it is based. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artists often offer accounts of social issues that become a matter of record for history. Their clear gaze can bring the unfiltered truth into focus. This sort of social accounting is a long tradition across media but is especially true of drawing and painting. Consider Goya’s etching series \u003ci>The Disasters of War\u003c/i> (1810-1820), images from the French-Spanish war of the early 1800s, or Pablo Picasso’s \u003ci>Guernica\u003c/i> (1937), depicting the bombing of a Basque Country village. More recently, contemporary artist Fernando Botero created a radical suite of works on the atrocities of Abu Ghraib, sending askew common perceptions of his kitschy rotund figures with the indictment of torture.\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> offers multiple accounts of the peaceful international movement instigated by Occupy Wall Street last year — and the works, created in-situ, provide a dramatic counterpoint to images of violence favored in the media. Local artists Anthony Holdsworth, Jessica Jirsa, John Paul Marcelo, Rick Rocamora, and Tomye situated themselves within the San Francisco and Oakland Occupy encampments to record the activities with conventional painting, photography, and video. The results are more sincere than sentimental, and formally beautiful while evoking larger questions around the badly quashed Occupy movement: Why were such peaceful scenes met with the aggressive force portrayed on the evening news? While much of the country saw chaos in the Occupy movement, many artists saw astonishing moments of grace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/Cfakepathmarcelo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Paul Marcelo, \u003ci>General Assembly in the Sunlight\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>While artists are capable of shining a light on violence throughout history, there are also times when artists counter accounts of violence with a truer representation of peaceful demonstrations maligned in the media. \u003cb>Occupy: The Plein Air Story\u003c/b>, curated by Eric Murphy at Oakland’s Joyce Gordon Gallery, offers perspectives on what the movement looked like from within the simultaneously messy and generous Bay Area utopian encampments. Though many still parse the unfocused goals of the Occupy Movement, this query has seen a reply in the rapid mobilization of the New York Occupy community around post-Sandy disaster efforts, often reported as stronger in numbers and more nimble than the Red Cross. How the local Occupy community will resonate in the future has yet to be determined. At present, what remains are impressions of a movement that followed in a long tradition of grass roots resistance, more powerful than anything in recent memory.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathJirsaSitIn.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jessica Jirsa, \u003ci>The Sit In 1/6/12\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Realist oil painter Anthony Holdsworth, a regular figure at work around the East Bay, presents a sunny vision of the tents that proliferated on the grounds in front of Oakland City Hall. Truthfully, the East Bay does offer the kind of light-filled landscape that borders on saccharine in realist representations — locals don’t call it the sunny side of the Bay for nothing. In Holdsworth’s images, figures are scattered within the compositions, standing in dialogue or sitting along stone steps. The regular resources organized within the camp aren’t explicitly represented — a free, open kitchen stocked with an abundance of donations, medical treatment tents, art workshops for children and a well-stocked public library; all organized on an honor system — but the atmosphere of community is evident.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathHoldsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Holdsworth, \u003ci>Occupy Port of Oakland\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>\u003ci>Occupy Port of Oakland\u003c/i> depicts a procession of people walking and biking in the direction of the Port, silhouettes of cranes in the distance, following the group decision to obstruct business-as-usual in one of the world’s largest commercial hubs. People who were present still speak of the profound energy of the General Assembly vote that shut down the port. Holdsworth portrays a sense of this idyllic fraternity in his painting of the event. It is an image that will grow more significant with time. Tomye, Jessica Jirsa and John Paul Marcelo present similar moments rendered in varying painting styles. The multiplicity of the same perceptions of peaceful, communal situations strengthens these visual accounts as historical records.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRocomora.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rick Rocomora, \u003ci>Rocket and her dog\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>Photographer Rick Rocamora focused his lens on the issues at stake in the movement. One such image shows a damning sign of protest in front of a financial institution, calling into question why big business received bailout money, while resources for struggling individuals weren’t forthcoming. Though only a select few joined the ranks of the protest last year, many could commiserate with this sentiment and did so conversationally, everywhere else. Many of the core issues in the decentralized anger of the Occupy Movement have been revisited in the recent election: the ongoing economic crisis for many, housing insecurity, health care access, education costs, and the absence of employment opportunities. \u003cb>Occupy: The Plein Air Story\u003c/b> holds a mirror up to the community a year after the people’s movement took hold in the Bay Area and reminds us of the issues at stake, including, significantly, a diminishing ability to take a stand in public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> is on view at Joyce Gordon Gallery through December 1, 2012. For \u003ca href=\"http://joycegordongallery.com/\">more information\u003c/a> visit joycegordongallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists often offer accounts of social issues that become a matter of record for history. Their clear gaze can bring the unfiltered truth into focus. This sort of social accounting is a long tradition across media but is especially true of drawing and painting. Consider Goya’s etching series \u003ci>The Disasters of War\u003c/i> (1810-1820), images from the French-Spanish war of the early 1800s, or Pablo Picasso’s \u003ci>Guernica\u003c/i> (1937), depicting the bombing of a Basque Country village. More recently, contemporary artist Fernando Botero created a radical suite of works on the atrocities of Abu Ghraib, sending askew common perceptions of his kitschy rotund figures with the indictment of torture.\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> offers multiple accounts of the peaceful international movement instigated by Occupy Wall Street last year — and the works, created in-situ, provide a dramatic counterpoint to images of violence favored in the media. Local artists Anthony Holdsworth, Jessica Jirsa, John Paul Marcelo, Rick Rocamora, and Tomye situated themselves within the San Francisco and Oakland Occupy encampments to record the activities with conventional painting, photography, and video. The results are more sincere than sentimental, and formally beautiful while evoking larger questions around the badly quashed Occupy movement: Why were such peaceful scenes met with the aggressive force portrayed on the evening news? While much of the country saw chaos in the Occupy movement, many artists saw astonishing moments of grace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/Cfakepathmarcelo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Paul Marcelo, \u003ci>General Assembly in the Sunlight\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>While artists are capable of shining a light on violence throughout history, there are also times when artists counter accounts of violence with a truer representation of peaceful demonstrations maligned in the media. \u003cb>Occupy: The Plein Air Story\u003c/b>, curated by Eric Murphy at Oakland’s Joyce Gordon Gallery, offers perspectives on what the movement looked like from within the simultaneously messy and generous Bay Area utopian encampments. Though many still parse the unfocused goals of the Occupy Movement, this query has seen a reply in the rapid mobilization of the New York Occupy community around post-Sandy disaster efforts, often reported as stronger in numbers and more nimble than the Red Cross. How the local Occupy community will resonate in the future has yet to be determined. At present, what remains are impressions of a movement that followed in a long tradition of grass roots resistance, more powerful than anything in recent memory.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathJirsaSitIn.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jessica Jirsa, \u003ci>The Sit In 1/6/12\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Realist oil painter Anthony Holdsworth, a regular figure at work around the East Bay, presents a sunny vision of the tents that proliferated on the grounds in front of Oakland City Hall. Truthfully, the East Bay does offer the kind of light-filled landscape that borders on saccharine in realist representations — locals don’t call it the sunny side of the Bay for nothing. In Holdsworth’s images, figures are scattered within the compositions, standing in dialogue or sitting along stone steps. The regular resources organized within the camp aren’t explicitly represented — a free, open kitchen stocked with an abundance of donations, medical treatment tents, art workshops for children and a well-stocked public library; all organized on an honor system — but the atmosphere of community is evident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathHoldsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Holdsworth, \u003ci>Occupy Port of Oakland\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>\u003ci>Occupy Port of Oakland\u003c/i> depicts a procession of people walking and biking in the direction of the Port, silhouettes of cranes in the distance, following the group decision to obstruct business-as-usual in one of the world’s largest commercial hubs. People who were present still speak of the profound energy of the General Assembly vote that shut down the port. Holdsworth portrays a sense of this idyllic fraternity in his painting of the event. It is an image that will grow more significant with time. Tomye, Jessica Jirsa and John Paul Marcelo present similar moments rendered in varying painting styles. The multiplicity of the same perceptions of peaceful, communal situations strengthens these visual accounts as historical records.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRocomora.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rick Rocomora, \u003ci>Rocket and her dog\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>Photographer Rick Rocamora focused his lens on the issues at stake in the movement. One such image shows a damning sign of protest in front of a financial institution, calling into question why big business received bailout money, while resources for struggling individuals weren’t forthcoming. Though only a select few joined the ranks of the protest last year, many could commiserate with this sentiment and did so conversationally, everywhere else. Many of the core issues in the decentralized anger of the Occupy Movement have been revisited in the recent election: the ongoing economic crisis for many, housing insecurity, health care access, education costs, and the absence of employment opportunities. \u003cb>Occupy: The Plein Air Story\u003c/b> holds a mirror up to the community a year after the people’s movement took hold in the Bay Area and reminds us of the issues at stake, including, significantly, a diminishing ability to take a stand in public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> is on view at Joyce Gordon Gallery through December 1, 2012. For \u003ca href=\"http://joycegordongallery.com/\">more information\u003c/a> visit joycegordongallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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