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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 have never approached a gallery or reached out to the art world beyond maintaining a basic website because I haven’t had a body of work I felt the least bit thrilled with — until now. Meanwhile, my best friend — a successful radio morning-show guy — spent the wee hours of his recent 40th birthday accusing me of being an ivory-tower artist and insisting that I was insane not to be promoting myself on Facebook and other social media. Any defense I could mount sounded elitist and snobby despite my best intentions. It’s been a few days and I’m still having a hard time articulating my reservations. On the one hand, of course I want vast numbers of people to see my work for its own sake and make of it what they will. On the other hand, I am repulsed by the idea of jumping into the public pool just because all the other lemmings did, naively unconcerned with the ramifications of having their lives irreversibly put on public display, just to play trite ego-games in an environment controlled by big business, monitored by government, and all of it propped up by nuclear-energy-guzzling machines made in places with questionable labor and environmental practices, whence they ultimately return on toxic waste barges. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Leaving my paranoia aside, I also feel that an artist today would do well to cultivate a little mystique. Despite my friend’s imploring to the contrary, I feel that yes, I will indeed be somehow rewarded someday for not succumbing to social media, because I feel that a gallerist wants to be the discoverer of the artist as a diamond in the rough, and how can you “discover” someone who already has 3,000 “likes” or “friends?” Am I an e-prude? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Golly. I can’t tell if you’ve come to the absolute right place or the wrongest of wrong places for an answer. Like you, I’ve eschewed most forms of social networking, and while I’m maybe not \u003ci>quite\u003c/i> as paranoid (at least on the good days), I do share some of your concerns about privacy and what you winningly call “ego games.” So my answer might be a little bit preaching-to-the-choir, but I’ll do my best to help you puzzle through your current situation. \u003c/p>\n\u003cp>First, let’s deal with practical matters. If you really want to attempt a defense that doesn’t sound elitist, you could cite the studies on \u003ca href=\"http://www.medicalnewstoday.com/articles/247616.php\">Facebook and anxiety\u003c/a> and \u003ca href=\"http://news.menshealth.com/facebook-self-esteem/2012/02/12/\">what it does to your self-esteem\u003c/a>. Or you could try a more pragmatic tack by talking about how fast technology turns over (remember MySpace and Friendster?), something that the techno-pundits are already discussing. You could mention that \u003ca href=\"http://en.wikipedia.org/wiki/Facebook_IPO\">Facebook’s IPO was miserable\u003c/a> compared to financial projections, \u003ca href=\"http://edition.cnn.com/2011/TECH/social.media/06/13/facebook.dropping.america/index.html\">the site is losing users\u003c/a>, and co-founder Dustin Moskovitz and board member Peter Thiel are \u003ca href=\"http://techcrunch.com/2012/08/20/peter-thiel-sells-majority-of-his-facebook-shares/\">dumping millions of shares of stock\u003c/a> from their portfolios —- \u003ca href=\"http://www.nypost.com/p/news/business/it_crashbook_IEppCgW8VKhjVneIBEeWSL\">not a good sign\u003c/a>. And in case you thought FB was the only villain, Twitter is now going to be \u003ca href=\"http://www.forbes.com/sites/roberthof/2012/08/30/twitter-launches-ads-targeted-to-interests-starting-at-a-penny/\">spamming everyone’s feed with “promoted tweets”\u003c/a> based on their interests. Because nothing in this world is truly free, \u003ca href=\"http://www.slate.com/blogs/future_tense/2012/08/31/facebook_email_phone_numbers_vs_twitter_interest_targeting_the_race_to_capitalize_on_personal_data_.html\">all social media moves in the direction of targeted advertising\u003c/a>, which they accomplish by tracking your data.\u003c/p>\n\u003cp>But really what you need to do, instead of mounting an airtight defense, is to stop comparing yourself to your friend — and stop letting him compare his situation to yours, because they’re completely different. He has a vested interest in being a part of social media: as a radio-show host, he’s a public figure with a specific message. Radio stations are supported by advertising, which the radio station sells to businesses by telling them how many people will hear their ads. They can increase that number of listeners, and then sell ads for more money, by using social media to market the show. By tweeting his political views or NOM NOM sushi lunch, your friend could be ultimately ensuring that he has a job next month. (Just as I’m sure that my editors are reading this right now and thinking, \u003ci>Yes, darling, get a damned Twitter account already and help us sell some advertising so we can keep on cutting checks for this column.\u003c/i> But I digress.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kempsurfing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Justin Kemp, \u003ci>surfing with the sand between my toes (after brian wilson)\u003c/i>, 2010.\u003c/p>\n\u003cp>Of course, you \u003ci>are\u003c/i> an e-prude, at least by today’s standards. If that makes you feel insufferably bad, you’re either going to have to give it up and get publicly naked on the Internet or else cultivate a sense of pride and learn to wear your smug, elitist, aloof moral superiority (because that’s certainly what you’ll be accused of) as a badge of honor. If you opt for the latter, recognize now that you may never get to have a normal conversation about the Internet again. No matter how neutrally you frame it, some people will look upon your lack of social media presence as a negative assessment of their own habits and get defensive and preachy. I spent ten years without a television, and learning that fact never stopped anyone from first heartily vowing that they never \u003ci>really\u003c/i> watched TV either, and then following that up by recounting the plot of some idiotic sitcom that they were convinced I would just adore. I expect it’ll be the same with social media — your obvious expression of disinterest won’t make the proselytizers go away, so if you hold your ground just resign yourself to having that chat. But you’re a creative person, right? So surely you can figure out a creative way to get people looking at your work without compromising what you believe in. \u003c/p>\n\u003cp>I don’t know about this mystique thing, though, or the idea of being “rewarded” for shunning social media (the reward you get from not being on Twitter is that you don’t have to receive 140-character messages about anyone’s baby or puppy or gourmet sandwich — isn’t that enough?). While I’ve never run a gallery myself, it seems to me that gallerists prefer artists who can make good work, work that they can sell, in enough quantity to keep everyone happy. It’s my impression that they could care less if you have 3,000 “friends” or not, as long as they can do their job and pay the gallery’s rent. I am sure, however, that waiting at the soda fountain to get discovered like Lana Turner is not going to do the trick; but that doesn’t mean you need to jump into a pool that you find so completely offensive. I highly recommend that you spend a day or two at your local library reading art-career books like \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1346613490&sr=8-1&keywords=art%2Fwork\">\u003cem>Art/Work\u003c/em>\u003c/a>, \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_1?s=books&ie=UTF8&qid=1346613513&sr=1-1&keywords=taking+the+leap+building+a+career+as+a+visual+artist\">\u003cem>Taking the Leap\u003c/em>\u003c/a>, and others. These books will give you some alternate ideas on how to reach out and cultivate connections in the art community. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kemponstage.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Justin Kemp, \u003ci>Status Updates (with Nick DeMarco)\u003c/i>, 2011.\u003c/p>\n\u003cp>I dig that social media isn’t your scene, and I’m glad that you both know yourself \u003ci>and\u003c/i> stick to your principles, but the last bit of advice I want to dole out this week is that you can always change your mind. If you think of a brilliant way to use social media as part of, or in support of, your practice then by all means dive in. And maybe the next iteration of social networking will somehow be ecologically conscious and privacy-friendly, so never say never. Artists, even stubborn ones like you and me, should be open to the possibilities. Take this great new work of yours that you’re thrilled about and get it in front of people in a way that doesn’t leave a bad taste in your mouth. Perhaps someday social media will catch up to you, instead of the other way around. \u003c/p>\n\u003cp>\u003ci>This week’s column features the smart, funny work of artist \u003ca href=\"http://justinkemp.com/hey_whats_up.html\">Justin Kemp\u003c/a> (in particular, I love his \u003ca href=\"http://justinkemp.com/adding_to_the_internet.html\">adding to the internet\u003c/a>\u003cem> project, which was too big to be included here). I found his work on the \u003ca href=\"http://rhizome.org/artbase/\">Rhizome ArtBase\u003c/a>,”an online home for works that employ materials such as software, code, websites, moving images, games and browsers towards aesthetic and critical ends.” Check it out!\u003c/em>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to 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 have never approached a gallery or reached out to the art world beyond maintaining a basic website because I haven’t had a body of work I felt the least bit thrilled with — until now. Meanwhile, my best friend — a successful radio morning-show guy — spent the wee hours of his recent 40th birthday accusing me of being an ivory-tower artist and insisting that I was insane not to be promoting myself on Facebook and other social media. Any defense I could mount sounded elitist and snobby despite my best intentions. It’s been a few days and I’m still having a hard time articulating my reservations. On the one hand, of course I want vast numbers of people to see my work for its own sake and make of it what they will. On the other hand, I am repulsed by the idea of jumping into the public pool just because all the other lemmings did, naively unconcerned with the ramifications of having their lives irreversibly put on public display, just to play trite ego-games in an environment controlled by big business, monitored by government, and all of it propped up by nuclear-energy-guzzling machines made in places with questionable labor and environmental practices, whence they ultimately return on toxic waste barges. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Leaving my paranoia aside, I also feel that an artist today would do well to cultivate a little mystique. Despite my friend’s imploring to the contrary, I feel that yes, I will indeed be somehow rewarded someday for not succumbing to social media, because I feel that a gallerist wants to be the discoverer of the artist as a diamond in the rough, and how can you “discover” someone who already has 3,000 “likes” or “friends?” Am I an e-prude? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Golly. I can’t tell if you’ve come to the absolute right place or the wrongest of wrong places for an answer. Like you, I’ve eschewed most forms of social networking, and while I’m maybe not \u003ci>quite\u003c/i> as paranoid (at least on the good days), I do share some of your concerns about privacy and what you winningly call “ego games.” So my answer might be a little bit preaching-to-the-choir, but I’ll do my best to help you puzzle through your current situation. \u003c/p>\n\u003cp>First, let’s deal with practical matters. If you really want to attempt a defense that doesn’t sound elitist, you could cite the studies on \u003ca href=\"http://www.medicalnewstoday.com/articles/247616.php\">Facebook and anxiety\u003c/a> and \u003ca href=\"http://news.menshealth.com/facebook-self-esteem/2012/02/12/\">what it does to your self-esteem\u003c/a>. Or you could try a more pragmatic tack by talking about how fast technology turns over (remember MySpace and Friendster?), something that the techno-pundits are already discussing. You could mention that \u003ca href=\"http://en.wikipedia.org/wiki/Facebook_IPO\">Facebook’s IPO was miserable\u003c/a> compared to financial projections, \u003ca href=\"http://edition.cnn.com/2011/TECH/social.media/06/13/facebook.dropping.america/index.html\">the site is losing users\u003c/a>, and co-founder Dustin Moskovitz and board member Peter Thiel are \u003ca href=\"http://techcrunch.com/2012/08/20/peter-thiel-sells-majority-of-his-facebook-shares/\">dumping millions of shares of stock\u003c/a> from their portfolios —- \u003ca href=\"http://www.nypost.com/p/news/business/it_crashbook_IEppCgW8VKhjVneIBEeWSL\">not a good sign\u003c/a>. And in case you thought FB was the only villain, Twitter is now going to be \u003ca href=\"http://www.forbes.com/sites/roberthof/2012/08/30/twitter-launches-ads-targeted-to-interests-starting-at-a-penny/\">spamming everyone’s feed with “promoted tweets”\u003c/a> based on their interests. Because nothing in this world is truly free, \u003ca href=\"http://www.slate.com/blogs/future_tense/2012/08/31/facebook_email_phone_numbers_vs_twitter_interest_targeting_the_race_to_capitalize_on_personal_data_.html\">all social media moves in the direction of targeted advertising\u003c/a>, which they accomplish by tracking your data.\u003c/p>\n\u003cp>But really what you need to do, instead of mounting an airtight defense, is to stop comparing yourself to your friend — and stop letting him compare his situation to yours, because they’re completely different. He has a vested interest in being a part of social media: as a radio-show host, he’s a public figure with a specific message. Radio stations are supported by advertising, which the radio station sells to businesses by telling them how many people will hear their ads. They can increase that number of listeners, and then sell ads for more money, by using social media to market the show. By tweeting his political views or NOM NOM sushi lunch, your friend could be ultimately ensuring that he has a job next month. (Just as I’m sure that my editors are reading this right now and thinking, \u003ci>Yes, darling, get a damned Twitter account already and help us sell some advertising so we can keep on cutting checks for this column.\u003c/i> But I digress.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kempsurfing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Justin Kemp, \u003ci>surfing with the sand between my toes (after brian wilson)\u003c/i>, 2010.\u003c/p>\n\u003cp>Of course, you \u003ci>are\u003c/i> an e-prude, at least by today’s standards. If that makes you feel insufferably bad, you’re either going to have to give it up and get publicly naked on the Internet or else cultivate a sense of pride and learn to wear your smug, elitist, aloof moral superiority (because that’s certainly what you’ll be accused of) as a badge of honor. If you opt for the latter, recognize now that you may never get to have a normal conversation about the Internet again. No matter how neutrally you frame it, some people will look upon your lack of social media presence as a negative assessment of their own habits and get defensive and preachy. I spent ten years without a television, and learning that fact never stopped anyone from first heartily vowing that they never \u003ci>really\u003c/i> watched TV either, and then following that up by recounting the plot of some idiotic sitcom that they were convinced I would just adore. I expect it’ll be the same with social media — your obvious expression of disinterest won’t make the proselytizers go away, so if you hold your ground just resign yourself to having that chat. But you’re a creative person, right? So surely you can figure out a creative way to get people looking at your work without compromising what you believe in. \u003c/p>\n\u003cp>I don’t know about this mystique thing, though, or the idea of being “rewarded” for shunning social media (the reward you get from not being on Twitter is that you don’t have to receive 140-character messages about anyone’s baby or puppy or gourmet sandwich — isn’t that enough?). While I’ve never run a gallery myself, it seems to me that gallerists prefer artists who can make good work, work that they can sell, in enough quantity to keep everyone happy. It’s my impression that they could care less if you have 3,000 “friends” or not, as long as they can do their job and pay the gallery’s rent. I am sure, however, that waiting at the soda fountain to get discovered like Lana Turner is not going to do the trick; but that doesn’t mean you need to jump into a pool that you find so completely offensive. I highly recommend that you spend a day or two at your local library reading art-career books like \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1346613490&sr=8-1&keywords=art%2Fwork\">\u003cem>Art/Work\u003c/em>\u003c/a>, \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_1?s=books&ie=UTF8&qid=1346613513&sr=1-1&keywords=taking+the+leap+building+a+career+as+a+visual+artist\">\u003cem>Taking the Leap\u003c/em>\u003c/a>, and others. These books will give you some alternate ideas on how to reach out and cultivate connections in the art community. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kemponstage.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Justin Kemp, \u003ci>Status Updates (with Nick DeMarco)\u003c/i>, 2011.\u003c/p>\n\u003cp>I dig that social media isn’t your scene, and I’m glad that you both know yourself \u003ci>and\u003c/i> stick to your principles, but the last bit of advice I want to dole out this week is that you can always change your mind. If you think of a brilliant way to use social media as part of, or in support of, your practice then by all means dive in. And maybe the next iteration of social networking will somehow be ecologically conscious and privacy-friendly, so never say never. Artists, even stubborn ones like you and me, should be open to the possibilities. Take this great new work of yours that you’re thrilled about and get it in front of people in a way that doesn’t leave a bad taste in your mouth. Perhaps someday social media will catch up to you, instead of the other way around. \u003c/p>\n\u003cp>\u003ci>This week’s column features the smart, funny work of artist \u003ca href=\"http://justinkemp.com/hey_whats_up.html\">Justin Kemp\u003c/a> (in particular, I love his \u003ca href=\"http://justinkemp.com/adding_to_the_internet.html\">adding to the internet\u003c/a>\u003cem> project, which was too big to be included here). I found his work on the \u003ca href=\"http://rhizome.org/artbase/\">Rhizome ArtBase\u003c/a>,”an online home for works that employ materials such as software, code, websites, moving images, games and browsers towards aesthetic and critical ends.” Check it out!\u003c/em>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Barry McGee at BAM/PFA",
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"content": "\u003cp>Barry McGee is internationally known and one of San Francisco’s own. He’s an artist we love to brag about, and many of us are admittedly influenced by his style. His appearances are ambitious, rare, and spread out so widely across the world that a local retrospective is an enormous blessing — an opportunity to see the best of over thirty years of his artwork and exhibits in one place.\u003c/p>\n\u003cp>The Berkeley Art Museum has aggressive, concrete architecture not unlike a parking structure, which is fitting since McGee installed a signature wrecked vehicle, an overstocked bodega, and a TV tower, among other face-melting installations. It’s not a big show at Deitch Projects, or a museum installation, or a bunch of Internet photos. This well-earned retrospective is a chance to truly feel the heart and the history of McGee’s life and career.\u003c/p>\n\u003cp>The work represents everything about the artist. These are the things he’s collected, painted, lettered, sorted, and kept close. This is his life. This is what he’s obsessed with and where he finds beauty and importance. Nothing is insignificant. Ziplock baggies full of drawings are just as important as ceramic sculptures. McGee’s friends and family are represented in vitrines of art and ephemera contributed by his crew. Everything represents his interests in community, street culture, objects with history, and life’s contrasts. Everything is on the table. To some it’s chaotic, but there are clear formal concerns that are realized in a style that has felt exciting forever.\u003c/p>\n\u003cp>The artist’s scholarly documentation of graffiti in the days before it was commodified to death is an important part of the show. There is evidence of time spent painting in the train yards and bombing the streets. McGee uses everything he can get his hands on as installation materials and canvases: printmaking trays, surfboards, spray cans, reclaimed wood, vehicles, books, buildings, and broken VCRs. He has a magical capacity for making damaged and discarded objects desirable again.\u003c/p>\n\u003cp>Legions of young artists owe a debt to McGee. His influence is constant like a heartbeat. When it comes to life, art, and objects, maybe it’s true that “you can’t take it with you,” but McGee’s legacy thus far proves that you can leave a bright, shining mark on the world, and the scale is up to you. And while anyone’s life experiences and loves could be translated into an enormous museum show, nobody could ever do it quite like Barry McGee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barry McGee is internationally known and one of San Francisco’s own. He’s an artist we love to brag about, and many of us are admittedly influenced by his style. His appearances are ambitious, rare, and spread out so widely across the world that a local retrospective is an enormous blessing — an opportunity to see the best of over thirty years of his artwork and exhibits in one place.\u003c/p>\n\u003cp>The Berkeley Art Museum has aggressive, concrete architecture not unlike a parking structure, which is fitting since McGee installed a signature wrecked vehicle, an overstocked bodega, and a TV tower, among other face-melting installations. It’s not a big show at Deitch Projects, or a museum installation, or a bunch of Internet photos. This well-earned retrospective is a chance to truly feel the heart and the history of McGee’s life and career.\u003c/p>\n\u003cp>The work represents everything about the artist. These are the things he’s collected, painted, lettered, sorted, and kept close. This is his life. This is what he’s obsessed with and where he finds beauty and importance. Nothing is insignificant. Ziplock baggies full of drawings are just as important as ceramic sculptures. McGee’s friends and family are represented in vitrines of art and ephemera contributed by his crew. Everything represents his interests in community, street culture, objects with history, and life’s contrasts. Everything is on the table. To some it’s chaotic, but there are clear formal concerns that are realized in a style that has felt exciting forever.\u003c/p>\n\u003cp>The artist’s scholarly documentation of graffiti in the days before it was commodified to death is an important part of the show. There is evidence of time spent painting in the train yards and bombing the streets. McGee uses everything he can get his hands on as installation materials and canvases: printmaking trays, surfboards, spray cans, reclaimed wood, vehicles, books, buildings, and broken VCRs. He has a magical capacity for making damaged and discarded objects desirable again.\u003c/p>\n\u003cp>Legions of young artists owe a debt to McGee. His influence is constant like a heartbeat. When it comes to life, art, and objects, maybe it’s true that “you can’t take it with you,” but McGee’s legacy thus far proves that you can leave a bright, shining mark on the world, and the scale is up to you. And while anyone’s life experiences and loves could be translated into an enormous museum show, nobody could ever do it quite like Barry McGee.\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>\u003cb>I may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries who want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate or would I just tell them to talk it out? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly affects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.” \u003c/p>\n\u003cp>Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of \u003ca href=\"http://winkleman.com/home\">Winkleman Gallery\u003c/a> in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so…” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jordan Tate, \u003ci>New Work #141\u003c/i>, 2009.\u003c/p>\n\u003cp>I’d say it sounds like you need to initiate conversations with all of your galleries so that everyone is on the same page. In their responses, both Edward and Nathan brought up the related issue of having enough work on hand to satisfy your dealers and collectors, so make sure to discuss expectations regarding quantity with your galleries. For example, Nathan pointed out, “At some point there comes a time in an artist’s career where they must face the task of supplying enough work to maintain the interest and active collecting of a (hopefully) ever-growing and widening audience. Especially for an artist whose star is on the rise, there is definitely a case to be made for producing enough work to satisfy this demand. An artist I work with has this great anecdote from a visit to Andy Warhol’s studio. He, Andy and several others were standing around chatting and the question of, ‘how to become a well-collected artist’ came up. Andy’s reply was simple: ‘You can’t be well-collected if there aren’t enough works to collect.'” \u003c/p>\n\u003cp>Edward underlined the need to put everything on the table before problems arise: “Trickier for the artist is how to keep each gallery who might want to bring work to the same fair (or to fairs near the same time) happy when supply is short. Multiples are one solution, if that fits within the artist’s practice. Otherwise, it makes sense to simply have a conversation with each representing gallery well in advance, letting them know what you, the artist, feel is available for that fair. Yes, this can lead to disagreements, but the earlier such conversations take place, the easier it becomes to work out solutions that keep everyone reasonably happy.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jordan Tate, \u003ci>New Work #141 (detail)\u003c/i>, 2009.\u003c/p>\n\u003cp>So you have to think very carefully about not only where your work is going, but also how much work you can reasonably produce to have on hand for each fair. Nathan continued with some savvy observations on how an art fair functions for the artist, the gallery, and the collector: “Success at art fairs is often tied quite closely to a well-planned and executed strategy. Despite the ‘free for all’ feel on the fair’s floor, a large portion of sales start before the fair opens and even more activity culminates well after everything has been packed away. Galleries who are successful at art fairs develop leads before the fair. Later, follow-up communications after the fair can lead to sales and museum shows. Rarely do these things happen from coincidence.” \u003c/p>\n\u003cp>“Though some galleries find success in a ‘something for everyone’ scattershot approach to their art fair presence, I’d venture that this type of booth caters most to the impulsive ‘shopper’ who is looking for low-hanging fruit and less to the serious collectors who are generally using art fairs to check in on artists they already collect and to consider new work; to finally see in person works that they’ve been hearing a buzz about; and/or to reconnect with their network of trusted advisors (galleries) and to learn about new artists who match their interests.” \u003c/p>\n\u003cp>“With these points in mind, talk with your galleries. Learn about the fairs they will be showing at. Go to the fairs yourself and determine where you’d like to be seen. Find out how your galleries intend to structure their booths. Who will you be showing with? How do they see your work fitting the market where the fair is? How are they advertising? Who do they know in the area? Are there leads they are trying to capitalize on? What work of yours are they hoping to show? A few small drawings in the corner of a booth with twenty artists could do fine for an emerging career. A solo booth at a prominent fair could be the gateway to museum shows. If you are a multidisciplinary artist who works across several media and styles, you may be able to split works thematically amongst your galleries, providing each with work that best matches their program’s focus.” \u003c/p>\n\u003cp>Nathan summed up with some final words of wisdom: “Be inquisitive, make a plan that works for the vested parties, but also let the professionals do their job. There are a lot of variables to consider, so talk it out. It’s good to be wanted — don’t shy away from opportunity. But make sure the choices fit your goals and your ability to make quality work for this important presentation of your art. Communication is key.” \u003c/p>\n\u003cp>Amen to that!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to 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 may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries who want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate or would I just tell them to talk it out? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly affects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.” \u003c/p>\n\u003cp>Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of \u003ca href=\"http://winkleman.com/home\">Winkleman Gallery\u003c/a> in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so…” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Lydia Fong, Robert Pimple, Twist, or Barry McGee — no matter what you call him, this San Francisco artist continues to obliterate the gap between street art culture and fine art institutions, and his first retrospective (at the Berkeley Art Museum) is nothing less than spectacular. The show, featuring works from the ’80s to now, is an enormous gift to our community. We couldn’t wait to show you a few sneak peek photos of the exhibition, which opens tomorrow, Friday, August 24, at 11am. See you there?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stay tuned for more Barrymania!\u003c/p>\n\u003cp>\u003cb>Barry McGee\u003c/b> runs through December 9, 2012 at the Berkeley Art Museum. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/mcgee\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Last fall, I drew up a list of fresh, noteworthy art books on the market. They ranged from books about art to books written about artists to books about living a creative life. This summer’s selection is no different; my criterion for judging a good art book is that it be thoughtful, evocative, and a little sexy. Not unlike the qualities I look for in a new friend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.artbook.com/9781935202820.html\">\u003ci>Larry Sultan & Mike Mandel \u003c/i>\u003c/a>\u003c/b>\u003cbr>The artists \u003ca href=\"http://www.cca.edu/academics/faculty/lsultan\">Larry Sultan\u003c/a> and \u003ca href=\"http://www.smfa.edu/facultymodule/view/id/172/src/@random4a83044d9a8b2/\">Mike Mandel\u003c/a> met as graduate students at San Francisco Art Institute and collaborated on over thirty art projects, including the influential found photography book \u003ca href=\"http://www.ahornmagazine.com/issue_3/review7_shea_mandelsultan/review_shea_evidence2.html\">\u003ci>Evidence\u003c/i>\u003c/a>, during Sultan’s lifetime (he passed away in December of 2009). The book acts as a kind of visual retrospective, and includes essays from the LACMA curator Charlotte Cotton, the novelist and essayist Jonathan Lethem, a longtime admirer of the artists, and the former Berkeley Art Museum curator Constance Lewallen, among others.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/billboard.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Larry Sultan & Mike Mandel\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.howshouldapersonbe.com/\">\u003ci>How Should A Person Be? A Novel From Life\u003c/i>\u003c/a>\u003cbr>Sheila Heti\u003c/b>\u003cbr>The Interview Editor at \u003ca href=\"http://www.believermag.com/\">The Believer\u003c/a> magazine, Sheila Heti, has just penned her third novel. And she is only thirty-five. This one, titled \u003cb>How Should A Person Be? A Novel From Life\u003c/b> is one part intimate diary entry, one part dramatic play, one part existential query. With a form unlike any other book I have read, it queries the (often paradoxical) anxieties and desires of a young, creative person, trying to be sexy, intellectual, and above all, known.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/howshouldbe.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>How Should a Person Be?\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.tbwbooks.com/books/DEAD-MEN-DONT-LOOK-LIKE-ME\">\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003c/a>\u003cbr>Paul Schiek\u003c/b>\u003cbr>Concurrent with his recent exhibition, \u003cb>Dead Men Don’t Look Like Me\u003c/b>, Oakland-based artist \u003ca href=\"http://www.paulschiek.com/\">Paul Schiek\u003c/a> published a small, fifty-six page artist’s book of the same title. Introduced with a text by the esteemed photography critic Vince Aletti, the book features a series of mug shots, re-photographed by Schiek from the originals, of criminals from the 1950s. The male subjects are bruised, but shockingly handsome and tender looking. All stains, tears, staples, and general damage done to the surface of the images (they were initially found in an abandoned prison in Georgia) remain intact. Printed in an addition of 800, the books will go fast.\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/deadmendont.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment\u003c/i>\u003c/a>\u003c/b>\u003cbr>\u003ca href=\"http://www.papermonument.com/\">\u003ci>Paper Monument\u003c/i>\u003c/a> is the arts supplement of the esteemed literary Journal \u003ca href=\"http://nplusonemag.com/\">\u003ci>n+1\u003c/i>\u003c/a>. They publish instructional narrative books for artists that are both earnest and tongue-in-cheek. Last year, they published an etiquette guide for conducting studio visits, which was very popular. Most recently, they have come out with \u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment \u003c/i>. The book is what it sounds like: a series of artists and teachers recounting the most (and least) popular assignments that they have given and received. The collection is funny, perverse, generous, and insightful. And at $15, it’s a steal.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://horsesthink.com/?p=6374\">\u003ci>2013\u003c/i>\u003c/a>\u003cbr>Justin James Reed\u003cbr>\u003c/b>\u003ca href=\"http://horsesthink.com/\">\u003ci>Horses Think\u003c/i>\u003c/a> is most commonly known as a popular art blog, with an emphasis on photography. However, the artist who runs it, Ofer Wolberger, has also published a series of his own appropriative-style books. For the first time, Wolberger’s press has published a book by another artist, Justin James Reed, entitled \u003ci>2013\u003c/i>. The limited-edition, twenty-four page book uses invisible “firefly ink” that needs to be viewed with a black light flashlight. In addition, Wolberger’s book \u003ci>Covers\u003c/i>, is being released concurrently from the press. Both books ARE the work of art, rather than simply a documentation of an existing exhibition.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.momastore.org/museum/moma/ProductDisplay?catalogId=10451&categoryId=11486&productId=121042&langId=-1&storeId=10001&krypto=N3b9Bzmdf1yUkOSdC2B1RsXfVbG0K%2F1XgkOLGD3fTNcZpYpxq2N1A3ZcRa4XnhBXWe%2BOF9seNbJP%0D%0AlWQRToZJmbCyGVpoAxFja%2BItluROgos%3D\">\u003ci>Sanja Ivekovic: Sweet Violence\u003c/i>\u003c/a>\u003c/b>\u003cbr>The recently closed exhibition \u003cb>Sanja Ivekovic: Sweet Violence\u003c/b> at the Museum of Modern Art in New York blew me away; this cunning, feminist Croat artist had flown under the radar for too long. Ivekovic’s exhibition catalog does not disappoint either. Replete with deep essays from the exhibition curator Roxana Marcoci — whose contribution illuminates the contemporary history of protest art before and after the Iron Curtain in the former Yugoslavia — and the philosopher Terry Eagleton, who contemplates the nature of tragedy itself. (Another forthcoming catalog that I am looking forward to is \u003cb>Teeny Tiny Woman: Amanda Ross-Ho\u003c/b> at the Museum of Contemporary Art in Los Angeles.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ivekovic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sanja Ivekovic, \u003ci>Make Up-Make Down\u003c/i> (video still), 1978.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.chroniclebooks.com/titles/little-paper-planes.html\">\u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>\u003c/a>\u003cbr>Kelly Lynn Jones\u003c/b>\u003cbr>The Oakland-based company \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a> has published a book titled \u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>. Each of the participants has (appropriately) created artwork around the theme of the paper airplane. Printed with perforated edges for easy removal and assembly, each page/plane is a unique work of craft and design, as well as being a workable toy. Kelly Lynn Jones, the founder of LPP, has brought together artists ranging from Gemma Correll, Michael Hsiung, Julia Rothman, Alyson Fox and Lisa Congdon for the book, which was printed by San Francisco’s Chronicle Books.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, I drew up a list of fresh, noteworthy art books on the market. They ranged from books about art to books written about artists to books about living a creative life. This summer’s selection is no different; my criterion for judging a good art book is that it be thoughtful, evocative, and a little sexy. Not unlike the qualities I look for in a new friend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.artbook.com/9781935202820.html\">\u003ci>Larry Sultan & Mike Mandel \u003c/i>\u003c/a>\u003c/b>\u003cbr>The artists \u003ca href=\"http://www.cca.edu/academics/faculty/lsultan\">Larry Sultan\u003c/a> and \u003ca href=\"http://www.smfa.edu/facultymodule/view/id/172/src/@random4a83044d9a8b2/\">Mike Mandel\u003c/a> met as graduate students at San Francisco Art Institute and collaborated on over thirty art projects, including the influential found photography book \u003ca href=\"http://www.ahornmagazine.com/issue_3/review7_shea_mandelsultan/review_shea_evidence2.html\">\u003ci>Evidence\u003c/i>\u003c/a>, during Sultan’s lifetime (he passed away in December of 2009). The book acts as a kind of visual retrospective, and includes essays from the LACMA curator Charlotte Cotton, the novelist and essayist Jonathan Lethem, a longtime admirer of the artists, and the former Berkeley Art Museum curator Constance Lewallen, among others.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/billboard.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Larry Sultan & Mike Mandel\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.howshouldapersonbe.com/\">\u003ci>How Should A Person Be? A Novel From Life\u003c/i>\u003c/a>\u003cbr>Sheila Heti\u003c/b>\u003cbr>The Interview Editor at \u003ca href=\"http://www.believermag.com/\">The Believer\u003c/a> magazine, Sheila Heti, has just penned her third novel. And she is only thirty-five. This one, titled \u003cb>How Should A Person Be? A Novel From Life\u003c/b> is one part intimate diary entry, one part dramatic play, one part existential query. With a form unlike any other book I have read, it queries the (often paradoxical) anxieties and desires of a young, creative person, trying to be sexy, intellectual, and above all, known.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/howshouldbe.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>How Should a Person Be?\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.tbwbooks.com/books/DEAD-MEN-DONT-LOOK-LIKE-ME\">\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003c/a>\u003cbr>Paul Schiek\u003c/b>\u003cbr>Concurrent with his recent exhibition, \u003cb>Dead Men Don’t Look Like Me\u003c/b>, Oakland-based artist \u003ca href=\"http://www.paulschiek.com/\">Paul Schiek\u003c/a> published a small, fifty-six page artist’s book of the same title. Introduced with a text by the esteemed photography critic Vince Aletti, the book features a series of mug shots, re-photographed by Schiek from the originals, of criminals from the 1950s. The male subjects are bruised, but shockingly handsome and tender looking. All stains, tears, staples, and general damage done to the surface of the images (they were initially found in an abandoned prison in Georgia) remain intact. Printed in an addition of 800, the books will go fast.\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://a.s.kqed.net/img/arts/blog/deadmendont.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment\u003c/i>\u003c/a>\u003c/b>\u003cbr>\u003ca href=\"http://www.papermonument.com/\">\u003ci>Paper Monument\u003c/i>\u003c/a> is the arts supplement of the esteemed literary Journal \u003ca href=\"http://nplusonemag.com/\">\u003ci>n+1\u003c/i>\u003c/a>. They publish instructional narrative books for artists that are both earnest and tongue-in-cheek. Last year, they published an etiquette guide for conducting studio visits, which was very popular. Most recently, they have come out with \u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment \u003c/i>. The book is what it sounds like: a series of artists and teachers recounting the most (and least) popular assignments that they have given and received. The collection is funny, perverse, generous, and insightful. And at $15, it’s a steal.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://horsesthink.com/?p=6374\">\u003ci>2013\u003c/i>\u003c/a>\u003cbr>Justin James Reed\u003cbr>\u003c/b>\u003ca href=\"http://horsesthink.com/\">\u003ci>Horses Think\u003c/i>\u003c/a> is most commonly known as a popular art blog, with an emphasis on photography. However, the artist who runs it, Ofer Wolberger, has also published a series of his own appropriative-style books. For the first time, Wolberger’s press has published a book by another artist, Justin James Reed, entitled \u003ci>2013\u003c/i>. The limited-edition, twenty-four page book uses invisible “firefly ink” that needs to be viewed with a black light flashlight. In addition, Wolberger’s book \u003ci>Covers\u003c/i>, is being released concurrently from the press. Both books ARE the work of art, rather than simply a documentation of an existing exhibition.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.momastore.org/museum/moma/ProductDisplay?catalogId=10451&categoryId=11486&productId=121042&langId=-1&storeId=10001&krypto=N3b9Bzmdf1yUkOSdC2B1RsXfVbG0K%2F1XgkOLGD3fTNcZpYpxq2N1A3ZcRa4XnhBXWe%2BOF9seNbJP%0D%0AlWQRToZJmbCyGVpoAxFja%2BItluROgos%3D\">\u003ci>Sanja Ivekovic: Sweet Violence\u003c/i>\u003c/a>\u003c/b>\u003cbr>The recently closed exhibition \u003cb>Sanja Ivekovic: Sweet Violence\u003c/b> at the Museum of Modern Art in New York blew me away; this cunning, feminist Croat artist had flown under the radar for too long. Ivekovic’s exhibition catalog does not disappoint either. Replete with deep essays from the exhibition curator Roxana Marcoci — whose contribution illuminates the contemporary history of protest art before and after the Iron Curtain in the former Yugoslavia — and the philosopher Terry Eagleton, who contemplates the nature of tragedy itself. (Another forthcoming catalog that I am looking forward to is \u003cb>Teeny Tiny Woman: Amanda Ross-Ho\u003c/b> at the Museum of Contemporary Art in Los Angeles.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ivekovic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sanja Ivekovic, \u003ci>Make Up-Make Down\u003c/i> (video still), 1978.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.chroniclebooks.com/titles/little-paper-planes.html\">\u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>\u003c/a>\u003cbr>Kelly Lynn Jones\u003c/b>\u003cbr>The Oakland-based company \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a> has published a book titled \u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>. Each of the participants has (appropriately) created artwork around the theme of the paper airplane. Printed with perforated edges for easy removal and assembly, each page/plane is a unique work of craft and design, as well as being a workable toy. Kelly Lynn Jones, the founder of LPP, has brought together artists ranging from Gemma Correll, Michael Hsiung, Julia Rothman, Alyson Fox and Lisa Congdon for the book, which was printed by San Francisco’s Chronicle Books.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Help Desk: Back to School | KQED",
"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=\"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 am currently attending art school (RISD) on the East Coast to receive a BFA in painting. I will be a junior this coming year and feel that things have really started to pick up. The first half of my undergraduate education has gone fairly well. Foundation year was rigorous and last year I explored a lot within my own work. I have multiple on-campus jobs and am beginning to feel good about my contact and personal relationships with the faculty. Besides my own personal goals to read a lot and really hit the ground running in the studio, I was wondering if you had any advice on what I can do to make the most out of my remaining two years in undergrad? Specific class topics? Outside experiences? Maybe taking advantage of the close vicinity to Boston and New York? Any advice would be great. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m glad to hear that you feel good about how things are going in general. Art school can be tough and competitive, but it sounds like you’re on an even keel and ready to work on your next steps. It’s been a long time now since I was an undergrad, but in order to answer your question I spent some time thinking about the beneficial things I did — and the things I wish I had done — when I was in school. Below are some ideas for you to consider, which I have divided into the three categories of career, artwork, and personal development.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, \u003ci>Untitled #29\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>Career: I like that you have on-campus jobs and are cultivating good relationships with faculty. When you graduate, you’re going to run into a lot of people who will say, “Oh, you went to RISD? Do you know Professor X?” and it may be helpful if you’re able to say, “Yes.” Make sure that you get at least a little face time with all of the people in your own department.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, spend some time talking to teachers in other departments, because it’s easy to become conceptually isolated in the echo chamber of a particular department. You can figure out which people you want to contact by listening carefully when your friends discuss their classes and instructors. Who is a good teacher? Who gives good feedback? Who is friendly and generous? You want these people in your life, if for no other reason than they will create good energy and positive vibes for your practice (and I can say that with a straight face, because I live in California). If you hear of someone really phenomenal, ask for a studio visit. Inviting people from other departments to your studio will expand your understanding and your practice, which will serve you well after graduation. After all, there are no media-specific departments in real life. When you’re done with school you’re going to have to contend with the entirety of contemporary art, not just contemporary painting. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, 2006 Installation at Gallery Paule Anglim, San Francisco.\u003cbr>\u003c/center>\n\u003cp>Art work: Before school starts, take a day to look back through old sketchbooks or notebooks and find the ideas that you jotted down and then forgot. Do those notions still have merit? How could you develop them? You may find related ideas that can be explored along thematic lines. I assume you have some sort of thesis or culminating project to tackle at the end of your tenure at RISD (and if you don’t, it might be a good idea to act as if you do, if for no other reason than it will be good practice for producing a body of work). Some further thinking might lead you to an interesting thesis topic. But before you get locked into an idea, I sincerely recommend that you experiment your ass off this year. I don’t know exactly how RISD works, but if you can avoid committing yourself to a particular mode of working just yet, then do it. Experimentation leads to growth, and growth leads to wisdom, so make a pact with yourself to try as many things as you can think of this year and see where they take you. I’m not recommending that you fling yourself willy-nilly in all directions; instead, start with an idea for a painting and then come up with ten ways you could express that idea. Then paint three of them. Then evaluate those three and see what works and what doesn’t. To do this requires an enormous commitment to your practice (unless you’re the world’s fastest painter), but the payoff could be incredible. Trust yourself, trust the process, and work, work, work. By the time you do have to hand in your thesis proposal, you’ll have ideas dripping from your very fingers and a solid direction in which to take your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, \u003ci>Untitled\u003c/i>, 2010.\u003c/center>\n\u003cp>Personal Development: Somewhere in there, between your jobs, your studio visits, and your late-night sessions in the studio, consider taking a class in a subject that you know nothing about. If you want an intellectual challenge, sign up for a semiotics or film theory seminar. If you want something hands-on, take a class in sewing or woodworking. Follow your interests, because when you graduate you want to feel like you got the most out of your education. You could also discover something about yourself and the ways in which you prefer to work — and “know thyself” is a helpful tenet for a young artist. Take the time to look at lots of art in museums and galleries, too. You already mention taking trips to your nearest metropolitan areas, and I agree that it’s worthwhile to take advantage of your current proximity while you can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’d like to end on a note that applies to everyone, not just students who are heading back to school. A very long time ago, a kind and generous teacher taught me the phrase, “Ask for what you need,” and I’ve been trying to put it into practice in my life ever since (with varying degrees of success). We live in a culture of self-reliance and competition, so asking for help can be one of the hardest things to do. But the benefits can be enormous: not only do you often obtain the assistance you need just by asking; but you also expose the weaknesses and vulnerabilities of your artistic practice and life to others, which creates the potential for them to do the same. Often the questions we have and the issues with which we struggle are not unique, and when we express them we create an opportunity to connect. I encourage you, in the next two years and beyond, to identify your goals, map out a potential route for yourself, and then reach out to others who might be able to assist you. Offer to reciprocate as best you can — a cup of coffee, a few hours of babysitting, or homemade cookies may be all that you can offer right now, but eventually you’ll be in a position to help others and can pass along the good work. \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=\"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 am currently attending art school (RISD) on the East Coast to receive a BFA in painting. I will be a junior this coming year and feel that things have really started to pick up. The first half of my undergraduate education has gone fairly well. Foundation year was rigorous and last year I explored a lot within my own work. I have multiple on-campus jobs and am beginning to feel good about my contact and personal relationships with the faculty. Besides my own personal goals to read a lot and really hit the ground running in the studio, I was wondering if you had any advice on what I can do to make the most out of my remaining two years in undergrad? Specific class topics? Outside experiences? Maybe taking advantage of the close vicinity to Boston and New York? Any advice would be great. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m glad to hear that you feel good about how things are going in general. Art school can be tough and competitive, but it sounds like you’re on an even keel and ready to work on your next steps. It’s been a long time now since I was an undergrad, but in order to answer your question I spent some time thinking about the beneficial things I did — and the things I wish I had done — when I was in school. Below are some ideas for you to consider, which I have divided into the three categories of career, artwork, and personal development.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, \u003ci>Untitled #29\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>Career: I like that you have on-campus jobs and are cultivating good relationships with faculty. When you graduate, you’re going to run into a lot of people who will say, “Oh, you went to RISD? Do you know Professor X?” and it may be helpful if you’re able to say, “Yes.” Make sure that you get at least a little face time with all of the people in your own department.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, spend some time talking to teachers in other departments, because it’s easy to become conceptually isolated in the echo chamber of a particular department. You can figure out which people you want to contact by listening carefully when your friends discuss their classes and instructors. Who is a good teacher? Who gives good feedback? Who is friendly and generous? You want these people in your life, if for no other reason than they will create good energy and positive vibes for your practice (and I can say that with a straight face, because I live in California). If you hear of someone really phenomenal, ask for a studio visit. Inviting people from other departments to your studio will expand your understanding and your practice, which will serve you well after graduation. After all, there are no media-specific departments in real life. When you’re done with school you’re going to have to contend with the entirety of contemporary art, not just contemporary painting. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, 2006 Installation at Gallery Paule Anglim, San Francisco.\u003cbr>\u003c/center>\n\u003cp>Art work: Before school starts, take a day to look back through old sketchbooks or notebooks and find the ideas that you jotted down and then forgot. Do those notions still have merit? How could you develop them? You may find related ideas that can be explored along thematic lines. I assume you have some sort of thesis or culminating project to tackle at the end of your tenure at RISD (and if you don’t, it might be a good idea to act as if you do, if for no other reason than it will be good practice for producing a body of work). Some further thinking might lead you to an interesting thesis topic. But before you get locked into an idea, I sincerely recommend that you experiment your ass off this year. I don’t know exactly how RISD works, but if you can avoid committing yourself to a particular mode of working just yet, then do it. Experimentation leads to growth, and growth leads to wisdom, so make a pact with yourself to try as many things as you can think of this year and see where they take you. I’m not recommending that you fling yourself willy-nilly in all directions; instead, start with an idea for a painting and then come up with ten ways you could express that idea. Then paint three of them. Then evaluate those three and see what works and what doesn’t. To do this requires an enormous commitment to your practice (unless you’re the world’s fastest painter), but the payoff could be incredible. Trust yourself, trust the process, and work, work, work. By the time you do have to hand in your thesis proposal, you’ll have ideas dripping from your very fingers and a solid direction in which to take your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Barry McGee, \u003ci>Untitled\u003c/i>, 2010.\u003c/center>\n\u003cp>Personal Development: Somewhere in there, between your jobs, your studio visits, and your late-night sessions in the studio, consider taking a class in a subject that you know nothing about. If you want an intellectual challenge, sign up for a semiotics or film theory seminar. If you want something hands-on, take a class in sewing or woodworking. Follow your interests, because when you graduate you want to feel like you got the most out of your education. You could also discover something about yourself and the ways in which you prefer to work — and “know thyself” is a helpful tenet for a young artist. Take the time to look at lots of art in museums and galleries, too. You already mention taking trips to your nearest metropolitan areas, and I agree that it’s worthwhile to take advantage of your current proximity while you can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’d like to end on a note that applies to everyone, not just students who are heading back to school. A very long time ago, a kind and generous teacher taught me the phrase, “Ask for what you need,” and I’ve been trying to put it into practice in my life ever since (with varying degrees of success). We live in a culture of self-reliance and competition, so asking for help can be one of the hardest things to do. But the benefits can be enormous: not only do you often obtain the assistance you need just by asking; but you also expose the weaknesses and vulnerabilities of your artistic practice and life to others, which creates the potential for them to do the same. Often the questions we have and the issues with which we struggle are not unique, and when we express them we create an opportunity to connect. I encourage you, in the next two years and beyond, to identify your goals, map out a potential route for yourself, and then reach out to others who might be able to assist you. Offer to reciprocate as best you can — a cup of coffee, a few hours of babysitting, or homemade cookies may be all that you can offer right now, but eventually you’ll be in a position to help others and can pass along the good work. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Will Brown is not what, or who, you think it/he is. First of all, the art space is not actually operated by anyone named Will Brown. Started last year, it is run by the artists and curators Lindsey White, David Kazprzak and Jordan Stein. Second, it is not really a gallery, as often presumed; the Mission-based art space functions as more of a “micro-museum,” curating thematic, rather than commercial, exhibitions.\u003c/p>\n\u003cp>Founded in January of this year, Will Brown occupies the storefront on 24th and Treat that was formerly in use by Triple Base Gallery. After that gallery closed their doors in December of last year, its directors offered their lease to White. “It sort of fell in our laps,” says Kazprzak, and the group had to move quickly. Usually galleries (and even alternative spaces) are formed over long stretches of time, during which potential gallerists generate capital, gather a stable of artists, and exhaustively hunt for real estate. The genesis of Will Brown happened a bit in reverse: only after White, Kazprzak and Stein agreed to be collaborators, and signed the lease, did they begin to conceive of their mission for the space. It was a process, says Stein, “of reverse combustion.” In deciding what they wanted out of their communal project, the group had a lot of conversations about what they felt was missing in the San Francisco art community. During their first meeting, “which consisted of burritos and beers in Lindsey’s kitchen,” says Stein, a common ethos surfaced. Above all, the three friends didn’t want to “represent artists or show ‘art’ in the traditional, [commercial] sense,” says White. Rather, they were interested in engaging a community dialogue that wasn’t afraid to be playful. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kazprzak, Jordan Stein and Lindsey White\u003cbr>\u003c/center>\n\u003cp>Their first show, \u003cb>Illegitimate Business\u003c/b>, was a collaboration between Bay Area artists Zachary Royer Scholz and Brion Nuda Rosch. It explored — or debunked — the very function of the gallery itself, as each of the works on display (such as those from internationally renowned artists Kara Walker, Catherine Opie, and Andres Serrano) were obtained “without monetary exchange [and sometimes] illicitly.” Obviously, nothing in the show was for sale. Most recently, Will Brown’s April/June show, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=93138\">\u003cb>Manitoba Museum of Finds Art\u003c/b>\u003c/a> recreated a little-known “fictional museum.” Originally organized by Alberta Mayo in the waiting room of the SFMOMA Director Henry Hopkins in 1975, the MMOFA was comprised of ephemera and artworks both found and made. Both of these shows perfectly encompass Will Brown’s value system: to present interesting and engaging art that refuses the standardized (and often exclusive) conventions of commercial display and value. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Will Brown is not limited to art exhibitions, and has also held a number of events including, but not limited to: a Goth dance party; a figure drawing/comedy stand-up night; book and magazine launches; live performances, lectures and demonstrations by artists Chris Duncan, Jon Porras, Andy Vogt, The Post Brothers, and Tony Discenza. Those events help raise funds, though Will Brown’s principal support comes from its “Supportfolio,” a limited edition box set of photographs by Gregory Halpern, Dru Donovan, Sean McFarland, and Emily Prince.\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/willbrown3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>This strategy of non-commerciality and community involvement has been partially conceived of in relation to Will Brown’s upper Mission location. It’s a neighborhood that White, Stein, and Kazprzak are enthusiastic about, and deeply connected to. “We live, eat, and socialize here,” says Stein, “So, why have the space anywhere else?” However, more than a familiar district for them, the climate of rapid gentrification in the Mission actually helped form Will Brown’s guiding principles. For instance, the decision not to represent artists, which generally involves catering to and selling work to an outsider crowd, was influenced by the lack of cultural exchange between residents in the Mission, and a desire to create “serious yet unpretentious [and inclusive] dialogues around art in the neighborhood,” says Stein. “We thought we had a bigger job to do [than sell art].” Still, Will Brown is not wholly distinct from the active transformation of the neighborhood, a fact that Kazprzak acknowledges: “We’re part of that transition. Any transition like this has its growing pains, and we’re trying to be really sensitive to our neighbors by creating a space that everyone can feel comfortable in… we’re not selling $20 sandwiches!” \u003c/p>\n\u003cp>So, you may be wondering: who is Will Brown? As it turns out, its namesake is a real person. “Will is a local guy who helped run Triple Base Gallery in its final days.” says Kazprzak. It’s a smart and funny decision to name the gallery after a cool guy with an inconspicuous sounding name, and one that points back to the gallery’s mission: to be a generous everyman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>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>Will Brown is not what, or who, you think it/he is. First of all, the art space is not actually operated by anyone named Will Brown. Started last year, it is run by the artists and curators Lindsey White, David Kazprzak and Jordan Stein. Second, it is not really a gallery, as often presumed; the Mission-based art space functions as more of a “micro-museum,” curating thematic, rather than commercial, exhibitions.\u003c/p>\n\u003cp>Founded in January of this year, Will Brown occupies the storefront on 24th and Treat that was formerly in use by Triple Base Gallery. After that gallery closed their doors in December of last year, its directors offered their lease to White. “It sort of fell in our laps,” says Kazprzak, and the group had to move quickly. Usually galleries (and even alternative spaces) are formed over long stretches of time, during which potential gallerists generate capital, gather a stable of artists, and exhaustively hunt for real estate. The genesis of Will Brown happened a bit in reverse: only after White, Kazprzak and Stein agreed to be collaborators, and signed the lease, did they begin to conceive of their mission for the space. It was a process, says Stein, “of reverse combustion.” In deciding what they wanted out of their communal project, the group had a lot of conversations about what they felt was missing in the San Francisco art community. During their first meeting, “which consisted of burritos and beers in Lindsey’s kitchen,” says Stein, a common ethos surfaced. Above all, the three friends didn’t want to “represent artists or show ‘art’ in the traditional, [commercial] sense,” says White. Rather, they were interested in engaging a community dialogue that wasn’t afraid to be playful. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kazprzak, Jordan Stein and Lindsey White\u003cbr>\u003c/center>\n\u003cp>Their first show, \u003cb>Illegitimate Business\u003c/b>, was a collaboration between Bay Area artists Zachary Royer Scholz and Brion Nuda Rosch. It explored — or debunked — the very function of the gallery itself, as each of the works on display (such as those from internationally renowned artists Kara Walker, Catherine Opie, and Andres Serrano) were obtained “without monetary exchange [and sometimes] illicitly.” Obviously, nothing in the show was for sale. Most recently, Will Brown’s April/June show, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=93138\">\u003cb>Manitoba Museum of Finds Art\u003c/b>\u003c/a> recreated a little-known “fictional museum.” Originally organized by Alberta Mayo in the waiting room of the SFMOMA Director Henry Hopkins in 1975, the MMOFA was comprised of ephemera and artworks both found and made. Both of these shows perfectly encompass Will Brown’s value system: to present interesting and engaging art that refuses the standardized (and often exclusive) conventions of commercial display and value. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Will Brown is not limited to art exhibitions, and has also held a number of events including, but not limited to: a Goth dance party; a figure drawing/comedy stand-up night; book and magazine launches; live performances, lectures and demonstrations by artists Chris Duncan, Jon Porras, Andy Vogt, The Post Brothers, and Tony Discenza. Those events help raise funds, though Will Brown’s principal support comes from its “Supportfolio,” a limited edition box set of photographs by Gregory Halpern, Dru Donovan, Sean McFarland, and Emily Prince.\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://a.s.kqed.net/img/arts/blog/willbrown3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>This strategy of non-commerciality and community involvement has been partially conceived of in relation to Will Brown’s upper Mission location. It’s a neighborhood that White, Stein, and Kazprzak are enthusiastic about, and deeply connected to. “We live, eat, and socialize here,” says Stein, “So, why have the space anywhere else?” However, more than a familiar district for them, the climate of rapid gentrification in the Mission actually helped form Will Brown’s guiding principles. For instance, the decision not to represent artists, which generally involves catering to and selling work to an outsider crowd, was influenced by the lack of cultural exchange between residents in the Mission, and a desire to create “serious yet unpretentious [and inclusive] dialogues around art in the neighborhood,” says Stein. “We thought we had a bigger job to do [than sell art].” Still, Will Brown is not wholly distinct from the active transformation of the neighborhood, a fact that Kazprzak acknowledges: “We’re part of that transition. Any transition like this has its growing pains, and we’re trying to be really sensitive to our neighbors by creating a space that everyone can feel comfortable in… we’re not selling $20 sandwiches!” \u003c/p>\n\u003cp>So, you may be wondering: who is Will Brown? As it turns out, its namesake is a real person. “Will is a local guy who helped run Triple Base Gallery in its final days.” says Kazprzak. It’s a smart and funny decision to name the gallery after a cool guy with an inconspicuous sounding name, and one that points back to the gallery’s mission: to be a generous everyman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>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>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 think it’s great you’re passing on sensible advice regarding the writing of clear, articulate, open gallery texts, but what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do. Obviously, no top level Frieze, Armory, Basel, FIAC type gallery would touch my work if I could write clearly about it, so is there some secret template for obfuscation, complex-ification and obscurantism into which I might insert my variables, and hey, Voila! my MFA show garners the attention of several hip galleries at once? This is not a joke! I genuinely need your help. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this question because I want to make fun of it and I can’t. Just when I am prepared to argue that we all need to write clearly and concisely in order to reach our audience(s), I get something like this in my inbox, delivered on July 31 from \u003ca href=\"http://www.mitpressjournals.org/loi/artm\">MIT Press\u003c/a>: “\u003ci>ARTMargins\u003c/i> is a new triannual publication that invites researchers and practitioners who operate under the conditions of neoliberal capitalism to critically reflect on what we call the ‘thickened global margin,’ encompassing historical, geographical, as well as philosophical or theoretical post-peripheries.” The part of me that taught English to high school kids wants to sigh, \u003ci>really? \u003c/i>, but to be honest, as examples go this one is not even the worst I’ve seen.\u003c/p>\n\u003cp>So while I’d love to be dismissive of this issue, there are indeed some facts that need to be acknowledged. The first is that, no matter how many educators (self included) make claims for prose that is accessible and intelligible, the truth is that we do operate in a field with its own specialized vocabulary. The second is that arts writing undertakes the process of expressing the aesthetic experience as text, and like any translation something ineffable gets lost along the way. To try to make up for this loss while still working within the circumstances that produced it means that writers essentially scratch around hoping to find a designation that will come closest to what they are attempting to explain. With something as complex and nuanced as art the best we can hope for is that the arrow, once shot, will graze its target; because in translation a true bull’s eye is nearly impossible. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-leviathan.jpg\">\u003cbr>Anish Kapoor, \u003ci>Leviathan\u003c/i>, 2011.\u003c/p>\n\u003cp>Your question is complicated, though, because it’s not just about language but perceptions, expectations, and your relationship to your own work. Let’s tackle this one first. When you say “what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do” it trips my worry switch. Why don’t you feel that you know about your own work? Didn’t you make it? Aren’t you the captain of this ship? That others may see things in your work that you don’t is a natural consequence of identity and differentiation. My vision of the world is not yours, and that’s a good thing. It’s not your job to think of every eventuality, to meet all comers. To do so will only guarantee you a lifetime of defensive posturing, and it’s unwise to build a career that requires you to keep your fists up. Additionally, don’t forget that an illogical or overly dense statement can undermine powerful work. \u003c/p>\n\u003cp>But you requested a template. Though I am skeptical about the power of a mere statement to dazzle a blue-chip gallery, I also want to give you what you asked for. As it happens, because there is an Internet and it is filled with the work of delightful and intelligent people, there is (of course) already a website for this. It’s called \u003ca href=\"http://www.artybollocks.com/\">Arty Bollocks\u003c/a> and you simply click “generate some bollocks” and it will give you a complete statement. Here’s what I got: \u003c/p>\n\u003cp>\u003ci>My work explores the relationship between the body and counter-terrorism. With influences as diverse as Nietzsche and John Cage, new insights are manufactured from both opaque and transparent narratives. Ever since I was a pre-adolescent I have been fascinated by the unrelenting divergence of relationships. What starts out as undefined soon becomes finessed into a manifesto of lust, leaving only a sense of chaos and the chance of a new synthesis. As shifting forms become undefined through frantic and diverse practice, the viewer is left with an impression of the darkness of our existence. \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-past.jpg\">\u003cbr>Anish Kapoor, Past, Present, Future, 2006.\u003c/p>\n\u003cp>If your results aren’t opaque enough, you can click “Not arty enough for you?” and you’ll get a statement that turns the \u003ca href=\"http://dictionary.reference.com/browse/caliginosity\">caliginosity\u003c/a> up to 11:\u003c/p>\n\u003cp>\u003ci>My work explores the relationship between pre-Raphaelite tenets and unwanted gifts. With influences as diverse as Camus and Andy Warhol, new synergies are manufactured from both mundane and transcendent structures. Ever since I was a postgraduate I have been fascinated by the theoretical limits of the human condition. What starts out as vision soon becomes finessed into a tragedy of power, leaving only a sense of dread and the unlikelihood of a new synthesis. As temporal replicas become transformed through diligent and diverse practice, the viewer is left with a new agenda of the limits of our condition. \u003c/i>\u003c/p>\n\u003cp>Are you surprised to find that parts of this statement could fit your work? That’s because it is so vague and meaningless that it could be applied with equal efficacy to nearly any artwork. (And if you still venture down this path, beware: sometimes there are errors in the text. Spell check the statement before you send it off to \u003ca href=\"http://www.neugerriemschneider.com/\">Neugerriemschneider\u003c/a>.)\u003c/p>\n\u003cp>If you want to try a sillier generator (à la Mad Libs), I recommend 10gallon.com’s \u003ca href=\"http://10gallon.com/statement2000/\">Patented Artist Statement Generator 2000\u003c/a>. I took some liberties with the directions (for the prompt “CELEBRITY WHO WAS ON THE LOVE BOAT” I entered “Hans Ulrich Obrist”), and with a little tweaking this is what I got: \u003c/p>\n\u003cp>\u003ci>Through my work I attempt to examine the phenomenon of history as a metaphorical interpretation of both Sigmar Polke and data mining. What began as a personal journey of orthodoxy has translated into images of narrative and installations that resonate with cultured people to question their own connection to the archive. My mixed-media kleptomania embodies an idiosyncratic view of tension, yet the familiar imagery allows for a connection between Slavoj Zizek, knitting magazines, and modern American values. My work is in the private collection of Hans Ulrich Obrist who said ‘Yikes!, that’s some real smooth art.’ I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of the Menil Collection in Houston, Texas. I have exhibited in group shows at Jake’s Bar and the Serpentine Gallery, though not at the same time. I currently spend my time between the space under my bed and Berlin.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-cloudgate.jpg\">\u003cbr>Anish Kapoor, \u003ci>Cloud Gate\u003c/i>, 2006.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How droll! But let’s turn our attention, finally, to how a statement can alter the perception of the work. Though many artists seem to believe that a highfalutin statement will cover flaws in their artwork, this is wrong. The curators at the level you hope to reach are, in my (albeit limited) experience, quite intelligent and will not be fooled. Instead, try making a list of all the things that you think your work does, what conditions it addresses, what questions it answers, how it operates, whom it’s talking back to. Starting from this document, you might find an agreeable middle ground between an oversimplification and total philosophical abstraction. Rather than trying to write for curators you’ve never met, write to expand the work’s aims. If the work is funny, write a comedic statement. If it’s opaque and prickly, then by all means write a waspishly incomprehensible text. If your work is simple, try limiting yourself to three concise sentences. Fit the text to the work in a meaningful way. In the end, I think the question you submitted was humorous and smart, and so I have no doubt that if you trust yourself you’ll come up with a statement that adds to an understanding of your work. Good luck! \u003c/p>\n\n",
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"excerpt": "In which our droll advice columnist revisits the hilarious world of the artist statement, with the obligatory cameo by Slavoj Zizek.",
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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 think it’s great you’re passing on sensible advice regarding the writing of clear, articulate, open gallery texts, but what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do. Obviously, no top level Frieze, Armory, Basel, FIAC type gallery would touch my work if I could write clearly about it, so is there some secret template for obfuscation, complex-ification and obscurantism into which I might insert my variables, and hey, Voila! my MFA show garners the attention of several hip galleries at once? This is not a joke! I genuinely need your help. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this question because I want to make fun of it and I can’t. Just when I am prepared to argue that we all need to write clearly and concisely in order to reach our audience(s), I get something like this in my inbox, delivered on July 31 from \u003ca href=\"http://www.mitpressjournals.org/loi/artm\">MIT Press\u003c/a>: “\u003ci>ARTMargins\u003c/i> is a new triannual publication that invites researchers and practitioners who operate under the conditions of neoliberal capitalism to critically reflect on what we call the ‘thickened global margin,’ encompassing historical, geographical, as well as philosophical or theoretical post-peripheries.” The part of me that taught English to high school kids wants to sigh, \u003ci>really? \u003c/i>, but to be honest, as examples go this one is not even the worst I’ve seen.\u003c/p>\n\u003cp>So while I’d love to be dismissive of this issue, there are indeed some facts that need to be acknowledged. The first is that, no matter how many educators (self included) make claims for prose that is accessible and intelligible, the truth is that we do operate in a field with its own specialized vocabulary. The second is that arts writing undertakes the process of expressing the aesthetic experience as text, and like any translation something ineffable gets lost along the way. To try to make up for this loss while still working within the circumstances that produced it means that writers essentially scratch around hoping to find a designation that will come closest to what they are attempting to explain. With something as complex and nuanced as art the best we can hope for is that the arrow, once shot, will graze its target; because in translation a true bull’s eye is nearly impossible. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-leviathan.jpg\">\u003cbr>Anish Kapoor, \u003ci>Leviathan\u003c/i>, 2011.\u003c/p>\n\u003cp>Your question is complicated, though, because it’s not just about language but perceptions, expectations, and your relationship to your own work. Let’s tackle this one first. When you say “what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do” it trips my worry switch. Why don’t you feel that you know about your own work? Didn’t you make it? Aren’t you the captain of this ship? That others may see things in your work that you don’t is a natural consequence of identity and differentiation. My vision of the world is not yours, and that’s a good thing. It’s not your job to think of every eventuality, to meet all comers. To do so will only guarantee you a lifetime of defensive posturing, and it’s unwise to build a career that requires you to keep your fists up. Additionally, don’t forget that an illogical or overly dense statement can undermine powerful work. \u003c/p>\n\u003cp>But you requested a template. Though I am skeptical about the power of a mere statement to dazzle a blue-chip gallery, I also want to give you what you asked for. As it happens, because there is an Internet and it is filled with the work of delightful and intelligent people, there is (of course) already a website for this. It’s called \u003ca href=\"http://www.artybollocks.com/\">Arty Bollocks\u003c/a> and you simply click “generate some bollocks” and it will give you a complete statement. Here’s what I got: \u003c/p>\n\u003cp>\u003ci>My work explores the relationship between the body and counter-terrorism. With influences as diverse as Nietzsche and John Cage, new insights are manufactured from both opaque and transparent narratives. Ever since I was a pre-adolescent I have been fascinated by the unrelenting divergence of relationships. What starts out as undefined soon becomes finessed into a manifesto of lust, leaving only a sense of chaos and the chance of a new synthesis. As shifting forms become undefined through frantic and diverse practice, the viewer is left with an impression of the darkness of our existence. \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-past.jpg\">\u003cbr>Anish Kapoor, Past, Present, Future, 2006.\u003c/p>\n\u003cp>If your results aren’t opaque enough, you can click “Not arty enough for you?” and you’ll get a statement that turns the \u003ca href=\"http://dictionary.reference.com/browse/caliginosity\">caliginosity\u003c/a> up to 11:\u003c/p>\n\u003cp>\u003ci>My work explores the relationship between pre-Raphaelite tenets and unwanted gifts. With influences as diverse as Camus and Andy Warhol, new synergies are manufactured from both mundane and transcendent structures. Ever since I was a postgraduate I have been fascinated by the theoretical limits of the human condition. What starts out as vision soon becomes finessed into a tragedy of power, leaving only a sense of dread and the unlikelihood of a new synthesis. As temporal replicas become transformed through diligent and diverse practice, the viewer is left with a new agenda of the limits of our condition. \u003c/i>\u003c/p>\n\u003cp>Are you surprised to find that parts of this statement could fit your work? That’s because it is so vague and meaningless that it could be applied with equal efficacy to nearly any artwork. (And if you still venture down this path, beware: sometimes there are errors in the text. Spell check the statement before you send it off to \u003ca href=\"http://www.neugerriemschneider.com/\">Neugerriemschneider\u003c/a>.)\u003c/p>\n\u003cp>If you want to try a sillier generator (à la Mad Libs), I recommend 10gallon.com’s \u003ca href=\"http://10gallon.com/statement2000/\">Patented Artist Statement Generator 2000\u003c/a>. I took some liberties with the directions (for the prompt “CELEBRITY WHO WAS ON THE LOVE BOAT” I entered “Hans Ulrich Obrist”), and with a little tweaking this is what I got: \u003c/p>\n\u003cp>\u003ci>Through my work I attempt to examine the phenomenon of history as a metaphorical interpretation of both Sigmar Polke and data mining. What began as a personal journey of orthodoxy has translated into images of narrative and installations that resonate with cultured people to question their own connection to the archive. My mixed-media kleptomania embodies an idiosyncratic view of tension, yet the familiar imagery allows for a connection between Slavoj Zizek, knitting magazines, and modern American values. My work is in the private collection of Hans Ulrich Obrist who said ‘Yikes!, that’s some real smooth art.’ I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of the Menil Collection in Houston, Texas. I have exhibited in group shows at Jake’s Bar and the Serpentine Gallery, though not at the same time. I currently spend my time between the space under my bed and Berlin.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-cloudgate.jpg\">\u003cbr>Anish Kapoor, \u003ci>Cloud Gate\u003c/i>, 2006.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How droll! But let’s turn our attention, finally, to how a statement can alter the perception of the work. Though many artists seem to believe that a highfalutin statement will cover flaws in their artwork, this is wrong. The curators at the level you hope to reach are, in my (albeit limited) experience, quite intelligent and will not be fooled. Instead, try making a list of all the things that you think your work does, what conditions it addresses, what questions it answers, how it operates, whom it’s talking back to. Starting from this document, you might find an agreeable middle ground between an oversimplification and total philosophical abstraction. Rather than trying to write for curators you’ve never met, write to expand the work’s aims. If the work is funny, write a comedic statement. If it’s opaque and prickly, then by all means write a waspishly incomprehensible text. If your work is simple, try limiting yourself to three concise sentences. Fit the text to the work in a meaningful way. In the end, I think the question you submitted was humorous and smart, and so I have no doubt that if you trust yourself you’ll come up with a statement that adds to an understanding of your work. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Appropriation and Appropriateness",
"headTitle": "Help Desk: Appropriation and Appropriateness | KQED",
"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>If you were intrigued by last week’s Q&A regarding negative reviews, check out \u003ca href=\"http://www.artpractical.com/feature/a_quinquennial_and_two_biennials/\">this well-argued example\u003c/a> on Art Practical. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been noticing recently that there is a lot of portrait photography based off of or inspired by paintings, often times without anything changed or altered. What is accomplished by this? What new ideas can copying an existing piece of art bring to the table? I was thinking of Hendrick Kerstens’ series of his daughter based off of Flemish Dutch paintings, or perhaps Cindy Sherman’s history portraits.\u003c/b>\u003c/p>\n\u003cp>Kersten’s work is an interesting example. He uses his daughter as a model to restage 17th century Flemish paintings, but I would argue that even though there is an obvious reference, quite a lot is changed. Despite the similarities in the model, costumes, light, poses, and backgrounds to traditional Flemish painting, Kersten wraps his daughter’s hair in contemporary items such as bath towels, dinner napkins, toilet paper, and plastic shopping bags. Although these are arranged to reference the head coverings worn by Vermeer’s models, it’s clear that the works are photographs and a product of our age. The same goes for Nina Katchadourian’s recent series of photographs taken in airplane lavatories during long-haul flights. Her photographs appropriate or interpret the style of Old Master paintings without actually copying them verbatim — that’s a blow-up neck pillow she’s got on her head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Lavatory Self-Portrait in the Flemish Style #18-19\u003c/i>, 2011.\u003c/center>\n\u003cp>But even ignoring the props that place these photographs in modern times, can we really say that little has been changed or altered in the making of these works? I don’t believe so. First, there is the change of medium from painting to photography. Photography, of course, has an implied “truth value” that painting lacks. It’s also flat and reproducible, which means that an editioned photo is quite removed from the implicit singularity and “the mark of the hand” of a painting. Each medium has its own message and charge, so to substitute one for the other alters the work substantially. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Second, there is the change in authorship. A simple change in the name associated with the creation of an object means a lot these days. Like it or not, the way an artwork is considered and evaluated depends a lot on the background information available. Knowing the name of the creator, the medium, and the date helps us situate the work within the trajectory of art history, popular culture, the artist’s oeuvre, and so on. \u003c/p>\n\u003cp>There is a continuum of copying and appropriation, a spectrum along which most art arguably falls. Though there is a long-standing myth that artwork is something inherently original, one could contend that there are no new forms — but there are new ideas. To take an extreme example, consider the somewhat controversial decision by Sherrie Levine in 1980 to \u003ca href=\"http://www.metmuseum.org/toah/works-of-art/1995.266.2\">re-photograph pictures from an exhibition catalogue of Walker Evans’ work\u003c/a> and present them, unaltered, as her own work. In this case, not even the medium was changed because the originals were photographs. However, in (re)photographing these pictures, Levine’s action spoke volumes about how images operate in our culture, and it is her decision and action that is the central content of the work, not necessarily the images themselves. In short, when the artist copies something, she interferes with the power held by the original. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Installation view of Nina Katchadourian’s solo exhibition \u003cb>Seat Assignment\u003c/b> at Catharine Clark Gallery, 2012.\u003c/center>\n\u003cp>The same can be said for Cindy Sherman, though the conceptual basis for her work is quite different from Levine’s. Some of Sherman’s photographs \u003ca href=\"http://portrait.pulitzerarts.org/cube-gallery/sherman/\">resemble Old Master paintings\u003c/a> but it is difficult to imagine anyone being deceived. The resemblance is not a case of plagiarism, but an art historical quotation that invokes the authoritative aura of canonical works that she incorporates as part of the content of her work. What does it bring to the table? Only the very fundamental question of how we make, adopt, receive, and value images, both historical and contemporary. \u003c/p>\n\u003cp>This is by no means a complete answer to your question because reference, quotation, excerptation, and reframing — appropriation’s main actions — are intrinsically complex. I refer you, instead, to the essays in the exhibition catalog \u003ca href=\"http://www.amazon.com/Pictures-Generation-1974-1984-Metropolitan-Museum/dp/0300148925\">\u003cem>The Pictures Generation, 1974-1984\u003c/em>\u003c/a> and an additional essay by Jan Verwoert, “\u003ca href=\"http://www.artandresearch.org.uk/v1n2/verwoert.html\">Apropos Appropriation: Why Stealing Images Today Feels Different\u003c/a>,” both of which should serve to further enlighten you if you chose to pursue this inquiry. For a last thought, I leave you with this quote by artist Ben Kinmont, recently \u003ca href=\"http://blog.sfmoma.org/2012/07/passing-on-by-ben-kinmont/\">posted on SFMOMA’s Open Space blog\u003c/a> by Joseph del Pesco:\u003c/p>\n\u003cp>“From musical compositions to recipes to instruction pieces, people have been sharing their making, meaning, and authorship with others. When a pianist follows a score, a chef cooks a dish, or a person follows an instruction piece, variations and interpretations are made and shared. In this way a sound, a taste, or an idea is passed on, appreciated, and yet also changed by this new maker, perhaps with new instruments and ingredients and within a new context. Whether the others involved are an audience, those around the table, or visitors to a museum, this experience takes on a broader meaning due to its place in a progression, an atemporal community of makers connected through their consideration of a given idea. But by acknowledging these other composers, chefs, and artists who have worked with the idea before, we can see authorship as residing in a multitude of makers and participants, and perhaps from this loosening of the idea of the single author, we can better get to the content of the work at hand. Perhaps this will make it is easier to say, sit back and enjoy the show, enjoy the meal, enjoy the idea we are passing on.” \u003c/p>\n\u003cp>\u003cb>I work at a museum space and am always unsure of the best way to advise parents that there may be potentially inappropriate work on view. I certainly don’t want to impose my opinions about what is appropriate on others, but I also am not keen to field angry comments. Any thoughts on the best way to broach this difficult subject? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My friend Melisa, who homeschooled her three children and took them to countless museum exhibits, said, “What a great question! I think most parents would appreciate knowing beforehand about potentially challenging works. Ideally the information would be available well before the family shows up at the door (something included in the exhibit’s web page?) so parents can make an informed decision about the appropriateness of the material and museum employees aren’t put in an awkward situation.” \u003c/p>\n\u003cp>Like Melisa, I don’t understand why your employer is making this your problem. Isn’t it the job of the institution to gently remind people that culture is a rowdy, sometimes unseemly arena? While I absolutely loathe the idea of censorship, I can understand why parents would want to be informed about potential issues that might arise from, say, taking a seven-year-old to see a Paul McCarthy exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mccarthy.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Paul McCarthy, installation view of \u003ci>Pig Island\u003c/i>, Fondazione Nicola Trussardi, Milan, Italy, 2010.\u003c/center>\n\u003cp>Please bring this up with your superiors, using any prior interactions you’ve had with parents as concrete examples. If they still prefer to leave this dilemma in your lap instead of crafting institution-wide guidelines, ask them exactly what they would like you to say to parents, either in advance of their viewing or when you are being shouted at later. If they still shrug and leave it entirely up to your discretion, and you feel you must say something in advance, you can avoid the pitfalls of imposing your opinions by sticking to the facts. There’s no need for you to indulge in the verbal tics that often accompany discomfort (“So, like, I think you might want to know that this show has some S-E-X stuff in it that you might not want the kids to see, like there’s a video with some, um, nuns and stuff, and this thing with a giraffe…”). Instead, “There is nudity (sexual content, profanity, etc.) in this exhibition,” said mildly with a neutral expression as you’re taking someone’s ticket, can convey all that’s necessary. Yikes. Good luck. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yup, you really can ask me anything about art: helpdesk@dailyserving.com.\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>\u003ci>If you were intrigued by last week’s Q&A regarding negative reviews, check out \u003ca href=\"http://www.artpractical.com/feature/a_quinquennial_and_two_biennials/\">this well-argued example\u003c/a> on Art Practical. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been noticing recently that there is a lot of portrait photography based off of or inspired by paintings, often times without anything changed or altered. What is accomplished by this? What new ideas can copying an existing piece of art bring to the table? I was thinking of Hendrick Kerstens’ series of his daughter based off of Flemish Dutch paintings, or perhaps Cindy Sherman’s history portraits.\u003c/b>\u003c/p>\n\u003cp>Kersten’s work is an interesting example. He uses his daughter as a model to restage 17th century Flemish paintings, but I would argue that even though there is an obvious reference, quite a lot is changed. Despite the similarities in the model, costumes, light, poses, and backgrounds to traditional Flemish painting, Kersten wraps his daughter’s hair in contemporary items such as bath towels, dinner napkins, toilet paper, and plastic shopping bags. Although these are arranged to reference the head coverings worn by Vermeer’s models, it’s clear that the works are photographs and a product of our age. The same goes for Nina Katchadourian’s recent series of photographs taken in airplane lavatories during long-haul flights. Her photographs appropriate or interpret the style of Old Master paintings without actually copying them verbatim — that’s a blow-up neck pillow she’s got on her head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Lavatory Self-Portrait in the Flemish Style #18-19\u003c/i>, 2011.\u003c/center>\n\u003cp>But even ignoring the props that place these photographs in modern times, can we really say that little has been changed or altered in the making of these works? I don’t believe so. First, there is the change of medium from painting to photography. Photography, of course, has an implied “truth value” that painting lacks. It’s also flat and reproducible, which means that an editioned photo is quite removed from the implicit singularity and “the mark of the hand” of a painting. Each medium has its own message and charge, so to substitute one for the other alters the work substantially. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Second, there is the change in authorship. A simple change in the name associated with the creation of an object means a lot these days. Like it or not, the way an artwork is considered and evaluated depends a lot on the background information available. Knowing the name of the creator, the medium, and the date helps us situate the work within the trajectory of art history, popular culture, the artist’s oeuvre, and so on. \u003c/p>\n\u003cp>There is a continuum of copying and appropriation, a spectrum along which most art arguably falls. Though there is a long-standing myth that artwork is something inherently original, one could contend that there are no new forms — but there are new ideas. To take an extreme example, consider the somewhat controversial decision by Sherrie Levine in 1980 to \u003ca href=\"http://www.metmuseum.org/toah/works-of-art/1995.266.2\">re-photograph pictures from an exhibition catalogue of Walker Evans’ work\u003c/a> and present them, unaltered, as her own work. In this case, not even the medium was changed because the originals were photographs. However, in (re)photographing these pictures, Levine’s action spoke volumes about how images operate in our culture, and it is her decision and action that is the central content of the work, not necessarily the images themselves. In short, when the artist copies something, she interferes with the power held by the original. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Installation view of Nina Katchadourian’s solo exhibition \u003cb>Seat Assignment\u003c/b> at Catharine Clark Gallery, 2012.\u003c/center>\n\u003cp>The same can be said for Cindy Sherman, though the conceptual basis for her work is quite different from Levine’s. Some of Sherman’s photographs \u003ca href=\"http://portrait.pulitzerarts.org/cube-gallery/sherman/\">resemble Old Master paintings\u003c/a> but it is difficult to imagine anyone being deceived. The resemblance is not a case of plagiarism, but an art historical quotation that invokes the authoritative aura of canonical works that she incorporates as part of the content of her work. What does it bring to the table? Only the very fundamental question of how we make, adopt, receive, and value images, both historical and contemporary. \u003c/p>\n\u003cp>This is by no means a complete answer to your question because reference, quotation, excerptation, and reframing — appropriation’s main actions — are intrinsically complex. I refer you, instead, to the essays in the exhibition catalog \u003ca href=\"http://www.amazon.com/Pictures-Generation-1974-1984-Metropolitan-Museum/dp/0300148925\">\u003cem>The Pictures Generation, 1974-1984\u003c/em>\u003c/a> and an additional essay by Jan Verwoert, “\u003ca href=\"http://www.artandresearch.org.uk/v1n2/verwoert.html\">Apropos Appropriation: Why Stealing Images Today Feels Different\u003c/a>,” both of which should serve to further enlighten you if you chose to pursue this inquiry. For a last thought, I leave you with this quote by artist Ben Kinmont, recently \u003ca href=\"http://blog.sfmoma.org/2012/07/passing-on-by-ben-kinmont/\">posted on SFMOMA’s Open Space blog\u003c/a> by Joseph del Pesco:\u003c/p>\n\u003cp>“From musical compositions to recipes to instruction pieces, people have been sharing their making, meaning, and authorship with others. When a pianist follows a score, a chef cooks a dish, or a person follows an instruction piece, variations and interpretations are made and shared. In this way a sound, a taste, or an idea is passed on, appreciated, and yet also changed by this new maker, perhaps with new instruments and ingredients and within a new context. Whether the others involved are an audience, those around the table, or visitors to a museum, this experience takes on a broader meaning due to its place in a progression, an atemporal community of makers connected through their consideration of a given idea. But by acknowledging these other composers, chefs, and artists who have worked with the idea before, we can see authorship as residing in a multitude of makers and participants, and perhaps from this loosening of the idea of the single author, we can better get to the content of the work at hand. Perhaps this will make it is easier to say, sit back and enjoy the show, enjoy the meal, enjoy the idea we are passing on.” \u003c/p>\n\u003cp>\u003cb>I work at a museum space and am always unsure of the best way to advise parents that there may be potentially inappropriate work on view. I certainly don’t want to impose my opinions about what is appropriate on others, but I also am not keen to field angry comments. Any thoughts on the best way to broach this difficult subject? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My friend Melisa, who homeschooled her three children and took them to countless museum exhibits, said, “What a great question! I think most parents would appreciate knowing beforehand about potentially challenging works. Ideally the information would be available well before the family shows up at the door (something included in the exhibit’s web page?) so parents can make an informed decision about the appropriateness of the material and museum employees aren’t put in an awkward situation.” \u003c/p>\n\u003cp>Like Melisa, I don’t understand why your employer is making this your problem. Isn’t it the job of the institution to gently remind people that culture is a rowdy, sometimes unseemly arena? While I absolutely loathe the idea of censorship, I can understand why parents would want to be informed about potential issues that might arise from, say, taking a seven-year-old to see a Paul McCarthy exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mccarthy.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Paul McCarthy, installation view of \u003ci>Pig Island\u003c/i>, Fondazione Nicola Trussardi, Milan, Italy, 2010.\u003c/center>\n\u003cp>Please bring this up with your superiors, using any prior interactions you’ve had with parents as concrete examples. If they still prefer to leave this dilemma in your lap instead of crafting institution-wide guidelines, ask them exactly what they would like you to say to parents, either in advance of their viewing or when you are being shouted at later. If they still shrug and leave it entirely up to your discretion, and you feel you must say something in advance, you can avoid the pitfalls of imposing your opinions by sticking to the facts. There’s no need for you to indulge in the verbal tics that often accompany discomfort (“So, like, I think you might want to know that this show has some S-E-X stuff in it that you might not want the kids to see, like there’s a video with some, um, nuns and stuff, and this thing with a giraffe…”). Instead, “There is nudity (sexual content, profanity, etc.) in this exhibition,” said mildly with a neutral expression as you’re taking someone’s ticket, can convey all that’s necessary. Yikes. Good luck. \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=\"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 am a visual arts writer, and if I don’t have anything nice to say, I don’t say it at all. I state my personal opinions about artwork I like and choose my subjects based on personal preference. I don’t claim to be a critic. I prefer to describe what I see in a lighthearted way, but I fear that I come across as a fluff writer, and I have actually been called out as an “overly saccharine cheerleader.” Is it ok to be consistently complimentary as an arts writer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Your query begs for the concision of a yes/no answer, but I’m afraid I can’t give you one. Part of the difficulty is that you don’t claim to be a critic — that is to say, an evaluator of art and culture — yet you state personal opinions based on preference. Isn’t that what a critic does? I wonder if part of the issue lies in vocabulary: \u003ci>critic, criticism,\u003c/i> and \u003ci>critique\u003c/i> all have a whiff of the negative, yet etymologically they’re all based on the Greek \u003ci>kritikos\u003c/i>, which simply indicates the ability to make judgments based on quality. So, if you’re evaluating artwork in print, then chances are your readers already consider you a critic in the traditional sense, whether you claim to be or not. Further, I think we have to separate the issue of being a critic from the manner (“lighthearted”) in which you state those opinions, and the fact that you fear fluff, but seem to limit your writing to descriptions. Based on the short question you’ve written to \u003ci>Help Desk\u003c/i>, there seem to be some contradictions at work in your practice. If the accusation of being saccharine stings (as it must have, since it compelled you to write to me), then you have to think about what you hope to accomplish.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-eyetest.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>The Innocent Eye Test\u003c/i>, 1981.\u003c/center>\n\u003cp>Let’s go all the way back to the fundamental question: why do you write about art? Probably you enjoy the process of looking and responding, and if that’s as deep as you want to go, that’s fine. You can continue on your complimentary way, but you’ll have to grow a thicker skin. After all, there’s a lot of art writing out there and the person who doesn’t like your nice-things-to-say style can easily go read something else. That’s a valid position to take and I support it. But if you decide that you want to participate more fully in a cultural dialog, or if you want to help artists advance their work, or if you want to be taken seriously by the arts establishment in your area, you should consider writing about work that you don’t find attractive or valuable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And let me qualify that by saying I would never recommend anyone write about work she already knows she hates. That is an exercise in futility, a zero-sum game that benefits no one. Instead, I’m talking about those instances in which you go to an exhibition that you expect to like, but end up disappointed by what you see. Or, you connect to parts of a group show, but not all; or some works in a solo show turn out to be stronger than others. Determining why this is so can be beneficial to both you and the artist. It’s not about slamming someone’s effort, it’s about taking the artist’s work and your own opinions seriously. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-doubting.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Doubting Thomas\u003c/i>, 1985.\u003c/center>\n\u003cp>While I can respect your position of wishing to only write about shows that fill you with joy, penning the occasional less-than-flattering review will underscore your position when you do write flattering prose, making the positive reviews all the more meaningful. One well-respected arts writer I reached out to said, “I have felt similarly, that contemporary art gets such a short shrift in contemporary culture, so being a cheerleader has its welcome role. But if the writer wants to be taken seriously… then there’s got to be some edge. The trick is when it is useful to write negatively. I recently saw a show that made me angry about its ineptitude and misguidedness. While I may or may not actually write about it, it would seem like a public service to point out the flaws and how they could/should serve as a model to work against. It seems a great opportunity to frame a dialogue about something that warrants more discussion.” \u003c/p>\n\u003cp>An \u003ci>opportunity to frame a dialogue about something that warrants more discussion\u003c/i> is a great way for a writer to think about reviews in general. If all other issues of arts writing originate with this idea and ensue from it, then in some ways it doesn’t matter whether the review is positive or negative, because what we are trying to delve into is the very core of why making and seeing art is important. And if a review is respectful and well written, it makes good use of that opportunity whether or not the author finds the work to her liking. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-victoire.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Mont Sainte-Victoire\u003c/i>, 1987.\u003c/center>\n\u003cp>Another writer friend reminded me of the responsibility you have to yourself and your own practice, encouraging you to “write to express the full range of your reactions to viewing artwork.” I think that’s a component to this puzzle that ought not to be overlooked. Just as we hope that artists continue to evolve and grow in their practices, I think we ought to hope for the same with critics. The position you once held may be changing, and I urge you to compose a review that reflects on some artwork that doesn’t thrill you. You don’t have to publish it, but at least you can practice the experience of having free rein. \u003c/p>\n\u003cp>For the benefit of our non-writer readers, I’d like to say that while a positive appraisal of a show often practically writes itself, it is infinitely more difficult and tedious to write a negative review. Indeed, our well-respected arts writer from above touched on this idea as well: “It’s difficult to write responsibly in a negative way, particularly as there are few artists who are genuinely malevolent in their intent. It’s a lot of work to make an exhibition, so the impulse to praise is understandable, and chances are this writer knows some of the artists he or she writes about. Artists may be people, but their work is something autonomous. The bottom line is both the art and the writing need to be interesting.” \u003c/p>\n\u003cp>So if you decide to try it — and I hope you will try it, because how else will you know exactly what you want? — here are some basic guidelines for writing negative reviews: \u003c/p>\n\u003cp>– Write with integrity. This is about the art, not the artist. If you’re out for blood, don’t write the review. \u003c/p>\n\u003cp>– Tell us exactly why and how it falls short of the artist’s stated intentions (see the artist statement and press release). If you don’t know what the artist’s intentions were, tell us why you think you reacted poorly to the work. You need to make a clear case for why the work fails, otherwise it will just seem like you’re being petty. \u003c/p>\n\u003cp>– Let the draft sit so you can self-edit, or have a friend look it over. For any review (positive or negative), it’s worth the extra time and effort to make sure that your critique is logical and valid. \u003c/p>\n\u003cp>– Write well, but don’t lose yourself in language. Tempting though it may be, don’t sacrifice clarity and a strong argument to a witticism or a snarky zinger. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you draft a few unfavorable reports and find it not to your taste, you can continue merrily on your way as the Pollyanna of the art set. 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=\"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 am a visual arts writer, and if I don’t have anything nice to say, I don’t say it at all. I state my personal opinions about artwork I like and choose my subjects based on personal preference. I don’t claim to be a critic. I prefer to describe what I see in a lighthearted way, but I fear that I come across as a fluff writer, and I have actually been called out as an “overly saccharine cheerleader.” Is it ok to be consistently complimentary as an arts writer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Your query begs for the concision of a yes/no answer, but I’m afraid I can’t give you one. Part of the difficulty is that you don’t claim to be a critic — that is to say, an evaluator of art and culture — yet you state personal opinions based on preference. Isn’t that what a critic does? I wonder if part of the issue lies in vocabulary: \u003ci>critic, criticism,\u003c/i> and \u003ci>critique\u003c/i> all have a whiff of the negative, yet etymologically they’re all based on the Greek \u003ci>kritikos\u003c/i>, which simply indicates the ability to make judgments based on quality. So, if you’re evaluating artwork in print, then chances are your readers already consider you a critic in the traditional sense, whether you claim to be or not. Further, I think we have to separate the issue of being a critic from the manner (“lighthearted”) in which you state those opinions, and the fact that you fear fluff, but seem to limit your writing to descriptions. Based on the short question you’ve written to \u003ci>Help Desk\u003c/i>, there seem to be some contradictions at work in your practice. If the accusation of being saccharine stings (as it must have, since it compelled you to write to me), then you have to think about what you hope to accomplish.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-eyetest.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>The Innocent Eye Test\u003c/i>, 1981.\u003c/center>\n\u003cp>Let’s go all the way back to the fundamental question: why do you write about art? Probably you enjoy the process of looking and responding, and if that’s as deep as you want to go, that’s fine. You can continue on your complimentary way, but you’ll have to grow a thicker skin. After all, there’s a lot of art writing out there and the person who doesn’t like your nice-things-to-say style can easily go read something else. That’s a valid position to take and I support it. But if you decide that you want to participate more fully in a cultural dialog, or if you want to help artists advance their work, or if you want to be taken seriously by the arts establishment in your area, you should consider writing about work that you don’t find attractive or valuable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me qualify that by saying I would never recommend anyone write about work she already knows she hates. That is an exercise in futility, a zero-sum game that benefits no one. Instead, I’m talking about those instances in which you go to an exhibition that you expect to like, but end up disappointed by what you see. Or, you connect to parts of a group show, but not all; or some works in a solo show turn out to be stronger than others. Determining why this is so can be beneficial to both you and the artist. It’s not about slamming someone’s effort, it’s about taking the artist’s work and your own opinions seriously. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-doubting.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Doubting Thomas\u003c/i>, 1985.\u003c/center>\n\u003cp>While I can respect your position of wishing to only write about shows that fill you with joy, penning the occasional less-than-flattering review will underscore your position when you do write flattering prose, making the positive reviews all the more meaningful. One well-respected arts writer I reached out to said, “I have felt similarly, that contemporary art gets such a short shrift in contemporary culture, so being a cheerleader has its welcome role. But if the writer wants to be taken seriously… then there’s got to be some edge. The trick is when it is useful to write negatively. I recently saw a show that made me angry about its ineptitude and misguidedness. While I may or may not actually write about it, it would seem like a public service to point out the flaws and how they could/should serve as a model to work against. It seems a great opportunity to frame a dialogue about something that warrants more discussion.” \u003c/p>\n\u003cp>An \u003ci>opportunity to frame a dialogue about something that warrants more discussion\u003c/i> is a great way for a writer to think about reviews in general. If all other issues of arts writing originate with this idea and ensue from it, then in some ways it doesn’t matter whether the review is positive or negative, because what we are trying to delve into is the very core of why making and seeing art is important. And if a review is respectful and well written, it makes good use of that opportunity whether or not the author finds the work to her liking. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-victoire.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Mont Sainte-Victoire\u003c/i>, 1987.\u003c/center>\n\u003cp>Another writer friend reminded me of the responsibility you have to yourself and your own practice, encouraging you to “write to express the full range of your reactions to viewing artwork.” I think that’s a component to this puzzle that ought not to be overlooked. Just as we hope that artists continue to evolve and grow in their practices, I think we ought to hope for the same with critics. The position you once held may be changing, and I urge you to compose a review that reflects on some artwork that doesn’t thrill you. You don’t have to publish it, but at least you can practice the experience of having free rein. \u003c/p>\n\u003cp>For the benefit of our non-writer readers, I’d like to say that while a positive appraisal of a show often practically writes itself, it is infinitely more difficult and tedious to write a negative review. Indeed, our well-respected arts writer from above touched on this idea as well: “It’s difficult to write responsibly in a negative way, particularly as there are few artists who are genuinely malevolent in their intent. It’s a lot of work to make an exhibition, so the impulse to praise is understandable, and chances are this writer knows some of the artists he or she writes about. Artists may be people, but their work is something autonomous. The bottom line is both the art and the writing need to be interesting.” \u003c/p>\n\u003cp>So if you decide to try it — and I hope you will try it, because how else will you know exactly what you want? — here are some basic guidelines for writing negative reviews: \u003c/p>\n\u003cp>– Write with integrity. This is about the art, not the artist. If you’re out for blood, don’t write the review. \u003c/p>\n\u003cp>– Tell us exactly why and how it falls short of the artist’s stated intentions (see the artist statement and press release). If you don’t know what the artist’s intentions were, tell us why you think you reacted poorly to the work. You need to make a clear case for why the work fails, otherwise it will just seem like you’re being petty. \u003c/p>\n\u003cp>– Let the draft sit so you can self-edit, or have a friend look it over. For any review (positive or negative), it’s worth the extra time and effort to make sure that your critique is logical and valid. \u003c/p>\n\u003cp>– Write well, but don’t lose yourself in language. Tempting though it may be, don’t sacrifice clarity and a strong argument to a witticism or a snarky zinger. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you draft a few unfavorable reports and find it not to your taste, you can continue merrily on your way as the Pollyanna of the art set. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This summer, artists have taken over Oakland’s Royal NoneSuch Gallery, turning it into a research space, a studio, and a hub for gatherings of all kinds. For three weeks at a time, \u003ca href=\"http://www.georgepfau.com/\">George Pfau\u003c/a>, \u003ca href=\"http://www.veronicadejesus.com/\">Veronica De Jesus\u003c/a>, and \u003ca href=\"http://amandacurreri.com/\">Amanda Curreri\u003c/a> were, are, and will be Royal NoneSuch’s first three artists-in-residence. \u003cb>3 for 3\u003c/b> is an experiment in gallery programming, an artist residency in which the participants maintain open studio hours and organize public events, putting their entire practice — not just finished pieces of art — on display.\u003c/p>\n\u003cp>From June 15 to July 9, Pfau was in the gallery four days a week, working on an ongoing project called \u003ci>Zombies Identified\u003c/i>. Though Pfau has participated in previous residencies, this was the first one conducted alone, without an administrative buffer between him and the outside world. From the first day in the gallery he realized this was going to be a very different experience, one in which he would have a conversation with each and every person who entered the space during his open studio hours.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfaudrawings.jpg\" alt=\"\">\u003c/p>\n\u003cp>With a prime storefront on a bustling block of Telegraph between 42nd and 43rd Streets, the 260 square-foot gallery is never predictable in its offerings, but \u003cb>3 for 3\u003c/b> is an entirely new venture. Traditionally, gallery hours at Royal NoneSuch amount to a total of six hours a week, not counting one-night-only events. With \u003cb>3 for 3\u003c/b>, organizers Elizabeth Bernstein, Carrie Hott, Carey Lin, and Kathleen Quinlan were able to expand the gallery’s hours and community presence while simultaneously handing over the reigns to a group of artists. While their divergent interests guarantee a range of inventive programming, in \u003cb>3 for 3\u003c/b> they have ceded control completely.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfauscreening.jpg\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The outcomes speak for themselves. Pfau’s closing event featured repeated screenings of a short video he made completely within the span of the residency. \u003ci>Between I and Us\u003c/i> moves in and out of focus as musician and performer \u003ca href=\"http://augustaleecollins.blogspot.com/\">Augusta Lee Collins\u003c/a> sings/speaks/screams lyrics Pfau wrote. “There was a line between us,” Collins intones melodically as he faces the camera. “There is no ‘they’ now, just us.” Pfau’s zombies occupy the space between alive and dead, person and thing, human and animal, and — as seen in this video — individual and group identities.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/batman.jpg\" alt=\"\">\u003c/p>\n\u003cp>De Jesus just entered the second week of her residency and has already produced an astonishing amount of work. Wooden stands support collaged paper, foam core, and cardboard sculptures, depicting a tumble of cartoonish figures locked in what appear to be good-natured tussles between Jesus, Batman, and he-men. De Jesus appreciates the residency as a time for “honest feedback” from “people who don’t understand art culture.” “Are you connecting to this work,” she asks, “and it is connecting to you?”\u003c/p>\n\u003cp>Curreri, who begins her residency August 11, will use her time at Royal NoneSuch to continue work on a series titled \u003ci>Aunque\u003c/i>, an exploration of subjective violence. “I’m used to working with the public to complete artworks,” Curreri wrote in an email, “but usually my studio space functions as my retreat from the public. I’m curious to see if this approach can propel the work into new territory by switching up the safety zones.” For artists like Curreri who are accustomed to private studio time, making work within a storefront contains a performative aspect that is altogether new. On August 24, she will host \u003ci>Jean Genet in the Aunque\u003c/i>, a night of readings, interviews, and conversations — hoping to spark topics she wishes to broach within the context of her work.\u003c/p>\n\u003cp>While most residencies are based on the idea of distancing an artist from daily responsibilities and sequestering them in the woods somewhere outside the reach of cell phone reception, \u003cb>3 for 3\u003c/b> has no such agenda. If anything, it brings the artists out of their studios and into a public dialogue, working towards a more complete representation of what it means to be a contemporary artist. By showcasing their working processes, their influences (through guest speakers and artist talks), and ultimately the work they create, the artists in \u003cb>3 for 3\u003c/b> provide rare access to their diverse and engaging practices. Stop on by!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Veronica DeJesus will be at Royal NoneSuch Gallery through August 3. Amanda Curreri will be in residence August 11 through September 7, 2012. For \u003ca href=\"http://royalnonesuchgallery.com/\">more events and information\u003c/a>, visit royalnonesuchgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, artists have taken over Oakland’s Royal NoneSuch Gallery, turning it into a research space, a studio, and a hub for gatherings of all kinds. For three weeks at a time, \u003ca href=\"http://www.georgepfau.com/\">George Pfau\u003c/a>, \u003ca href=\"http://www.veronicadejesus.com/\">Veronica De Jesus\u003c/a>, and \u003ca href=\"http://amandacurreri.com/\">Amanda Curreri\u003c/a> were, are, and will be Royal NoneSuch’s first three artists-in-residence. \u003cb>3 for 3\u003c/b> is an experiment in gallery programming, an artist residency in which the participants maintain open studio hours and organize public events, putting their entire practice — not just finished pieces of art — on display.\u003c/p>\n\u003cp>From June 15 to July 9, Pfau was in the gallery four days a week, working on an ongoing project called \u003ci>Zombies Identified\u003c/i>. Though Pfau has participated in previous residencies, this was the first one conducted alone, without an administrative buffer between him and the outside world. From the first day in the gallery he realized this was going to be a very different experience, one in which he would have a conversation with each and every person who entered the space during his open studio hours.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfaudrawings.jpg\" alt=\"\">\u003c/p>\n\u003cp>With a prime storefront on a bustling block of Telegraph between 42nd and 43rd Streets, the 260 square-foot gallery is never predictable in its offerings, but \u003cb>3 for 3\u003c/b> is an entirely new venture. Traditionally, gallery hours at Royal NoneSuch amount to a total of six hours a week, not counting one-night-only events. With \u003cb>3 for 3\u003c/b>, organizers Elizabeth Bernstein, Carrie Hott, Carey Lin, and Kathleen Quinlan were able to expand the gallery’s hours and community presence while simultaneously handing over the reigns to a group of artists. While their divergent interests guarantee a range of inventive programming, in \u003cb>3 for 3\u003c/b> they have ceded control completely.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfauscreening.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The outcomes speak for themselves. Pfau’s closing event featured repeated screenings of a short video he made completely within the span of the residency. \u003ci>Between I and Us\u003c/i> moves in and out of focus as musician and performer \u003ca href=\"http://augustaleecollins.blogspot.com/\">Augusta Lee Collins\u003c/a> sings/speaks/screams lyrics Pfau wrote. “There was a line between us,” Collins intones melodically as he faces the camera. “There is no ‘they’ now, just us.” Pfau’s zombies occupy the space between alive and dead, person and thing, human and animal, and — as seen in this video — individual and group identities.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/batman.jpg\" alt=\"\">\u003c/p>\n\u003cp>De Jesus just entered the second week of her residency and has already produced an astonishing amount of work. Wooden stands support collaged paper, foam core, and cardboard sculptures, depicting a tumble of cartoonish figures locked in what appear to be good-natured tussles between Jesus, Batman, and he-men. De Jesus appreciates the residency as a time for “honest feedback” from “people who don’t understand art culture.” “Are you connecting to this work,” she asks, “and it is connecting to you?”\u003c/p>\n\u003cp>Curreri, who begins her residency August 11, will use her time at Royal NoneSuch to continue work on a series titled \u003ci>Aunque\u003c/i>, an exploration of subjective violence. “I’m used to working with the public to complete artworks,” Curreri wrote in an email, “but usually my studio space functions as my retreat from the public. I’m curious to see if this approach can propel the work into new territory by switching up the safety zones.” For artists like Curreri who are accustomed to private studio time, making work within a storefront contains a performative aspect that is altogether new. On August 24, she will host \u003ci>Jean Genet in the Aunque\u003c/i>, a night of readings, interviews, and conversations — hoping to spark topics she wishes to broach within the context of her work.\u003c/p>\n\u003cp>While most residencies are based on the idea of distancing an artist from daily responsibilities and sequestering them in the woods somewhere outside the reach of cell phone reception, \u003cb>3 for 3\u003c/b> has no such agenda. If anything, it brings the artists out of their studios and into a public dialogue, working towards a more complete representation of what it means to be a contemporary artist. By showcasing their working processes, their influences (through guest speakers and artist talks), and ultimately the work they create, the artists in \u003cb>3 for 3\u003c/b> provide rare access to their diverse and engaging practices. Stop on by!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Veronica DeJesus will be at Royal NoneSuch Gallery through August 3. Amanda Curreri will be in residence August 11 through September 7, 2012. For \u003ca href=\"http://royalnonesuchgallery.com/\">more events and information\u003c/a>, visit royalnonesuchgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Flirtatious Collectors & Young Curators",
"headTitle": "Help Desk: Flirtatious Collectors & Young Curators | KQED",
"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 work for a commercial gallery space and have been approached by male collectors who express an interest in taking me out. More often than not, I have no interest in these men, but I am always anxious my boss may be upset that I get a bit cold in order to put them off. What do you think is the appropriate way to handle this situation? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The easy way out is to buy a decoy engagement ring, a big eye-catching piece of sparkly glass, and wear it to work. If you’re a man, you could try the same with a traditional-looking thick gold band. It won’t stop all comers, but it might scare off the majority. \u003c/p>\n\u003cp>But it would be better if you understood your employer’s expectations so that you could stop feeling anxious, and the only way to do that is have an open and honest conversation. Then the two of you can decide together what course of action to take. There’s no need to feel awkward, just ask for a quick meeting and state the facts: collectors are asking you out and you’re not interested. Say, “How would you like me to handle this situation?” Probably your employer will direct you to act similarly to what you’re already doing, but if she tells you to do something that you’re not comfortable with, you must speak up calmly but immediately: “I don’t think that’s going to work, can we find another solution?” Both parties need to put their cards on the table; that way you will know what’s expected, and also your boss can get your back should an uninvited flirtation get out of hand. You need to know that your boundaries are respected in the workplace, if not by the clientele then at least by your colleagues. And of course, if your boss tries to pimp you out in the interest of selling some work, you’ll know that it’s time to grab your bag and run for the door. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without knowing exactly what you consider “a bit cold,” it’s hard to give detailed behavioral advice. Yet as a side note, you might consider learning how to say a firm, confident “Thank you, but no” with a pleasant look on your face. It will serve you well in your current predicament, and you will find it handy in all kinds of situations. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston59.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, \u003ci>Triumphal Arch\u003c/i>, 2007.\u003c/center>\n\u003cp>\u003cb>A very close friend and I are curating an exhibit in Kansas City. The entire show consists of artists under the age of 21 including us curators. We have a pretty solid plan, filled with installations, video projections, paintings, sculptures, and performance. What are some words of advice you can give to us as we embark on our first and greatest endeavor to date? I think the hardest part is the fact that we are all so young. We are definitely talented, not to be modest. I feel that it is going to be hard for people to take us seriously and also hard to make a show worthy of critique and review from the establishment. It’s also hard to perceive the future issues we might face during set up and the opening. It’s also going to be hard to combine all these talents together without it being a sensory overload. What are some issues you’ve come across that we probably wouldn’t have thought of ahead of time? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>First of all, bravo! I’m glad to hear that you are making and executing ambitious plans. I have no doubt that your work is going to be inspiring to the other artists and curators in your community. \u003c/p>\n\u003cp>With such a big show, you’re going to have to delegate, and that means that you need to communicate clearly, beginning with yourself and your own plans. I love to map these kinds of things out in pencil and paper, so grab some now. Begin with your end goal and work backward, asking yourself how you’re going to get to each step along the way. For example, you might say that your end goal is to put on a great show with excellent artwork that is well received by the press. How do you get there? Well, among other things, you’ll need an exhibition space (which you have), some great artists (check), and a well-crafted press release. Now, how do you get there? Well, you read a lot of art press releases, you write yours out and (this is very important) get it edited by someone who is a good writer, then you gather the contact information for the arts journalists you want to reach and you send the press release out. How do you get there? Maybe you know someone who works at a gallery who can show you some PR, or you can look for advice in a book on professional practices such as \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_7?s=books&ie=UTF8&qid=1343017604&sr=1-7&keywords=artist+career\">\u003cem>Taking the Leap\u003c/em>\u003c/a> by Cay Lang. Where do you find contact information? — on the internet and on the index page of print publications like \u003ca href=\"http://www.artinamericamagazine.com/\">\u003cem>Art in America\u003c/em>\u003c/a>. Etc., etc., etc. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston331.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, detail from the installation \u003ci>PLEXUS\u003c/i>, 2011.\u003c/center>\n\u003cp>This kind of mapping can also help you make a timeline. For example, if you need to send press releases out a month in advance, then you need to have a rough draft in hand two months in advance, which means that your research and example gathering should happen at least two weeks before that, which means that you need to have all the artists’ names spell-checked and into a document at least a week before that… It sounds exhausting when you write it all out this way, but I assure you, writing it all down will make it much more manageable, Having a comprehensive list will help you stay on track so that the days immediately before the opening are spent on installing the show beautifully and not on overdue administrative tasks. Your map can also function as a checklist so that nothing is forgotten. \u003c/p>\n\u003cp>In my experience, communication is always the most basic issue/problem that arises in both large and small group shows. People (artists, curators, assistants) make assumptions and then act on them — or not, as when they think that it is somebody else’s job. Your map will aid in communication, and it will help you to parcel out very specific tasks. For example, instead of saying, “Michael’s going to deal with the press,” (and then hoping that Michael is going to figure it all out by himself) you can say, “Michael’s going to research press releases from these sources, write a release, and hand it off to Claire for editing by August 15th.” See how much better it is to be specific? If you and everyone else are clear on what is required, all the necessary tasks are much more likely to be completed. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston354.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, \u003ci>All That is Solid Melts into Air\u003c/i>, 2011.\u003c/center>\n\u003cp>Another area where straightforward communication is the key to avoiding strife is in the allotment of exhibition space. Consider giving people specific, measured areas of the venue. Otherwise, you might end up having to sort out some silly squabble during installation over who gets the last eight inches of the wall near the door. The opening should be scripted likewise: if one performance is scheduled for 8pm and another for 9pm, make sure that both artists know that 8pm doesn’t mean 8:45pm. This is very much the strategy of hoping for the best and planning for the worst. By making a map of every part of this exhibition, you’ll be able to anticipate where things might go wrong. \u003c/p>\n\u003cp>You are very young, but if you pull this off your youth will work in your favor. Being taken seriously really doesn’t have to do with your age, it has to do with your professionalism. Treat this exhibition as if you are a professional and insist on the same from others. This is a self-created training ground for you all, so practice putting your very best work forward, whether that work is a painting or an email to a curator. Communications should be clear, prompt and polite; disagreements should be handled with good humor and grace. You can’t do anything about your biological age, but you can act in a way that makes people surprised when they find out how young you are. Best of luck to you all! \u003c/p>\n\u003cp>\u003ci>The work in this week’s column is by \u003ca href=\"http://www.robswainston.com/\">Rob Swainston\u003c/a>, who will have a solo show at \u003ca href=\"http://kunsthalle.neuwerk.org/Neuwerk/Kunst.nsf/DE/Swainston\">Neuwerk Kunsthalle\u003c/a> in Konstanz, Germany in September. For those of you following the discussion around artist statements, Rob’s is \u003ca href=\"http://www.robswainston.com/statement-writings-q-a\">worth checking out\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to 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 work for a commercial gallery space and have been approached by male collectors who express an interest in taking me out. More often than not, I have no interest in these men, but I am always anxious my boss may be upset that I get a bit cold in order to put them off. What do you think is the appropriate way to handle this situation? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The easy way out is to buy a decoy engagement ring, a big eye-catching piece of sparkly glass, and wear it to work. If you’re a man, you could try the same with a traditional-looking thick gold band. It won’t stop all comers, but it might scare off the majority. \u003c/p>\n\u003cp>But it would be better if you understood your employer’s expectations so that you could stop feeling anxious, and the only way to do that is have an open and honest conversation. Then the two of you can decide together what course of action to take. There’s no need to feel awkward, just ask for a quick meeting and state the facts: collectors are asking you out and you’re not interested. Say, “How would you like me to handle this situation?” Probably your employer will direct you to act similarly to what you’re already doing, but if she tells you to do something that you’re not comfortable with, you must speak up calmly but immediately: “I don’t think that’s going to work, can we find another solution?” Both parties need to put their cards on the table; that way you will know what’s expected, and also your boss can get your back should an uninvited flirtation get out of hand. You need to know that your boundaries are respected in the workplace, if not by the clientele then at least by your colleagues. And of course, if your boss tries to pimp you out in the interest of selling some work, you’ll know that it’s time to grab your bag and run for the door. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without knowing exactly what you consider “a bit cold,” it’s hard to give detailed behavioral advice. Yet as a side note, you might consider learning how to say a firm, confident “Thank you, but no” with a pleasant look on your face. It will serve you well in your current predicament, and you will find it handy in all kinds of situations. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston59.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, \u003ci>Triumphal Arch\u003c/i>, 2007.\u003c/center>\n\u003cp>\u003cb>A very close friend and I are curating an exhibit in Kansas City. The entire show consists of artists under the age of 21 including us curators. We have a pretty solid plan, filled with installations, video projections, paintings, sculptures, and performance. What are some words of advice you can give to us as we embark on our first and greatest endeavor to date? I think the hardest part is the fact that we are all so young. We are definitely talented, not to be modest. I feel that it is going to be hard for people to take us seriously and also hard to make a show worthy of critique and review from the establishment. It’s also hard to perceive the future issues we might face during set up and the opening. It’s also going to be hard to combine all these talents together without it being a sensory overload. What are some issues you’ve come across that we probably wouldn’t have thought of ahead of time? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>First of all, bravo! I’m glad to hear that you are making and executing ambitious plans. I have no doubt that your work is going to be inspiring to the other artists and curators in your community. \u003c/p>\n\u003cp>With such a big show, you’re going to have to delegate, and that means that you need to communicate clearly, beginning with yourself and your own plans. I love to map these kinds of things out in pencil and paper, so grab some now. Begin with your end goal and work backward, asking yourself how you’re going to get to each step along the way. For example, you might say that your end goal is to put on a great show with excellent artwork that is well received by the press. How do you get there? Well, among other things, you’ll need an exhibition space (which you have), some great artists (check), and a well-crafted press release. Now, how do you get there? Well, you read a lot of art press releases, you write yours out and (this is very important) get it edited by someone who is a good writer, then you gather the contact information for the arts journalists you want to reach and you send the press release out. How do you get there? Maybe you know someone who works at a gallery who can show you some PR, or you can look for advice in a book on professional practices such as \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_7?s=books&ie=UTF8&qid=1343017604&sr=1-7&keywords=artist+career\">\u003cem>Taking the Leap\u003c/em>\u003c/a> by Cay Lang. Where do you find contact information? — on the internet and on the index page of print publications like \u003ca href=\"http://www.artinamericamagazine.com/\">\u003cem>Art in America\u003c/em>\u003c/a>. Etc., etc., etc. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston331.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, detail from the installation \u003ci>PLEXUS\u003c/i>, 2011.\u003c/center>\n\u003cp>This kind of mapping can also help you make a timeline. For example, if you need to send press releases out a month in advance, then you need to have a rough draft in hand two months in advance, which means that your research and example gathering should happen at least two weeks before that, which means that you need to have all the artists’ names spell-checked and into a document at least a week before that… It sounds exhausting when you write it all out this way, but I assure you, writing it all down will make it much more manageable, Having a comprehensive list will help you stay on track so that the days immediately before the opening are spent on installing the show beautifully and not on overdue administrative tasks. Your map can also function as a checklist so that nothing is forgotten. \u003c/p>\n\u003cp>In my experience, communication is always the most basic issue/problem that arises in both large and small group shows. People (artists, curators, assistants) make assumptions and then act on them — or not, as when they think that it is somebody else’s job. Your map will aid in communication, and it will help you to parcel out very specific tasks. For example, instead of saying, “Michael’s going to deal with the press,” (and then hoping that Michael is going to figure it all out by himself) you can say, “Michael’s going to research press releases from these sources, write a release, and hand it off to Claire for editing by August 15th.” See how much better it is to be specific? If you and everyone else are clear on what is required, all the necessary tasks are much more likely to be completed. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston354.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rob Swainston, \u003ci>All That is Solid Melts into Air\u003c/i>, 2011.\u003c/center>\n\u003cp>Another area where straightforward communication is the key to avoiding strife is in the allotment of exhibition space. Consider giving people specific, measured areas of the venue. Otherwise, you might end up having to sort out some silly squabble during installation over who gets the last eight inches of the wall near the door. The opening should be scripted likewise: if one performance is scheduled for 8pm and another for 9pm, make sure that both artists know that 8pm doesn’t mean 8:45pm. This is very much the strategy of hoping for the best and planning for the worst. By making a map of every part of this exhibition, you’ll be able to anticipate where things might go wrong. \u003c/p>\n\u003cp>You are very young, but if you pull this off your youth will work in your favor. Being taken seriously really doesn’t have to do with your age, it has to do with your professionalism. Treat this exhibition as if you are a professional and insist on the same from others. This is a self-created training ground for you all, so practice putting your very best work forward, whether that work is a painting or an email to a curator. Communications should be clear, prompt and polite; disagreements should be handled with good humor and grace. You can’t do anything about your biological age, but you can act in a way that makes people surprised when they find out how young you are. Best of luck to you all! \u003c/p>\n\u003cp>\u003ci>The work in this week’s column is by \u003ca href=\"http://www.robswainston.com/\">Rob Swainston\u003c/a>, who will have a solo show at \u003ca href=\"http://kunsthalle.neuwerk.org/Neuwerk/Kunst.nsf/DE/Swainston\">Neuwerk Kunsthalle\u003c/a> in Konstanz, Germany in September. For those of you following the discussion around artist statements, Rob’s is \u003ca href=\"http://www.robswainston.com/statement-writings-q-a\">worth checking out\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"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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"order": 15
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"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"source": "American Public Media"
},
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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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},
"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",
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"meta": {
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"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",
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"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.",
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"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",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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