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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 am having a rather embarrassing problem with some of my local colleagues in the visual arts. That problem is a general enmity and competitiveness when it comes to grants and exhibitions. I have always taken a ‘win some lose some’ approach to my own art career and have always applied this sentiment to the failures and successes of my peers. Lately however, I have noticed that as I move up the food chain, as it were, many of the people I have known for a long time are now taking a much nastier tack with me, making underhanded digs at my decision making or being sure to insert a subtle insult along with their congratulations. I also notice that new artists that I meet at this same level act the same toward me, being generally snotty and backstabbing. Is this just a necessary evil of being an up-and-coming artist? Is there an end to it? Do blue chip artists have to deal with the petty insecurities of their peers or does everyone just get along past a certain point? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I wonder why you’re embarrassed by this problem when the poor behavior is coming from your colleagues and not from you. It seems that if anyone should be embarrassed, it’s them — after all, who hasn’t felt a little green-eyed when faced with the news of a competitor’s good fortune, even if that competitor is a friend — but they should have the good sense to offer their best wishes and leave it at that. Sulking is best done at home where no one can see your frowny little face. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dimitri Kozyrev, \u003ci>Last one 16\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>It’s true that the competition model breeds insecurity. When 300 artists apply for one $10,000 grant, that leaves 299 disappointed; and everyone expresses disappointment in their own way. A few can shrug it off, as you seem to do, and others grow embittered and let it poison their relationships. Limited resources can sometimes turn friends into frenemies and complete strangers into adversaries. Yes, some people live their lives like this, but that doesn’t mean you have to follow suit, and no matter what else you decide to do, please don’t adopt their paradigm. \u003c/p>\n\u003cp>So what can you do with your current situation? First, I hope you will take a moment to review all those underhanded digs and subtle insults and make sure you’re not just being hypersensitive. Sometimes we imagine the responses of others in advance (“Gosh, this new award is going to make everyone jealous!”) and then project those imaginings onto reality. Before you go any further, make sure you read the situation correctly and keep your \u003ci>own\u003c/i> insecurities out of the driver’s seat. Got it? Okay, just checking. \u003c/p>\n\u003cp>Then, assuming you are really being insulted, you have a few options. You could ignore it and hope to find some nicer, more generous colleagues soon, or you can respond when your current pals start misbehaving. If they don’t know enough to say, “Congratulations!” and then bite their tongues, you are free to acknowledge their unkindness. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dimitri Kozyrev, \u003ci>Last one 14\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>There are probably some people with whom you’d like to remain on friendly terms. You might consider speaking to these people in private, letting them know that they’ve hurt your feelings and that you’re uncomfortable with your current interactions. Tread carefully here, using “I feel” and “I think” assertions, instead of “you” statements, which tend to make people defensive and combative. If your goal is to preserve and even enhance former good feelings between the two of you, be ready to listen as well as talk. \u003c/p>\n\u003cp>When in public, the indirect and slippery nature of the left-handed compliment becomes trickier to address. You might try to face the issue head on by asking innocently, “Why do you say that?” or “What do you mean?” when you’re served with a subtle taunt. Pretending to not comprehend is a great way to get your antagonists to own what they are saying. With a little luck, they’ll either quickly learn to keep the belittling innuendoes in check, or bash you more openly — at which point you’re free to cut them loose. But at least you won’t die of a thousand tiny cuts. \u003c/p>\n\u003cp>For the really rude remarks made by people you don’t care about, one old favorite is complete silence coupled with a blank face and full eye contact, letting the remark hang uncomfortably in the air before turning away and talking to someone else. Save that for the really asinine over-the-top jabs. Anyone who is rude to you does not deserve your attention, so just remove yourself from this person’s presence and don’t subject yourself to any more bad energy. If jealousy and insecurity is making a colleague temporarily (or permanently) insane, you want to get away before the knives come out. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dimitri Kozyrev, \u003ci>Last one 10\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>And what to do with the people you’ve only just met? Kill them with kindness by being as generous and sympathetic as you can. Self-awareness is something that most people lack, so maybe they aren’t even cognizant of how their remarks are perceived. Give them the benefit of the doubt until you get to know them better. \u003c/p>\n\u003cp>Is there an end to it? Do you ever get to pass through some pearly gates to join an enlightened level of arts participation where everyone is gracious and respectful? I wouldn’t know, but I sincerely doubt it. There’s no end to the competition (well, okay, maybe if you win a MacArthur), so there’s probably not an end to the sniping. That’s fine, you don’t have to engage in that kind of thing. Choose what kind of artist you want to be, and choose how you want to interact with people. You can’t dictate what other people do, but you can control how you operate and who you let into your life based on how they behave. The trick is to find people that you trust, who are open and aware of their own feelings, and then be as loving and honest as you can with them — and with yourself. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am having a rather embarrassing problem with some of my local colleagues in the visual arts. That problem is a general enmity and competitiveness when it comes to grants and exhibitions. I have always taken a ‘win some lose some’ approach to my own art career and have always applied this sentiment to the failures and successes of my peers. Lately however, I have noticed that as I move up the food chain, as it were, many of the people I have known for a long time are now taking a much nastier tack with me, making underhanded digs at my decision making or being sure to insert a subtle insult along with their congratulations. I also notice that new artists that I meet at this same level act the same toward me, being generally snotty and backstabbing. Is this just a necessary evil of being an up-and-coming artist? Is there an end to it? Do blue chip artists have to deal with the petty insecurities of their peers or does everyone just get along past a certain point? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I wonder why you’re embarrassed by this problem when the poor behavior is coming from your colleagues and not from you. It seems that if anyone should be embarrassed, it’s them — after all, who hasn’t felt a little green-eyed when faced with the news of a competitor’s good fortune, even if that competitor is a friend — but they should have the good sense to offer their best wishes and leave it at that. Sulking is best done at home where no one can see your frowny little face. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dimitri Kozyrev, \u003ci>Last one 16\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>It’s true that the competition model breeds insecurity. When 300 artists apply for one $10,000 grant, that leaves 299 disappointed; and everyone expresses disappointment in their own way. A few can shrug it off, as you seem to do, and others grow embittered and let it poison their relationships. 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"content": "\u003cp>Yarn bombing is an art form involving outdoor installations, covering existing urban objects with yarn, and adding color, coziness, and a handmade touch to urban landscapes. From turning \u003ca href=\"http://www.huffingtonpost.com/2012/04/25/stop-sign-yarn-flowers-san-diego_n_1454101.html\">stop signs into flowers\u003c/a>, to \u003ca href=\"http://www.nytimes.com/2011/05/19/fashion/creating-graffiti-with-yarn.html?_r=0l\">blanketing the Wall Street bull\u003c/a>, yarn bombing is an established art form that leaves viewers curious and city workers confused. I contacted Bay Area artist Street Color to ask about her experiences as a yarn bomber, and get down to the ‘knitty’ gritty (let’s just get that pun out of the way).\u003c/p>\n\u003cp>Initially, Street Color chose an anonymous name as a way to separate yarn bombing from her work in other media, and because many street artists use pseudonyms to avoid the cops. But, she says, “eventually the anonymous stance became mostly a reaction to our cultural emphasis on personality.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathHouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>House by Luke Haynes.\u003c/p>\n\u003cp>Within any art form, there will always be different approaches. Some artists use the knit wrapping technique for commercial purposes, garnering a lot of attention, but this isn’t exactly yarn bombing in Street Color’s opinion. “In the U.S., almost all of the media coverage is about yarn bombing that was done for corporate commissions, which is the opposite of the non-commercial nature of graffiti and street art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathBart.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because their work is easily removable, yarn bombers haven’t experienced traditional graffiti artists’ \u003ca href=\"http://www.flickr.com/photos/kqed_arts/8137386334/in/photostream/lightbox/\">criminal status\u003c/a>. According to Street Color, many bombers have been “scolded crossly and had their work taken down, but no legal action was taken.” The Department of Public Works is responsible for removing yarn bombs, and they’ll only act if there has been a complaint. Though she has been stopped by police for yarn bombing near the Capitol in Sacramento, she mostly adorns the more local streets around her favorite bakeries, bookstores, libraries, gardens, and galleries. She creates a “yarn bombing map” of her life in Berkeley, Oakland, and San Francisco, and has put up work near many museums “as a little conversation about where we see art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathTrees.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Trees by Suzanne Tidwell.\u003c/p>\n\u003cp>Street Color hand spins her own yarn “so that is sustainable and as beautiful as possible,” and she sees her work as a way to honor women who knit and crochet, as she says, “happily and anonymously all over the world. It is wonderful to see these old practical and modest arts appearing boldly and joyously all over our cities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://streetcolor.wordpress.com/\">Street Color’s blog\u003c/a>, where she keeps track of yarn bombing around the world, then get your hands on \u003ca href=\"http://www.arsenalpulp.com/bookinfo.php?index=294\">\u003ci>Yarn Bombing: The Art of Crochet and Knit Graffiti\u003c/i>\u003c/a>, the book that inspired her. Next, visit \u003ca href=\"http://croshame.com/2011/06/10/i-left-my-yarn-in-san-francisco/\">croshame.com\u003c/a> for circumference measurements of various poles, park benches, and bike racks in San Francisco. Get to work on your own yarn bombing and \u003ca href=\"http://www.facebook.com/pages/KQED-Arts/231139070292217\">send us the pictures\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yarn bombing is an art form involving outdoor installations, covering existing urban objects with yarn, and adding color, coziness, and a handmade touch to urban landscapes. From turning \u003ca href=\"http://www.huffingtonpost.com/2012/04/25/stop-sign-yarn-flowers-san-diego_n_1454101.html\">stop signs into flowers\u003c/a>, to \u003ca href=\"http://www.nytimes.com/2011/05/19/fashion/creating-graffiti-with-yarn.html?_r=0l\">blanketing the Wall Street bull\u003c/a>, yarn bombing is an established art form that leaves viewers curious and city workers confused. I contacted Bay Area artist Street Color to ask about her experiences as a yarn bomber, and get down to the ‘knitty’ gritty (let’s just get that pun out of the way).\u003c/p>\n\u003cp>Initially, Street Color chose an anonymous name as a way to separate yarn bombing from her work in other media, and because many street artists use pseudonyms to avoid the cops. But, she says, “eventually the anonymous stance became mostly a reaction to our cultural emphasis on personality.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathHouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>House by Luke Haynes.\u003c/p>\n\u003cp>Within any art form, there will always be different approaches. Some artists use the knit wrapping technique for commercial purposes, garnering a lot of attention, but this isn’t exactly yarn bombing in Street Color’s opinion. “In the U.S., almost all of the media coverage is about yarn bombing that was done for corporate commissions, which is the opposite of the non-commercial nature of graffiti and street art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathBart.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because their work is easily removable, yarn bombers haven’t experienced traditional graffiti artists’ \u003ca href=\"http://www.flickr.com/photos/kqed_arts/8137386334/in/photostream/lightbox/\">criminal status\u003c/a>. According to Street Color, many bombers have been “scolded crossly and had their work taken down, but no legal action was taken.” The Department of Public Works is responsible for removing yarn bombs, and they’ll only act if there has been a complaint. Though she has been stopped by police for yarn bombing near the Capitol in Sacramento, she mostly adorns the more local streets around her favorite bakeries, bookstores, libraries, gardens, and galleries. She creates a “yarn bombing map” of her life in Berkeley, Oakland, and San Francisco, and has put up work near many museums “as a little conversation about where we see art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathTrees.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Trees by Suzanne Tidwell.\u003c/p>\n\u003cp>Street Color hand spins her own yarn “so that is sustainable and as beautiful as possible,” and she sees her work as a way to honor women who knit and crochet, as she says, “happily and anonymously all over the world. It is wonderful to see these old practical and modest arts appearing boldly and joyously all over our cities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://streetcolor.wordpress.com/\">Street Color’s blog\u003c/a>, where she keeps track of yarn bombing around the world, then get your hands on \u003ca href=\"http://www.arsenalpulp.com/bookinfo.php?index=294\">\u003ci>Yarn Bombing: The Art of Crochet and Knit Graffiti\u003c/i>\u003c/a>, the book that inspired her. Next, visit \u003ca href=\"http://croshame.com/2011/06/10/i-left-my-yarn-in-san-francisco/\">croshame.com\u003c/a> for circumference measurements of various poles, park benches, and bike racks in San Francisco. Get to work on your own yarn bombing and \u003ca href=\"http://www.facebook.com/pages/KQED-Arts/231139070292217\">send us the pictures\u003c/a>!\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 have to give a lecture on my work to students and faculty in the Fine Arts Department of a good size liberal arts college. I have lectured in the past to smaller audiences and have some Power Point chops so I’m not worried about putting together a decent looking program, what I am worried about is being boring. I, myself have suffered trough many boring lectures (some by artists whose work I admire) and would really love to spare the poor folks at this college from the same fate.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I’d like to avoid the moldy old standard “this is a chronology of my output from Grad School to present” but I’m having a hard time coming up with ideas that will engage the audience but still get a decent amount of my work up in front of them. Is it okay to include a few images of work that are not my own in order to discuss some of my influences? Do you have any hints on how to create a dynamic stage presence, assuming the lecture hall isn’t pitch dark? And, lastly, I’ve noticed that some artists’ lectures are a little dry but they shine during the Q and A. I’d like to shine during the Q and A too, in part because it’s the last thing the audience hears and in part because you look really smart if your unscripted responses are cogent. Any tips? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>An artist lecture certainly doesn’t have to be boring. The best ones leave the audience energized with a new appreciation of what it means to be an artist in a contemporary community. There are many ways to rock your presentation, and there really isn’t a one-size-fits-all answer, so what follows are some general suggestions that you can tailor to your style and comfort level.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Isa Genzken, \u003ci>White Horses \u003c/i>, 2008.\u003c/p>\n\u003cp>This first tip is non-negotiable: above all other considerations, practice is the key to success. Whether you are a veteran at the microphone or terrified of an audience, practice will make your talk go smoothly, so once you have your PowerPoint slides in order, take the time to run through your images and talk out loud about the work — even to an empty room. Just hearing your own voice will alert you to any gaps or flaws and you can tighten up your lecture considerably by running through it a couple of times before the actual presentation. You can also use these opportunities to time your talk — no matter how good the work is, everyone’s butt starts to hurt at around the 50-minute mark, so don’t go over the time you’ve been allotted. \u003c/p>\n\u003cp>Another factor to consider is your audience: you’ll want to adjust your talk in keeping with who will be listening. In this case, your information should be mainly geared toward the students, so find out if they are undergrads or grads and speak accordingly. I’m not suggesting that you dumb down your presentation, but if you’re a theory geek and plan to talk about \u003ca href=\"http://en.wikipedia.org/wiki/Giorgio_Agamben#State_of_Exception_.282005.29\">Giorgio Agamben’s state of exception\u003c/a>, be prepared to introduce these complex ideas to an audience that may not already be familiar (which, by the way, will lengthen your talking time). No one gets excited about a presentation they don’t understand, so if you know in advance whom your audience is you can customize the information to meet their needs. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Isa Genzken, \u003ci>Abendmahl\u003c/i>, 2008.\u003c/p>\n\u003cp>Stage presence can definitely help a lecture along. To begin: stand up straight, smile, look around the room, and look the audience in the eyes. If you’re nervous, learn some breathing techniques that will keep you focused enough to get through the first few minutes — after that, the fight-or-flight mechanism will have died down and you’ll be in the zone. Also, avoid being a cadaver at the podium; during your rehearsals try to practice some natural gestures that you might make, such as holding your hands apart to indicate size or pointing to a particular area in an image. If you are comfortable on stage, you may want to get out from behind the podium a few times, because movement is dynamic and creates energy. Finally, humor is an excellent strategy for livening up a lecture. If there’s a funny point you could make, by all means we in the audience want to hear it. \u003c/p>\n\u003cp>Since your job is to open up your practice, images of your influences can be great — \u003ci>if\u003c/i> they’re truly related to your work in a tangible, expressible way. For example, let’s say you’re profoundly inspired by the work of Cindy Sherman, yet you make abstract paintings: you need to explain very clearly why you believe these two different bodies of work are connected. If your work is a response to another artist’s, or a continuation of a prior creative exploration, then talking about your influences can be very enlightening. But there’s a caveat: be careful that you’re not justifying your own work by trying to stand on the shoulders of other (likely famous) artists. Your work should rest on its own merits, and talking about influences should illuminate, not vindicate, your practice. \u003c/p>\n\u003cp>One idea to consider for the Q&A is to not save it for the end. When possible, I explicitly open up my lecture to questions from the beginning, asking the audience to jump in at any point when they need clarification. This serves two functions: it allows people to ask questions before they forget them, and it can also break the ice on queries so that there’s not an awkward pause at the end of the lecture while everyone waits to see who will ask a question first. This opening-up strategy is not for everyone — it can derail a really tightly scripted talk, so this method may not work for you if you’re reading word-for-word from your notes — but if you’re comfortable enough to do your lecture from an outline, the odd interjected question can liven things up considerably. \u003c/p>\n\u003cp>One of the reasons that artists often shine during the post-talk Q&A is that they’re more or less done with the task at hand — they’re relieved, relaxed, and, after 45 minutes of talking, they’re in the swing of things. Take time to acknowledge your questioners by saying things like, “Thanks for asking that question,” or “That’s an important question.” If you don’t know the answer to a query, throw it out to the audience and open up a general discussion with something like: “I’m not sure what the right answer is, but I bet someone else in this room does.” If you’re greeted with a lengthening silence after your introducer announces that the floor is open for questions, don’t feel bad, just turn the tables on your audience and ask questions of \u003ci>them\u003c/i>. With a little practice, you’ll learn to read each crowd and use strategies that will keep the presentation energetic right up to the final moment.\u003c/p>\n\u003cp>Finally, remember that being invited to give a lecture is a form of praise and respect. Start and end your talk by expressing your gratitude. Thank the audience for coming, and thank the specific people in the department who brought you there. Practice, smile, be confident — and break a leg! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have to give a lecture on my work to students and faculty in the Fine Arts Department of a good size liberal arts college. I have lectured in the past to smaller audiences and have some Power Point chops so I’m not worried about putting together a decent looking program, what I am worried about is being boring. I, myself have suffered trough many boring lectures (some by artists whose work I admire) and would really love to spare the poor folks at this college from the same fate.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I’d like to avoid the moldy old standard “this is a chronology of my output from Grad School to present” but I’m having a hard time coming up with ideas that will engage the audience but still get a decent amount of my work up in front of them. Is it okay to include a few images of work that are not my own in order to discuss some of my influences? Do you have any hints on how to create a dynamic stage presence, assuming the lecture hall isn’t pitch dark? And, lastly, I’ve noticed that some artists’ lectures are a little dry but they shine during the Q and A. I’d like to shine during the Q and A too, in part because it’s the last thing the audience hears and in part because you look really smart if your unscripted responses are cogent. Any tips? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>An artist lecture certainly doesn’t have to be boring. The best ones leave the audience energized with a new appreciation of what it means to be an artist in a contemporary community. There are many ways to rock your presentation, and there really isn’t a one-size-fits-all answer, so what follows are some general suggestions that you can tailor to your style and comfort level.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Isa Genzken, \u003ci>White Horses \u003c/i>, 2008.\u003c/p>\n\u003cp>This first tip is non-negotiable: above all other considerations, practice is the key to success. Whether you are a veteran at the microphone or terrified of an audience, practice will make your talk go smoothly, so once you have your PowerPoint slides in order, take the time to run through your images and talk out loud about the work — even to an empty room. Just hearing your own voice will alert you to any gaps or flaws and you can tighten up your lecture considerably by running through it a couple of times before the actual presentation. You can also use these opportunities to time your talk — no matter how good the work is, everyone’s butt starts to hurt at around the 50-minute mark, so don’t go over the time you’ve been allotted. \u003c/p>\n\u003cp>Another factor to consider is your audience: you’ll want to adjust your talk in keeping with who will be listening. In this case, your information should be mainly geared toward the students, so find out if they are undergrads or grads and speak accordingly. I’m not suggesting that you dumb down your presentation, but if you’re a theory geek and plan to talk about \u003ca href=\"http://en.wikipedia.org/wiki/Giorgio_Agamben#State_of_Exception_.282005.29\">Giorgio Agamben’s state of exception\u003c/a>, be prepared to introduce these complex ideas to an audience that may not already be familiar (which, by the way, will lengthen your talking time). No one gets excited about a presentation they don’t understand, so if you know in advance whom your audience is you can customize the information to meet their needs. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Isa Genzken, \u003ci>Abendmahl\u003c/i>, 2008.\u003c/p>\n\u003cp>Stage presence can definitely help a lecture along. To begin: stand up straight, smile, look around the room, and look the audience in the eyes. If you’re nervous, learn some breathing techniques that will keep you focused enough to get through the first few minutes — after that, the fight-or-flight mechanism will have died down and you’ll be in the zone. Also, avoid being a cadaver at the podium; during your rehearsals try to practice some natural gestures that you might make, such as holding your hands apart to indicate size or pointing to a particular area in an image. If you are comfortable on stage, you may want to get out from behind the podium a few times, because movement is dynamic and creates energy. Finally, humor is an excellent strategy for livening up a lecture. If there’s a funny point you could make, by all means we in the audience want to hear it. \u003c/p>\n\u003cp>Since your job is to open up your practice, images of your influences can be great — \u003ci>if\u003c/i> they’re truly related to your work in a tangible, expressible way. For example, let’s say you’re profoundly inspired by the work of Cindy Sherman, yet you make abstract paintings: you need to explain very clearly why you believe these two different bodies of work are connected. If your work is a response to another artist’s, or a continuation of a prior creative exploration, then talking about your influences can be very enlightening. But there’s a caveat: be careful that you’re not justifying your own work by trying to stand on the shoulders of other (likely famous) artists. Your work should rest on its own merits, and talking about influences should illuminate, not vindicate, your practice. \u003c/p>\n\u003cp>One idea to consider for the Q&A is to not save it for the end. When possible, I explicitly open up my lecture to questions from the beginning, asking the audience to jump in at any point when they need clarification. This serves two functions: it allows people to ask questions before they forget them, and it can also break the ice on queries so that there’s not an awkward pause at the end of the lecture while everyone waits to see who will ask a question first. This opening-up strategy is not for everyone — it can derail a really tightly scripted talk, so this method may not work for you if you’re reading word-for-word from your notes — but if you’re comfortable enough to do your lecture from an outline, the odd interjected question can liven things up considerably. \u003c/p>\n\u003cp>One of the reasons that artists often shine during the post-talk Q&A is that they’re more or less done with the task at hand — they’re relieved, relaxed, and, after 45 minutes of talking, they’re in the swing of things. Take time to acknowledge your questioners by saying things like, “Thanks for asking that question,” or “That’s an important question.” If you don’t know the answer to a query, throw it out to the audience and open up a general discussion with something like: “I’m not sure what the right answer is, but I bet someone else in this room does.” If you’re greeted with a lengthening silence after your introducer announces that the floor is open for questions, don’t feel bad, just turn the tables on your audience and ask questions of \u003ci>them\u003c/i>. With a little practice, you’ll learn to read each crowd and use strategies that will keep the presentation energetic right up to the final moment.\u003c/p>\n\u003cp>Finally, remember that being invited to give a lecture is a form of praise and respect. Start and end your talk by expressing your gratitude. Thank the audience for coming, and thank the specific people in the department who brought you there. Practice, smile, be confident — and break a leg! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sacramento photographer Doug Rickard has traveled thousands of miles across America — without leaving his studio. Rickard drives around the country in search of artistic inspiration using \u003ca href=\"http://maps.google.com/intl/en/help/maps/streetview/\">Google Street View\u003c/a>. What he has brought back from these expeditions is a portrait of the bleak and forgotten places that are often overlooked in the U.S. His work carries on a photographic tradition that stretches back to the Great Depression, when a number of famous photographers (Walker Evans, Dorothea Lang) fanned out across the country to document the plight of the poor.\u003c/p>\n\u003cp>Street View, which launched in May 2007, is the perfect vehicle for capturing the effects of the recent economic collapse. Google’s goal of providing a street-level vision of the buildings and landscapes represented on a bird’s eye map has resulted in the freezing of countless scenes of economic hardship and devastation, which are isolated and reified in Rickard’s photographs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rickard1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Doug Rickard, \u003ci>#26.431997, Belle Glade, Fl (2007), 2010.\u003c/i>\u003c/p>\n\u003cp>While not the only person to make art using online tools — several artists even use Street View — Rickard’s work “speaks to American dynamics both present and past that are separate from technology (socio-economics, racial divide, class divide, historical events, etc.) and then technology adds layers to this work that are in themselves manifold (privacy, surveillance, participation or lack of participation in the technology transformations of our culture, etc. etc).”\u003c/p>\n\u003cp>View KQED’s video profile of Doug Rickard:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=X9cAK2LJWQY&w=480&h=270]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sacramento photographer Doug Rickard has traveled thousands of miles across America — without leaving his studio. Rickard drives around the country in search of artistic inspiration using \u003ca href=\"http://maps.google.com/intl/en/help/maps/streetview/\">Google Street View\u003c/a>. What he has brought back from these expeditions is a portrait of the bleak and forgotten places that are often overlooked in the U.S. His work carries on a photographic tradition that stretches back to the Great Depression, when a number of famous photographers (Walker Evans, Dorothea Lang) fanned out across the country to document the plight of the poor.\u003c/p>\n\u003cp>Street View, which launched in May 2007, is the perfect vehicle for capturing the effects of the recent economic collapse. Google’s goal of providing a street-level vision of the buildings and landscapes represented on a bird’s eye map has resulted in the freezing of countless scenes of economic hardship and devastation, which are isolated and reified in Rickard’s photographs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rickard1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Doug Rickard, \u003ci>#26.431997, Belle Glade, Fl (2007), 2010.\u003c/i>\u003c/p>\n\u003cp>While not the only person to make art using online tools — several artists even use Street View — Rickard’s work “speaks to American dynamics both present and past that are separate from technology (socio-economics, racial divide, class divide, historical events, etc.) and then technology adds layers to this work that are in themselves manifold (privacy, surveillance, participation or lack of participation in the technology transformations of our culture, etc. etc).”\u003c/p>\n\u003cp>View KQED’s video profile of Doug Rickard:\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 have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late thirties, sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at \u003ca href=\"http://www.realitytvworld.com/\">reality TV\u003c/a>. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-gilmore.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Kate Gilmore, \u003ci>Main Squeeze\u003c/i>, 2006.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. 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If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you, but who has issues in other parts of his life, may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late thirties, sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at \u003ca href=\"http://www.realitytvworld.com/\">reality TV\u003c/a>. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-gilmore.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Kate Gilmore, \u003ci>Main Squeeze\u003c/i>, 2006.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. He helped you focus on your work to make it better, and if you’re still in touch it means that you had a good personality match. While you may not have articulated it to yourself, you probably assumed that because his professional behavior was congenial, all his actions were above reproach. And now you’re also in the unsteady transition period from graduate school to real life, one in which very good mentors slowly develop into friends. Your trust in this person has been altered by the revelation that he is, or at least was, weak and unreliable to an important person in his family. The higher your former regard for this man, the more profound your disappointment is now.\u003c/p>\n\u003cp>Yet his marital iniquity doesn’t have anything to do with his ability to act as a friend and mentor. Yes, the moral transgression of adultery is ugly and wounding, but it doesn’t mean that he is completely evil. If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you, but who has issues in other parts of his life, may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Dear Help Desk, I have a nagging suspicion a prominent curator in my town feels slighted by my inaction to follow up on a studio visit he solicited. I know opportunities like this don’t happen often, and I deeply regret not following up, but I was in my thesis year of graduate school and could do little more than eat, sleep and work in the studio. We’ve bumped into each other at art openings and other events and he does his best to overlook me but greets my husband. Building an art career is difficult enough, I worry that his feelings toward me might make it even harder. I’m so embarrassed by the situation I don’t know how to proceed. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>So you missed an opportunity to present your work, and now you believe that the curator is taking it personally and showing you his feelings by snubbing you at openings. There’s really only one way to find out if that’s true: by writing to him and asking for a studio visit. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-snubbed1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Robert Rauschenberg, \u003ci>Retroactive I\u003c/i>, 1963.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>You could play this a few different ways. You could, in the email, apologize for not following up, explain how overwhelmed you felt during school, and ask if the opportunity is still open; or you could just send a very short note requesting a time for a visit (with no mention of your prior interactions); or you could try for the middle ground, requesting an appointment “now that I’m out of school and not swamped by coursework.” Personally, I’d choose the last option, acknowledging your former position but without making it into a big deal. You owe it to yourself to investigate this situation and see if it’s possible to find out what’s really going on — otherwise, you’ll just torture yourself every time you run into him. By getting in touch, it’s likely that you’ll be able to determine (either by the curator’s response, or by his non-response) how he feels about your interactions; and whether it’s good news or bad news, it will allow you to discern his estimation of your (albeit limited) interactions. Additionally, if this curator’s feelings were indeed hurt, your continued interest in a studio visit might mend the rift. Communicating your previous situation will let him know that it was nothing personal and that you take the opportunity seriously. Don’t put this off any longer, just write a nice email and send it off today. \u003c/p>\n\u003cp>Now, aside from the issue of if/when/what you hear back from this person, you’ll want to think about your broader goals. This person is important in your community, but make sure you’re not putting all your eggs in his basket. Building an art career is laborious, and you can’t control what other people do; but you \u003ci>can\u003c/i> take steps to carve out your own future regardless of how things end up with Mr. Prominent Curator. While he may be a big deal in your town, he can’t be the only one, so sit down and make a list of all the other people that you’d like to ask for a studio visit. Start the list with curators and gallerists in your town, then make another list of people you’d like to work with in the closest big city (this process may require research, which you can \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">read about here\u003c/a>). When selecting the people you’d like to contact, try to strike a balance between the VIPs and the relatively obscure. On the one hand, I encourage you to shoot high. Even if the blue-chippers aren’t scurrying over to your studio in droves, you’ll get your work in front of them, which is never a bad thing. On the other hand, be sure to include curators, writers, and other artists who share your ambition, but are also still on their way. By creating a balanced list, you’re more likely to actually make some appointments, and you never know who will be enthusiastic and give you some useful feedback. Low-pressure studio visits are great practice for when the heavy hitters do start sniffing around, and today’s upstart arts blogger might be tomorrow’s \u003ci>Artforum\u003c/i> staff writer. Of course, just like grant applications and project proposals, studio visits are a great tool to help you see your work through another person’s eyes, to analyze your studio practice in novel ways, and clarify your thinking about your artistic motives and strategies.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-snubbed2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Robert Rauschenberg, \u003ci>Estate\u003c/i>, 1963.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>When your list is ready, start reaching out via email and asking all of these individuals for studio visits. If a curator lives in another city, ask if they plan to visit your town in the future and request that he/she gets in touch. Include a link to your website and links to any online press. If your work looks good on a computer screen and you’re able to travel, you might propose to meet them in their city for an impromptu “studio on a laptop” visit. Or, even better, if you have an exhibition in another city you can contact curators and writers in the area and propose to meet them one-on-one in the exhibition space, using that as an ersatz studio while you’re in town. No matter where you’re meeting, try to group studio visits closely on the calendar. This will keep you fresh and in the proper headspace to talk about your work, and will save you having to repeatedly clean up your studio in preparation for the next guest (\u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">more on studio visits here\u003c/a>).\u003c/p>\n\u003cp>The best studio visits are valuable and enjoyable for both parties. If you work to make the experience a positive one, you’re likely to be able to foster a lot of interest in your work among the arts community in your area, including Mr. Prominent Curator himself. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Dear Help Desk, I have a nagging suspicion a prominent curator in my town feels slighted by my inaction to follow up on a studio visit he solicited. I know opportunities like this don’t happen often, and I deeply regret not following up, but I was in my thesis year of graduate school and could do little more than eat, sleep and work in the studio. We’ve bumped into each other at art openings and other events and he does his best to overlook me but greets my husband. Building an art career is difficult enough, I worry that his feelings toward me might make it even harder. I’m so embarrassed by the situation I don’t know how to proceed. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>So you missed an opportunity to present your work, and now you believe that the curator is taking it personally and showing you his feelings by snubbing you at openings. There’s really only one way to find out if that’s true: by writing to him and asking for a studio visit. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-snubbed1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Robert Rauschenberg, \u003ci>Retroactive I\u003c/i>, 1963.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>You could play this a few different ways. You could, in the email, apologize for not following up, explain how overwhelmed you felt during school, and ask if the opportunity is still open; or you could just send a very short note requesting a time for a visit (with no mention of your prior interactions); or you could try for the middle ground, requesting an appointment “now that I’m out of school and not swamped by coursework.” Personally, I’d choose the last option, acknowledging your former position but without making it into a big deal. You owe it to yourself to investigate this situation and see if it’s possible to find out what’s really going on — otherwise, you’ll just torture yourself every time you run into him. By getting in touch, it’s likely that you’ll be able to determine (either by the curator’s response, or by his non-response) how he feels about your interactions; and whether it’s good news or bad news, it will allow you to discern his estimation of your (albeit limited) interactions. Additionally, if this curator’s feelings were indeed hurt, your continued interest in a studio visit might mend the rift. Communicating your previous situation will let him know that it was nothing personal and that you take the opportunity seriously. Don’t put this off any longer, just write a nice email and send it off today. \u003c/p>\n\u003cp>Now, aside from the issue of if/when/what you hear back from this person, you’ll want to think about your broader goals. This person is important in your community, but make sure you’re not putting all your eggs in his basket. Building an art career is laborious, and you can’t control what other people do; but you \u003ci>can\u003c/i> take steps to carve out your own future regardless of how things end up with Mr. Prominent Curator. While he may be a big deal in your town, he can’t be the only one, so sit down and make a list of all the other people that you’d like to ask for a studio visit. Start the list with curators and gallerists in your town, then make another list of people you’d like to work with in the closest big city (this process may require research, which you can \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">read about here\u003c/a>). When selecting the people you’d like to contact, try to strike a balance between the VIPs and the relatively obscure. On the one hand, I encourage you to shoot high. Even if the blue-chippers aren’t scurrying over to your studio in droves, you’ll get your work in front of them, which is never a bad thing. On the other hand, be sure to include curators, writers, and other artists who share your ambition, but are also still on their way. By creating a balanced list, you’re more likely to actually make some appointments, and you never know who will be enthusiastic and give you some useful feedback. Low-pressure studio visits are great practice for when the heavy hitters do start sniffing around, and today’s upstart arts blogger might be tomorrow’s \u003ci>Artforum\u003c/i> staff writer. Of course, just like grant applications and project proposals, studio visits are a great tool to help you see your work through another person’s eyes, to analyze your studio practice in novel ways, and clarify your thinking about your artistic motives and strategies.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-snubbed2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Robert Rauschenberg, \u003ci>Estate\u003c/i>, 1963.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>When your list is ready, start reaching out via email and asking all of these individuals for studio visits. If a curator lives in another city, ask if they plan to visit your town in the future and request that he/she gets in touch. Include a link to your website and links to any online press. If your work looks good on a computer screen and you’re able to travel, you might propose to meet them in their city for an impromptu “studio on a laptop” visit. Or, even better, if you have an exhibition in another city you can contact curators and writers in the area and propose to meet them one-on-one in the exhibition space, using that as an ersatz studio while you’re in town. No matter where you’re meeting, try to group studio visits closely on the calendar. This will keep you fresh and in the proper headspace to talk about your work, and will save you having to repeatedly clean up your studio in preparation for the next guest (\u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">more on studio visits here\u003c/a>).\u003c/p>\n\u003cp>The best studio visits are valuable and enjoyable for both parties. If you work to make the experience a positive one, you’re likely to be able to foster a lot of interest in your work among the arts community in your area, including Mr. Prominent Curator himself. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I feel like graffiti has become a dirty word that you have to clean up by using the term “street art.” Or maybe you consider them two different things. But there’s no denying graffiti’s value as an art form. You might see crappy tags or colorless bubble letters and think they’re ugly. Often, that spray-painted crap was the beginning of something great. But graffiti is illegal, so the artist probably had to run before finishing their work. Imagine what happens when you take a huge warehouse with endless walls, and let graffiti artists go nuts without the fear of getting popped. \u003ca href=\"http://endlesscanvas.com/\">Endless Canvas\u003c/a> is an organization that finds ways to make this happen, yielding arresting results (no pun intended).\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>When I noticed my nephew doodling a character created by prolific Bay Area artist GATS, I practically grabbed him by the sleeve and ran down to the latest \u003ci>Special Delivery\u003c/i> exhibition curated by Endless Canvas. Remembering my own teenage art experiences, I recognized that graffiti is often one of the first and most accessible ways for kids to notice art, and I wanted him to see what GATS could do indoors. We were lucky to sneak into the last viewing of \u003ci>Special Delivery\u003c/i> at a Berkeley warehouse owned by art collector, Alan Varela. It was a known graffiti spot that had been abandoned for over a decade, and Varela liked what he saw on the walls. He wanted to give the artists a chance to do one last piece and show off their work before the space is sandblasted and occupied by his business. He’ll later commission about ten of the artists to do permanent works.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[vimeo 49877587 w=480 h=270]\u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/49877587\">Special Delivery 2012\u003c/a> from \u003ca href=\"http://vimeo.com/mattpage\">Mapache Films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The show opened to the public for a one-night party and thousands of people lined up to see it. The space was coated from floor to ceiling with color and life. In this gnarly, former ink factory, the walls were screaming. Paul, the curator of the show and Endless Canvas photographer says, “Good graffiti stands out from the rest. It’s something that makes you stop your car on the freeway when you’re already late for work because you can’t take the chance that it disappears before you get the shot. There are different criteria that constitute good graffiti. One is the difficulty of the place it was executed in. Another is the technical skill and control involved. How much graffiti the person has done in their career is also taken into account. Most importantly though, is originality. Something that pushes new boundaries of style and content. If it’s good graffiti then it will live forever in a photograph. If it’s bad graffiti, it will forever be damned under a layer of grey buff and forgotten by the next generation.” He’s been photographing Varela’s warehouse for years and says, “To me, photography is the afterlife for graffiti.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Paul gave priority to artists who had already painted in the building and who he knew how to contact (obviously most graffiti artists are anonymous). Then he invited some local legends and emerging artists, including, “12-year-old IMB, who painted the Sad Reindeer. The opportunity was life-altering for many of the artists. For a few of them, this was the first legal piece they had ever painted. Many of the artists grew up hanging out in this building and learned to paint here.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>San Francisco artist Edith was given a wall to paint, and she noticed a difference in the East Bay vibe, “There really seemed to be a supportive and inclusive mentality amongst most of the painters who were part of \u003ci>Special Delivery\u003c/i>, and I think that energy inspired us to try something new.”\u003c/p>\n\u003cp>So, do you have empty walls to fill? A concrete paradise that would appreciate some special treatment? Why not reach out to local artists and become the next graffiti patron? It’s your responsibility as the owner of an empty endless canvas.\u003c/p>\n\u003cp>Keep up with Bay Area graffiti at \u003ca href=\"http://www.endlesscanvas.com\">Endless Canvas\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by Lilah Ralston.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I feel like graffiti has become a dirty word that you have to clean up by using the term “street art.” Or maybe you consider them two different things. But there’s no denying graffiti’s value as an art form. You might see crappy tags or colorless bubble letters and think they’re ugly. Often, that spray-painted crap was the beginning of something great. But graffiti is illegal, so the artist probably had to run before finishing their work. Imagine what happens when you take a huge warehouse with endless walls, and let graffiti artists go nuts without the fear of getting popped. \u003ca href=\"http://endlesscanvas.com/\">Endless Canvas\u003c/a> is an organization that finds ways to make this happen, yielding arresting results (no pun intended).\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>When I noticed my nephew doodling a character created by prolific Bay Area artist GATS, I practically grabbed him by the sleeve and ran down to the latest \u003ci>Special Delivery\u003c/i> exhibition curated by Endless Canvas. Remembering my own teenage art experiences, I recognized that graffiti is often one of the first and most accessible ways for kids to notice art, and I wanted him to see what GATS could do indoors. We were lucky to sneak into the last viewing of \u003ci>Special Delivery\u003c/i> at a Berkeley warehouse owned by art collector, Alan Varela. It was a known graffiti spot that had been abandoned for over a decade, and Varela liked what he saw on the walls. He wanted to give the artists a chance to do one last piece and show off their work before the space is sandblasted and occupied by his business. He’ll later commission about ten of the artists to do permanent works.\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>\u003ca href=\"http://vimeo.com/49877587\">Special Delivery 2012\u003c/a> from \u003ca href=\"http://vimeo.com/mattpage\">Mapache Films\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The show opened to the public for a one-night party and thousands of people lined up to see it. The space was coated from floor to ceiling with color and life. In this gnarly, former ink factory, the walls were screaming. Paul, the curator of the show and Endless Canvas photographer says, “Good graffiti stands out from the rest. It’s something that makes you stop your car on the freeway when you’re already late for work because you can’t take the chance that it disappears before you get the shot. There are different criteria that constitute good graffiti. One is the difficulty of the place it was executed in. Another is the technical skill and control involved. How much graffiti the person has done in their career is also taken into account. Most importantly though, is originality. Something that pushes new boundaries of style and content. If it’s good graffiti then it will live forever in a photograph. If it’s bad graffiti, it will forever be damned under a layer of grey buff and forgotten by the next generation.” He’s been photographing Varela’s warehouse for years and says, “To me, photography is the afterlife for graffiti.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Paul gave priority to artists who had already painted in the building and who he knew how to contact (obviously most graffiti artists are anonymous). Then he invited some local legends and emerging artists, including, “12-year-old IMB, who painted the Sad Reindeer. The opportunity was life-altering for many of the artists. For a few of them, this was the first legal piece they had ever painted. Many of the artists grew up hanging out in this building and learned to paint here.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/specialdelivery5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>San Francisco artist Edith was given a wall to paint, and she noticed a difference in the East Bay vibe, “There really seemed to be a supportive and inclusive mentality amongst most of the painters who were part of \u003ci>Special Delivery\u003c/i>, and I think that energy inspired us to try something new.”\u003c/p>\n\u003cp>So, do you have empty walls to fill? A concrete paradise that would appreciate some special treatment? Why not reach out to local artists and become the next graffiti patron? It’s your responsibility as the owner of an empty endless canvas.\u003c/p>\n\u003cp>Keep up with Bay Area graffiti at \u003ca href=\"http://www.endlesscanvas.com\">Endless Canvas\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by Lilah Ralston.\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>What is the most professional way to handle a guest breaking a piece of artwork at an opening? This has happened to me a couple of times this year, and I’m at a loss for a.) how to prevent it from happening (short of posting signs that say “please no running in the gallery”); and b.) how to handle it once it does happen (is it better to calmly tuck the work away and inform the artist, or yell at the person who has broken the piece, etc., etc.)? There are also insurance implications here… \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>It remains to be seen if accidental harm can be prevented. Obviously, parents of rambunctious children should be reminded of their duties with a discreet request to take them in hand. The Museum of Contemporary Craft in Portland, Oregon — which often hosts shows of invitingly tactile work — has small signs scattered throughout the space advising patrons: “Touching harms the art.” If you’re working in a place where you think someone might be inspired to run, by all means, put out a sign that says, “Please no running in the gallery.” Your job is to protect the art, so do what it takes to guard fragile or potentially fragile work from abuse, whether that means a polite whisper to a particularly animated guest or putting “keep-back” tape lines on the floor to remind patrons to maintain a safe distance.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-flavin1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dan Flavin, \u003ci>Untitled (to Helga and Carlo, with Respect and Affection)\u003c/i>, 1974.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But oh, I feel your pain! — not every “accident” is accidental. Years and years ago, at an opening reception for my husband’s work, I spied a young man about to touch one of the wall-hung motorized sculptures. Clear across the gallery, the director was deep in conversation with a group of patrons; the gallery assistants were nowhere to be seen. Rather than wait for someone else to notice, I walked over to find the man cranking on an immobile part of the work. “Please don’t touch the artwork,” I said. With his hand still on the work, he replied drunkenly, “It’s not working. It’s broken.” So I reached out and took his hand away from the piece, saying, “It’s not broken, it’s on a timer.” Rather than back off, he slurred insistently that the work was not functioning. I reiterated that it was timed to go on and off at intervals, and if he wanted to see it move he would have to wait. Continuing to argue with me, he reached up to touch it again and I had to physically place myself between him and the piece. As you can imagine, it ended badly with me asking him (as politely as I could) to leave the gallery. He did, but I heard later from friends that he lurked out front for a bit with his inebriated pals, apparently waiting to “kick my ass.” \u003c/p>\n\u003cp>I dredge up this unpleasant memory in order to emphasize the difference between an accident and a case of bad intent. However, in either situation I think the most professional response is to speak to the breaker in careful, measured tones. Try to get a handle on what’s going on. Was it a mishap or was the person doing something obviously wrong (like running in the gallery or fondling the artwork)? This may give you a sense for what to say and how to proceed. If you begin with the idea that it was truly unintentional (someone might have tripped over a cord or slipped on a dropped wedge of opening-night brie), you’ll give this hapless individual the opportunity to apologize and maybe even offer to buy the work. If, in your conversation, you discover that the breaker had some sort of malicious desire to hurt the work, then by all means you’re free to call in the authorities and press charges. But remember that raising your voice is only going to make more of a scene; the artist whose piece is broken and who has to witness a shouting match is never going to work with you again, and the gallery patrons will only remember a fight instead of the art you’re seeking to promote. Keep your cool no matter what happens. \u003c/p>\n\u003cp>After you talk to the breaker, you’ll need to notify the artist and ask how she would like to proceed. She’ll want to inspect the damage immediately to see if a repair is possible; if it isn’t, you’ll probably want to offer her the opportunity to replace the broken work with another piece; either way, she should decide whether the work stays up, gets repaired, or is replaced. An honest and in-depth consultation is critical, whether it’s face-to-face or over the phone, so don’t put off being the bearer of bad news because a delay will only make the situation worse. Document the incident well, as it’s imperative that the artist receives all the information on the matter. Take photos of the broken work in situ from as many angles as possible and email them before you pick up the phone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-flavin2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dan Flavin, \u003ci>Installation at Art Basel 41\u003c/i>, 2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>As for insurance, check with your provider \u003ci>before\u003c/i> anything occurs to see what protocol(s) they want you to have in place. They may require certain information about the incident (like photos), so make sure you know in advance what expectations they have for filing a claim. You’ll also want to communicate what you learn to the other gallery workers so that everyone is on the same page. Ask lots of questions when you’re talking to your insurance agent and find out what your insurance will and won’t cover. Some types of insurance will pay replacement or repair values, not sale value, which means that if the Dan Flavin sculpture gets broken, they’ll shell out only for a new fluorescent tubes from the hardware store. By hashing all this out with your insurance agent (go ahead, investigate some hypothetical situations with her), you can get a more precise understanding of what you’ll be reimbursed for in the event of a catastrophe. \u003c/p>\n\u003cp>Good luck! May no one ever run in your gallery again. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>What is the most professional way to handle a guest breaking a piece of artwork at an opening? This has happened to me a couple of times this year, and I’m at a loss for a.) how to prevent it from happening (short of posting signs that say “please no running in the gallery”); and b.) how to handle it once it does happen (is it better to calmly tuck the work away and inform the artist, or yell at the person who has broken the piece, etc., etc.)? There are also insurance implications here… \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>It remains to be seen if accidental harm can be prevented. Obviously, parents of rambunctious children should be reminded of their duties with a discreet request to take them in hand. The Museum of Contemporary Craft in Portland, Oregon — which often hosts shows of invitingly tactile work — has small signs scattered throughout the space advising patrons: “Touching harms the art.” If you’re working in a place where you think someone might be inspired to run, by all means, put out a sign that says, “Please no running in the gallery.” Your job is to protect the art, so do what it takes to guard fragile or potentially fragile work from abuse, whether that means a polite whisper to a particularly animated guest or putting “keep-back” tape lines on the floor to remind patrons to maintain a safe distance.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-flavin1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dan Flavin, \u003ci>Untitled (to Helga and Carlo, with Respect and Affection)\u003c/i>, 1974.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But oh, I feel your pain! — not every “accident” is accidental. Years and years ago, at an opening reception for my husband’s work, I spied a young man about to touch one of the wall-hung motorized sculptures. Clear across the gallery, the director was deep in conversation with a group of patrons; the gallery assistants were nowhere to be seen. Rather than wait for someone else to notice, I walked over to find the man cranking on an immobile part of the work. “Please don’t touch the artwork,” I said. With his hand still on the work, he replied drunkenly, “It’s not working. It’s broken.” So I reached out and took his hand away from the piece, saying, “It’s not broken, it’s on a timer.” Rather than back off, he slurred insistently that the work was not functioning. I reiterated that it was timed to go on and off at intervals, and if he wanted to see it move he would have to wait. Continuing to argue with me, he reached up to touch it again and I had to physically place myself between him and the piece. As you can imagine, it ended badly with me asking him (as politely as I could) to leave the gallery. He did, but I heard later from friends that he lurked out front for a bit with his inebriated pals, apparently waiting to “kick my ass.” \u003c/p>\n\u003cp>I dredge up this unpleasant memory in order to emphasize the difference between an accident and a case of bad intent. However, in either situation I think the most professional response is to speak to the breaker in careful, measured tones. Try to get a handle on what’s going on. Was it a mishap or was the person doing something obviously wrong (like running in the gallery or fondling the artwork)? This may give you a sense for what to say and how to proceed. If you begin with the idea that it was truly unintentional (someone might have tripped over a cord or slipped on a dropped wedge of opening-night brie), you’ll give this hapless individual the opportunity to apologize and maybe even offer to buy the work. If, in your conversation, you discover that the breaker had some sort of malicious desire to hurt the work, then by all means you’re free to call in the authorities and press charges. But remember that raising your voice is only going to make more of a scene; the artist whose piece is broken and who has to witness a shouting match is never going to work with you again, and the gallery patrons will only remember a fight instead of the art you’re seeking to promote. Keep your cool no matter what happens. \u003c/p>\n\u003cp>After you talk to the breaker, you’ll need to notify the artist and ask how she would like to proceed. She’ll want to inspect the damage immediately to see if a repair is possible; if it isn’t, you’ll probably want to offer her the opportunity to replace the broken work with another piece; either way, she should decide whether the work stays up, gets repaired, or is replaced. An honest and in-depth consultation is critical, whether it’s face-to-face or over the phone, so don’t put off being the bearer of bad news because a delay will only make the situation worse. Document the incident well, as it’s imperative that the artist receives all the information on the matter. Take photos of the broken work in situ from as many angles as possible and email them before you pick up the phone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-flavin2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Dan Flavin, \u003ci>Installation at Art Basel 41\u003c/i>, 2010.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>As for insurance, check with your provider \u003ci>before\u003c/i> anything occurs to see what protocol(s) they want you to have in place. They may require certain information about the incident (like photos), so make sure you know in advance what expectations they have for filing a claim. You’ll also want to communicate what you learn to the other gallery workers so that everyone is on the same page. Ask lots of questions when you’re talking to your insurance agent and find out what your insurance will and won’t cover. Some types of insurance will pay replacement or repair values, not sale value, which means that if the Dan Flavin sculpture gets broken, they’ll shell out only for a new fluorescent tubes from the hardware store. By hashing all this out with your insurance agent (go ahead, investigate some hypothetical situations with her), you can get a more precise understanding of what you’ll be reimbursed for in the event of a catastrophe. \u003c/p>\n\u003cp>Good luck! May no one ever run in your gallery again. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>Pardon the interruption of our regular programming. Instead of running a regular Q&A column this week, I’d like to take a moment to address an essay published last Friday on Slate.com. Simon Reynolds’ “\u003ca href=\"http://www.slate.com/articles/arts/books/2012/10/against_recreativity_critics_and_artists_are_obsessed_with_remix_culture_.html\">You Are Not a Switch: Recreativity and the modern dismissal of genius\u003c/a>,” manages to get a number of notions about creativity and appropriation dead wrong, and over the past nine months of writing this column I’ve received a number of questions about this subject, so continuing the dialogue seems both relevant and timely.\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Here’s how Reynolds begins his essay: \u003c/p>\n\u003cp>“Some years ago I visited the Tate Modern in London with my young son. Then aged 5, he had lately been drawing pictures of a fantastical nature, so as we approached the threshold of a Surrealism retrospective, I suggested that he might want to check these paintings out. ‘It’s really weird, this stuff,’ I said, giving it the hard sell. ‘And you might get some good ideas.’ He just flashed me a disapproving look: ‘That would be \u003ci>copying\u003c/i>.'”\u003c/p>\n\u003cp>“This incident sprang to mind recently when making my way through a spate of recent books, articles, and blog posts celebrating the practice of artistic theft. In stark contrast to my 5-year-old’s seemingly instinctive aversion to mimesis, an emerging movement of critics, theorists, writers, and artists argue that techniques of appropriation and quotation are inherent to the creative process. Not only are the concepts of originality and innovation obsolete, they’ve \u003ci>always\u003c/i> been myths. Let’s call this movement \u003ci>recreativity\u003c/i>.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreation1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Candice Breitz, \u003ci>Becoming\u003c/i>, 2003.\u003c/p>\n\u003cp>There’s a problem with this approach: leaving aside the idea that anything intellectually germane on this topic could come out of the mouth of a small human only recently cognizant, the field isn’t really emergent; it’s just coming now to the fore of cultural consciousness as it has done so many times before. “Recreativity” was first addressed in the Bible (written around 1000 BC), to wit, “The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and \u003ci>there is no new thing under the sun\u003c/i>,” (Ecclesiastes 1:9, KJV, italics mine). Nearly three millennia later, in 1609, Shakespeare’s Sonnet 59 was built on that biblical verse: “If there be nothing new, but that which is/Hath been before, how are our brains beguiled,/Which, labouring for invention, bear amiss/The second burden of a former child.” For those of you not familiar with the conventions of the Bard’s phrasing, here’s the Cliff’s Notes translation: “Sonnet 59 dwells on the paradox that what is new is always expressed in terms of what is already known. The elements of any invention or creative composition must be common knowledge, or old news. The phrase “laboring for invention” indicates not only the poet’s determination to create something entirely new in his verse but also his frustration in trying to do so.” Given these well-known antecedents, it seems in many ways quite silly that in 2012 we’re still questioning the role of prior works in the production of new ones, or even wondering if some kind of pure originality — what Reynolds calls “genius” — exists.\u003c/p>\n\u003cp>One notable absence in Reynolds’ essay is an acknowledgement of the differences between the various kinds of artistic theft and their distinctive aims and intentions. Instead of teasing apart the characteristics of separate practices, he misses the mark entirely by gathering all mimetic usage under one dank umbrella of failure, citing “…the genius, who takes something and makes it his or her own, effectively erasing its origin and turning it into another facet of his or her glittering originality. This contrasts with the timid craftsman — the merely talented — who never quite makes you forget the source and ultimately achieves glitter only by association.” One might forgive Reynolds, a music critic, for not understanding the aims of the appropriation movement in visual art that began in the 1970s and ’80s with artists such as Richard Prince and Sherrie Levine. The whole point was to take images that already existed and, by re-photographing and recontextualizing them, examine the influence of culture by putting it at a one-step remove or critical distance. It’s not that Prince and Levine hoped to make the viewer “forget the source” — truly, the work relied on the viewer’s knowledge of the source material and would have been culturally irrelevant without it. In fact, Barbara Kruger, another \u003ca href=\"http://en.wikipedia.org/wiki/The_Pictures_Generation\">Pictures Generation\u003c/a> artist, suggested that someone from the gallery’s staff should, “nudge visitors conspiratorially in front of each picture and whisper, ‘Get it?'”* \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreativity2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Richard Prince, \u003ci>Untitled (cowboy)\u003c/i>, 1989.\u003c/p>\n\u003cp>Nevertheless, and ignoring more contemporary contributions of accomplished artists like \u003ca href=\"http://en.wikipedia.org/wiki/Elaine_Sturtevant\">Sturtevant\u003c/a>, who re-created Warhol prints using the artist’s own original screens to challenge the notion of the famous artist’s aura; or Glenn Ligon, who has adopted historical frameworks such as runaway slave posters and quotes from Richard Pryor jokes to confront the legacy of racism, Reynolds continues: “Whereas the ideology of recreativity, as it spreads, not only legitimizes lazy, parasitic work, it actively encourages it by making it seem cool, ‘timely,’ somehow more advanced than that quaint middlebrow belief in the shock of the new.” Yet there has always been sloppy, lazy, simply bad art in all forms and genres. Reynolds’ error is in lumping the chaff with the wheat as though we can’t tell the difference. Some art transcends, and some doesn’t.\u003c/p>\n\u003cp>The human race has never been able to agree on what makes a good work of art, but to suggest that there isn’t a hierarchy of value, and that any remix is legitimized based on the very nature of its form, is absurd. The sophomore artist that exhibits a re-photographed Levine — itself a re-photographed Walker Evans — and attempts to make a claim for its relevance fools no one. If there is an ideology of mimesis it exists in a plurality or spectrum of ideas, and its mere existence ordains nothing. No art has been made extraordinary simply by being the product of an appropriative practice, just as no art that is “original” or “new” is legitimized on \u003ci>that\u003c/i> basis. The social valuation of art has less to do with its supposed ideology than with what it brings — visually, aurally, etc. — to its audience. While the current popularity of mimesis and the remix might encourage budding creatives to try their hand at mash-up videos, found poetry, and bedroom-set rap songs, it does not make those concoctions more advanced or more inherently interesting. By tarring all mimetic art, good and bad, with the same broad brush, Reynolds undermines his own argument.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreativity3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Glenn Ligon, \u003ci>No Room (Gold) No. 42\u003c/i>,2007.\u003c/p>\n\u003cp>Unfortunately, the essay veers from the uninformed to the offensive: “As much as it is propaganda in favor of underachievement, recreativity is also, I suspect, a form of solace: reassuring balm for the anxiety of overinfluence, the creeping fear that one might not have anything of one’s own to offer… beneath the surface positivity, I suspect, lurks despair about a kind of inner poverty, as though the mass of cultural matter we collect and stuff into ourselves is just making us ever more empty and barren inside.” Though Reynolds might be projecting his own alienation onto the work of others, the reverse of this is closer to the truth for many artists who appropriate, mimic, or embody a particular element to make their work: the world is too rich, too fecund, too plush with information, images, movements, and sounds to \u003ci>not\u003c/i> be investigated directly by tackling our cultural inheritance head on.\u003c/p>\n\u003cp>Most successful appropriative practices aren’t based on poverty, but on a surfeit of material that insists on being explored. In many ways, it would be easier to attempt to create something “new” than to take on the intellectual and emotional challenge of inhabiting a form in order to understand how it works, to capture the primary source’s cultural essence and build upon it. James Joyce understood this; so does \u003ca href=\"http://en.wikipedia.org/wiki/Kenneth_Goldsmith\">Kenneth Goldsmith\u003c/a>. The difference is that Joyce enjoyed the moniker of “genius” and the mantle of “originality,” while Goldsmith rejects it. What has changed is not the artist’s practice, but the way it is received by its contemporaneous society. The only poverty is in refusing to acknowledge what appropriative practices have to offer us: a mirror to our civilization, one that can reflect faithfully, or distort and misrepresent, in an attempt to project the very nature of what it means to be human and participate in our own culture, right now, at this moment. \u003c/p>\n\u003cp>The irony of Reynolds producing a reaction to this recurrent zeitgeist, without appreciating that this is also what many appropriating artists do, is lost. There is, however, one thing that he gets (almost) right: “The stealing and the storing is the easy part. The much harder — and forever mysterious — stage is the transformation of the borrowed materials. Recreativity has nothing to say about this stage of the process, the bit where, every so often, genius comes into play.” Though I reject Reynolds’ notion of genius — the idea of genius is what leads nascent artists into the trap of believing that great works are produced without hard work, intellectual weight-lifting, time, and sheer determination — I do accept that the bulk of commentary on appropriation and remix doesn’t take transformation into account. But how could it? There is no formula for transformation; a feel-creative-now book like \u003ca href=\"http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things-nobody-told-me/\">Austin Kleon\u003c/a>‘s can only exhort you to steal, but not what to do with the goods once you’ve gotten them. That’s where the practice of being an artist comes in, where the ceaseless wrestling with raw material (wherever it comes from) to make something relevant, exhilarating, intriguing, revolting, \u003ci>necessary\u003c/i> — begins. \u003c/p>\n\u003cp>*(Douglas Eklund, \u003ci>The Pictures Generation 1974-1984\u003c/i>, p. 200.) \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>Pardon the interruption of our regular programming. Instead of running a regular Q&A column this week, I’d like to take a moment to address an essay published last Friday on Slate.com. Simon Reynolds’ “\u003ca href=\"http://www.slate.com/articles/arts/books/2012/10/against_recreativity_critics_and_artists_are_obsessed_with_remix_culture_.html\">You Are Not a Switch: Recreativity and the modern dismissal of genius\u003c/a>,” manages to get a number of notions about creativity and appropriation dead wrong, and over the past nine months of writing this column I’ve received a number of questions about this subject, so continuing the dialogue seems both relevant and timely.\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Here’s how Reynolds begins his essay: \u003c/p>\n\u003cp>“Some years ago I visited the Tate Modern in London with my young son. Then aged 5, he had lately been drawing pictures of a fantastical nature, so as we approached the threshold of a Surrealism retrospective, I suggested that he might want to check these paintings out. ‘It’s really weird, this stuff,’ I said, giving it the hard sell. ‘And you might get some good ideas.’ He just flashed me a disapproving look: ‘That would be \u003ci>copying\u003c/i>.'”\u003c/p>\n\u003cp>“This incident sprang to mind recently when making my way through a spate of recent books, articles, and blog posts celebrating the practice of artistic theft. In stark contrast to my 5-year-old’s seemingly instinctive aversion to mimesis, an emerging movement of critics, theorists, writers, and artists argue that techniques of appropriation and quotation are inherent to the creative process. Not only are the concepts of originality and innovation obsolete, they’ve \u003ci>always\u003c/i> been myths. Let’s call this movement \u003ci>recreativity\u003c/i>.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreation1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Candice Breitz, \u003ci>Becoming\u003c/i>, 2003.\u003c/p>\n\u003cp>There’s a problem with this approach: leaving aside the idea that anything intellectually germane on this topic could come out of the mouth of a small human only recently cognizant, the field isn’t really emergent; it’s just coming now to the fore of cultural consciousness as it has done so many times before. “Recreativity” was first addressed in the Bible (written around 1000 BC), to wit, “The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and \u003ci>there is no new thing under the sun\u003c/i>,” (Ecclesiastes 1:9, KJV, italics mine). Nearly three millennia later, in 1609, Shakespeare’s Sonnet 59 was built on that biblical verse: “If there be nothing new, but that which is/Hath been before, how are our brains beguiled,/Which, labouring for invention, bear amiss/The second burden of a former child.” For those of you not familiar with the conventions of the Bard’s phrasing, here’s the Cliff’s Notes translation: “Sonnet 59 dwells on the paradox that what is new is always expressed in terms of what is already known. The elements of any invention or creative composition must be common knowledge, or old news. The phrase “laboring for invention” indicates not only the poet’s determination to create something entirely new in his verse but also his frustration in trying to do so.” Given these well-known antecedents, it seems in many ways quite silly that in 2012 we’re still questioning the role of prior works in the production of new ones, or even wondering if some kind of pure originality — what Reynolds calls “genius” — exists.\u003c/p>\n\u003cp>One notable absence in Reynolds’ essay is an acknowledgement of the differences between the various kinds of artistic theft and their distinctive aims and intentions. Instead of teasing apart the characteristics of separate practices, he misses the mark entirely by gathering all mimetic usage under one dank umbrella of failure, citing “…the genius, who takes something and makes it his or her own, effectively erasing its origin and turning it into another facet of his or her glittering originality. This contrasts with the timid craftsman — the merely talented — who never quite makes you forget the source and ultimately achieves glitter only by association.” One might forgive Reynolds, a music critic, for not understanding the aims of the appropriation movement in visual art that began in the 1970s and ’80s with artists such as Richard Prince and Sherrie Levine. The whole point was to take images that already existed and, by re-photographing and recontextualizing them, examine the influence of culture by putting it at a one-step remove or critical distance. It’s not that Prince and Levine hoped to make the viewer “forget the source” — truly, the work relied on the viewer’s knowledge of the source material and would have been culturally irrelevant without it. In fact, Barbara Kruger, another \u003ca href=\"http://en.wikipedia.org/wiki/The_Pictures_Generation\">Pictures Generation\u003c/a> artist, suggested that someone from the gallery’s staff should, “nudge visitors conspiratorially in front of each picture and whisper, ‘Get it?'”* \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreativity2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Richard Prince, \u003ci>Untitled (cowboy)\u003c/i>, 1989.\u003c/p>\n\u003cp>Nevertheless, and ignoring more contemporary contributions of accomplished artists like \u003ca href=\"http://en.wikipedia.org/wiki/Elaine_Sturtevant\">Sturtevant\u003c/a>, who re-created Warhol prints using the artist’s own original screens to challenge the notion of the famous artist’s aura; or Glenn Ligon, who has adopted historical frameworks such as runaway slave posters and quotes from Richard Pryor jokes to confront the legacy of racism, Reynolds continues: “Whereas the ideology of recreativity, as it spreads, not only legitimizes lazy, parasitic work, it actively encourages it by making it seem cool, ‘timely,’ somehow more advanced than that quaint middlebrow belief in the shock of the new.” Yet there has always been sloppy, lazy, simply bad art in all forms and genres. Reynolds’ error is in lumping the chaff with the wheat as though we can’t tell the difference. Some art transcends, and some doesn’t.\u003c/p>\n\u003cp>The human race has never been able to agree on what makes a good work of art, but to suggest that there isn’t a hierarchy of value, and that any remix is legitimized based on the very nature of its form, is absurd. The sophomore artist that exhibits a re-photographed Levine — itself a re-photographed Walker Evans — and attempts to make a claim for its relevance fools no one. If there is an ideology of mimesis it exists in a plurality or spectrum of ideas, and its mere existence ordains nothing. No art has been made extraordinary simply by being the product of an appropriative practice, just as no art that is “original” or “new” is legitimized on \u003ci>that\u003c/i> basis. The social valuation of art has less to do with its supposed ideology than with what it brings — visually, aurally, etc. — to its audience. While the current popularity of mimesis and the remix might encourage budding creatives to try their hand at mash-up videos, found poetry, and bedroom-set rap songs, it does not make those concoctions more advanced or more inherently interesting. By tarring all mimetic art, good and bad, with the same broad brush, Reynolds undermines his own argument.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-recreativity3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Glenn Ligon, \u003ci>No Room (Gold) No. 42\u003c/i>,2007.\u003c/p>\n\u003cp>Unfortunately, the essay veers from the uninformed to the offensive: “As much as it is propaganda in favor of underachievement, recreativity is also, I suspect, a form of solace: reassuring balm for the anxiety of overinfluence, the creeping fear that one might not have anything of one’s own to offer… beneath the surface positivity, I suspect, lurks despair about a kind of inner poverty, as though the mass of cultural matter we collect and stuff into ourselves is just making us ever more empty and barren inside.” Though Reynolds might be projecting his own alienation onto the work of others, the reverse of this is closer to the truth for many artists who appropriate, mimic, or embody a particular element to make their work: the world is too rich, too fecund, too plush with information, images, movements, and sounds to \u003ci>not\u003c/i> be investigated directly by tackling our cultural inheritance head on.\u003c/p>\n\u003cp>Most successful appropriative practices aren’t based on poverty, but on a surfeit of material that insists on being explored. In many ways, it would be easier to attempt to create something “new” than to take on the intellectual and emotional challenge of inhabiting a form in order to understand how it works, to capture the primary source’s cultural essence and build upon it. James Joyce understood this; so does \u003ca href=\"http://en.wikipedia.org/wiki/Kenneth_Goldsmith\">Kenneth Goldsmith\u003c/a>. The difference is that Joyce enjoyed the moniker of “genius” and the mantle of “originality,” while Goldsmith rejects it. What has changed is not the artist’s practice, but the way it is received by its contemporaneous society. The only poverty is in refusing to acknowledge what appropriative practices have to offer us: a mirror to our civilization, one that can reflect faithfully, or distort and misrepresent, in an attempt to project the very nature of what it means to be human and participate in our own culture, right now, at this moment. \u003c/p>\n\u003cp>The irony of Reynolds producing a reaction to this recurrent zeitgeist, without appreciating that this is also what many appropriating artists do, is lost. There is, however, one thing that he gets (almost) right: “The stealing and the storing is the easy part. The much harder — and forever mysterious — stage is the transformation of the borrowed materials. Recreativity has nothing to say about this stage of the process, the bit where, every so often, genius comes into play.” Though I reject Reynolds’ notion of genius — the idea of genius is what leads nascent artists into the trap of believing that great works are produced without hard work, intellectual weight-lifting, time, and sheer determination — I do accept that the bulk of commentary on appropriation and remix doesn’t take transformation into account. But how could it? There is no formula for transformation; a feel-creative-now book like \u003ca href=\"http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things-nobody-told-me/\">Austin Kleon\u003c/a>‘s can only exhort you to steal, but not what to do with the goods once you’ve gotten them. That’s where the practice of being an artist comes in, where the ceaseless wrestling with raw material (wherever it comes from) to make something relevant, exhilarating, intriguing, revolting, \u003ci>necessary\u003c/i> — begins. \u003c/p>\n\u003cp>*(Douglas Eklund, \u003ci>The Pictures Generation 1974-1984\u003c/i>, p. 200.) \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a recent graduate from a somewhat less than prestigious MFA program. I chose the program because; A. they gave me a good scholarship, and B. because I believe that one’s long-term career is based on the quality of one’s work, not the contacts they made in grad school. However, my program focused very little on writing and I am struggling to figure out how much of a handicap this will be in the future. I consider myself a reasonably competent writer but I really don’t like doing it, especially about my own work. How important is writing to an art practice? Can I expect to be able to get by without writing anything beyond a simple artist’s statement (which is hard enough!)? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I get the sense that many MFA programs don’t put much emphasis on writing, and that’s a shame. In the short term it may make the coursework easier to navigate — after all, many artists find the writing process difficult and justifiably prefer to concentrate on their artwork — but in the end it does these students a disservice because they will mostly likely need some writing skills after graduation. Proficiency can be quickly developed with regular feedback from a professor or mentor, but now that you’re already out of school there are plenty of other resources to help you along the way. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-writin1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Maarit Suomi-Väänänen, \u003ci>Up And About Again (Jalkeilla Taas)\u003c/i>, 2009.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>In truth, the relative importance of writing to your practice depends on what you want to do and whether or not you have money for it. Do you need to find a funder for a large project or a body of work? Do you want to travel to a conference or a workshop that will aid your professional development? Have you considered attending a residency? If you are independently wealthy with no interest in residencies, then you can probably skip the rest of this column and go about your merry way.\u003c/p>\n\u003cp>However, if you’re like the rest of us and need to find sources of funding for projects, travel, research, and time for intense studio work, then you’ll want to sharpen your writing ability so that you can craft applications that will allow you to buy the materials, tools, and time needed to push your practice to a new level. While I agree that an art career is based mostly on the quality of the work, you also need to be able to explain very clearly why it’s important to fund your artistic development. Remember that there are many talented artists out there, and they will be your competition; when choosing among several worthy candidates, a granting agency will consider many factors, and the ability to express your ideas clearly and persuasively is chief among them. An artist I know who recently sat on a grant panel told me, “In reviewing applications, we quickly narrowed it down to a few shining candidates based on the quality of their images. In the end, however, it was the clarity of the writing that made the final selections possible; and we went with the applicant that was best able to present her project in a way that we could easily understand and visualize.” \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-writin2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Maarit Suomi-Väänänen, \u003ci>In a Musty, Misty Thicket (Pöheikön Hönkä)\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>I recommend you check out \u003ca href=\"http://gigirosenberg.com/book/\">\u003ci>The Artist’s Guide to Grant Writing\u003c/i>\u003c/a> by Gigi Rosenberg; although the book’s focus is specifically on grants, I think a lot of the information translates to other kinds of applications as well. I had the opportunity to meet Ms. Rosenberg in Portland, Oregon many years ago, and I can attest to her enthusiasm and encouragement in addition to her wealth of knowledge about the grant application process. If you want to get a sense for what she covers in the book, there’s \u003ca href=\"http://gigirosenberg.com/book/\">a free PDF on her website\u003c/a> that lays out her own path to successful grant writing and includes a few basic tips on navigating the grant application process. Some of her helpful advice includes: “Use the grant-writing process to clarify where you want to go, so that even if one grant application doesn’t succeed, you gain something very valuable — your action plan… Ask for help. Don’t write your applications and assemble work samples in isolation… Research the funder so you match what you want with the needs and interests of the people who sign the checks… Write and rewrite, have conversations, let the application sit, edit, and edit again until you wring out the words that describe the who, what, when, where, why, and how of your project.” All good advice, no matter what kind of application you’re working on. You can also find \u003ca href=\"http://www.artistsnetwork.com/articles/business-of-art/grant-writing-tips\">similar advice here\u003c/a>, and some regional arts funders will hold information sessions and application prep workshops in advance of their deadlines, so review funders’ websites carefully to see what assistance they might offer. \u003c/p>\n\u003cp>Many artists use applications for grants and residencies to keep them on track in their practice. Having to meet multiple deadlines over the course of each year means you’ll be constantly writing about what you’re doing, which has three main benefits: first, a regular writing practice means that you’ll be continuously strengthening your writing skills; second, writing about your work will clarify your ideas and direction; and third, you can often recycle the same language for multiple or successive applications (including for exhibition proposals), meaning that you can refine your words instead of starting from scratch with each new application. \u003ca href=\"http://www.maaritsuomi.fi/index.php\">Maarit Suomi-Väänänen\u003c/a>, a Finnish artist and filmmaker, says, “I don’t have gallery representation, I produce all of my films independently. I’m an application machine; I do them all the time. My work depends on that, so I have to take it seriously. Grant application deadlines keep me writing constantly. I write maybe fifteen or twenty applications a year — grants, distribution, residencies. From post-its and my journal and other notes, I make a mind-map and use that writing to begin a grant application.” \u003c/p>\n\u003cp>For any application, you have to do your research and consider the reader. London-based sculptor \u003ca href=\"http://www.brionyclarke.co.uk/#/kodachrome/4552474918\">Briony Clarke\u003c/a> says, “I’ve applied for over a hundred grants and had about twenty-five funded. The money has been used for everything from creating a piece of artwork (so, small amounts) all the way to creating large-scale events that have enabled me to bring in other artists. The most important part of writing a grant is being clear about your aims and really finding a way of making it accessible and relevant to the granting institution. For example, for the \u003ca href=\"http://www.artscouncil.org.uk/\">Arts Council England\u003c/a>, you have to have a project that has participatory involvement or engagement, so I would only apply if the work included that. You have to find the right grant to apply for. You also have to be careful that the terminology you use doesn’t alienate the reader. Don’t shoot yourself in the foot by using language that the grant funder can’t relate to.” \u003c/p>\n\u003cp>There are quite a few compelling reasons to write regularly about your work, but the most important are to define and resolve some of the ideas that drive your practice, and to have a body of writing to draw on when you need to apply for time, space, and materials or equipment that will allow you to develop your work further. Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a recent graduate from a somewhat less than prestigious MFA program. I chose the program because; A. they gave me a good scholarship, and B. because I believe that one’s long-term career is based on the quality of one’s work, not the contacts they made in grad school. However, my program focused very little on writing and I am struggling to figure out how much of a handicap this will be in the future. I consider myself a reasonably competent writer but I really don’t like doing it, especially about my own work. How important is writing to an art practice? Can I expect to be able to get by without writing anything beyond a simple artist’s statement (which is hard enough!)? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I get the sense that many MFA programs don’t put much emphasis on writing, and that’s a shame. In the short term it may make the coursework easier to navigate — after all, many artists find the writing process difficult and justifiably prefer to concentrate on their artwork — but in the end it does these students a disservice because they will mostly likely need some writing skills after graduation. Proficiency can be quickly developed with regular feedback from a professor or mentor, but now that you’re already out of school there are plenty of other resources to help you along the way. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-writin1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Maarit Suomi-Väänänen, \u003ci>Up And About Again (Jalkeilla Taas)\u003c/i>, 2009.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>In truth, the relative importance of writing to your practice depends on what you want to do and whether or not you have money for it. Do you need to find a funder for a large project or a body of work? Do you want to travel to a conference or a workshop that will aid your professional development? Have you considered attending a residency? If you are independently wealthy with no interest in residencies, then you can probably skip the rest of this column and go about your merry way.\u003c/p>\n\u003cp>However, if you’re like the rest of us and need to find sources of funding for projects, travel, research, and time for intense studio work, then you’ll want to sharpen your writing ability so that you can craft applications that will allow you to buy the materials, tools, and time needed to push your practice to a new level. While I agree that an art career is based mostly on the quality of the work, you also need to be able to explain very clearly why it’s important to fund your artistic development. Remember that there are many talented artists out there, and they will be your competition; when choosing among several worthy candidates, a granting agency will consider many factors, and the ability to express your ideas clearly and persuasively is chief among them. An artist I know who recently sat on a grant panel told me, “In reviewing applications, we quickly narrowed it down to a few shining candidates based on the quality of their images. In the end, however, it was the clarity of the writing that made the final selections possible; and we went with the applicant that was best able to present her project in a way that we could easily understand and visualize.” \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-writin2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Maarit Suomi-Väänänen, \u003ci>In a Musty, Misty Thicket (Pöheikön Hönkä)\u003c/i>, 2012.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>I recommend you check out \u003ca href=\"http://gigirosenberg.com/book/\">\u003ci>The Artist’s Guide to Grant Writing\u003c/i>\u003c/a> by Gigi Rosenberg; although the book’s focus is specifically on grants, I think a lot of the information translates to other kinds of applications as well. I had the opportunity to meet Ms. Rosenberg in Portland, Oregon many years ago, and I can attest to her enthusiasm and encouragement in addition to her wealth of knowledge about the grant application process. If you want to get a sense for what she covers in the book, there’s \u003ca href=\"http://gigirosenberg.com/book/\">a free PDF on her website\u003c/a> that lays out her own path to successful grant writing and includes a few basic tips on navigating the grant application process. Some of her helpful advice includes: “Use the grant-writing process to clarify where you want to go, so that even if one grant application doesn’t succeed, you gain something very valuable — your action plan… Ask for help. Don’t write your applications and assemble work samples in isolation… Research the funder so you match what you want with the needs and interests of the people who sign the checks… Write and rewrite, have conversations, let the application sit, edit, and edit again until you wring out the words that describe the who, what, when, where, why, and how of your project.” All good advice, no matter what kind of application you’re working on. You can also find \u003ca href=\"http://www.artistsnetwork.com/articles/business-of-art/grant-writing-tips\">similar advice here\u003c/a>, and some regional arts funders will hold information sessions and application prep workshops in advance of their deadlines, so review funders’ websites carefully to see what assistance they might offer. \u003c/p>\n\u003cp>Many artists use applications for grants and residencies to keep them on track in their practice. Having to meet multiple deadlines over the course of each year means you’ll be constantly writing about what you’re doing, which has three main benefits: first, a regular writing practice means that you’ll be continuously strengthening your writing skills; second, writing about your work will clarify your ideas and direction; and third, you can often recycle the same language for multiple or successive applications (including for exhibition proposals), meaning that you can refine your words instead of starting from scratch with each new application. \u003ca href=\"http://www.maaritsuomi.fi/index.php\">Maarit Suomi-Väänänen\u003c/a>, a Finnish artist and filmmaker, says, “I don’t have gallery representation, I produce all of my films independently. I’m an application machine; I do them all the time. My work depends on that, so I have to take it seriously. Grant application deadlines keep me writing constantly. I write maybe fifteen or twenty applications a year — grants, distribution, residencies. From post-its and my journal and other notes, I make a mind-map and use that writing to begin a grant application.” \u003c/p>\n\u003cp>For any application, you have to do your research and consider the reader. London-based sculptor \u003ca href=\"http://www.brionyclarke.co.uk/#/kodachrome/4552474918\">Briony Clarke\u003c/a> says, “I’ve applied for over a hundred grants and had about twenty-five funded. The money has been used for everything from creating a piece of artwork (so, small amounts) all the way to creating large-scale events that have enabled me to bring in other artists. The most important part of writing a grant is being clear about your aims and really finding a way of making it accessible and relevant to the granting institution. For example, for the \u003ca href=\"http://www.artscouncil.org.uk/\">Arts Council England\u003c/a>, you have to have a project that has participatory involvement or engagement, so I would only apply if the work included that. You have to find the right grant to apply for. You also have to be careful that the terminology you use doesn’t alienate the reader. Don’t shoot yourself in the foot by using language that the grant funder can’t relate to.” \u003c/p>\n\u003cp>There are quite a few compelling reasons to write regularly about your work, but the most important are to define and resolve some of the ideas that drive your practice, and to have a body of writing to draw on when you need to apply for time, space, and materials or equipment that will allow you to develop your work further. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have been out of graduate school for 3 years now and working as an independent artist. I have a consistent studio practice and upcoming exhibitions at non-profit, artist-run spaces but have never had any luck with commercial gallery spaces. I am at the point in my practice now where I feel ready to seek commercial gallery representation but have no idea where/how to even begin the process. The people that I know who are represented by galleries seem to have it just “happen” to them. What are some things that I could do to get the ball rolling? I know that it is usually not a good idea to just send in a work sample and CV cold. Any tips/suggestions would be great.\u003c/b>\u003c/p>\n\u003cp>First of all, congratulations on maintaining a rigorous practice after grad school. There are many people who leave with an MFA and, for a variety of reasons, are not able to continue making art; so in spite of your current concerns, I hope that you look back on what you’ve accomplished so far and feel proud.\u003c/p>\n\u003cp>I also want to say that finding gallery representation rarely just “happens,” despite the many artists who like to make it seem as though everything just falls into their laps (implying, of course, that they are so talented that the world just comes running). This kind of social game might be fun at parties, but it seldom happens in reality. Finding representation —- especially the right representation, not just any old gallery -— takes research, commitment, and often some good connections; and this is all in addition to slogging away in the studio.\u003c/p>\n\u003cp>What you need to begin are a couple of great resources that will lay out the task in front of you. Start by reading \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">Edward Winkleman’s advice for artists\u003c/a>. He lists five items that should be on the checklist of anyone seeking representation, which I will paraphrase: “1. Do some honest and serious thinking about where your artwork belongs in the art market. 2. Do some serious research to find the program that best fits your artwork within that market. 3. Don’t make mistakes that will discourage you. 4. Work toward a short list. And be very honest with yourself. 5. Once you have an ‘in,’ so to speak, then let the gallery know you’re interested in having them consider your work.”\u003c/p>\n\u003cp>That’s the short version, but take the time to go read the whole thing \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">\u003cem>right now\u003c/em>\u003c/a>. I’ll wait.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-sokolow.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Deb Sokolow, \u003ci>Untitled \u003c/i>,2009.\u003c/p>\n\u003cp>Okay, now that you’re back with a more complete idea of the research project that you’re undertaking, you should consider buying a copy of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>, a book I will probably keep recommending until I die. Not only is it an excellent primer for all kinds of professional activities (galleries, contracts, consignment, etc.), it also has helpful quotes from gallerists and dealers that help you understand things from their perspective. It’s not expensive and it really is a wonderful resource, so please obtain a copy and keep it on hand as you start to negotiate this path. \u003c/p>\n\u003cp>It’s important to remember that this undertaking is not just a matter of doing your homework and sending images. I asked Alexis Mackenzie, the assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>, for some insight. Here’s what she said: “Getting started in the commercial gallery world is best facilitated by engagement with the arts community; participating in public events, residencies, group shows, etc. and building relationships with other artists is one of the better ways to get your work seen while making connections to other curators and gallerists. The upcoming exhibitions at non-profit, artist-run spaces are the perfect starting point for this. Even something as simple as having a basic website where people can see examples of your work, your CV, an artist statement, and contact information is very useful.” \u003c/p>\n\u003cp>She continued with some advice that reiterates Mr. Winkleman’s wise counsel: “Outside of building connections within the arts community around you, I think one of the most important things to consider when it comes to approaching (or being approached by) any gallery is to look at their program and see if your work is a good fit. If your work is not in line with their program then it wouldn’t make sense for either of you to work together, as it would most likely not register with their audience, and they might not have collectors for you. Artists shouldn’t show at a gallery just for the sake of being exhibited; consider the fact that they will be representing you and your work, and should be able to speak for it with understanding and appreciation, and within the context of their program. This means that a gallery is most likely not going to be interested in work that this doesn’t apply to it, even if the work is good.” \u003c/p>\n\u003cp>Additional resources for finding the right fit might be some of the curators (independent or institutional) in your region. They are likely to have a bit of insider knowledge regarding the programs of local commercial galleries, so invite a few for studio visits and ask if/where they see your work fitting into the local scene. They might have several suggestions for you, and if they like the work — a best-case scenario — they also might be willing to make an introduction. If you pursue this course of action, be diplomatic and don’t put pressure on anyone to make it happen for you. Recommending an emerging artist to a specific gallery is an act of generosity and best initiated by the curator. In other words, approach these meetings with enthusiasm and curiosity but don’t be a pest.\u003c/p>\n\u003cp>Also, don’t be crushed if the commercial gallery thing doesn’t work out as quickly as you were hoping it would. Ms. Mackenzie has a final suggestion for you to keep in mind as you build your career: “There are other paths besides exhibiting commercially; try looking into grants, public art, non-profits, etc. if a commercial path does not seem to be opening up at this point in time. And personally, I think the work itself should always come first. Make strong work that you believe in, and the rest should follow.”\u003c/p>\n\u003cp>Good luck!\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have been out of graduate school for 3 years now and working as an independent artist. I have a consistent studio practice and upcoming exhibitions at non-profit, artist-run spaces but have never had any luck with commercial gallery spaces. I am at the point in my practice now where I feel ready to seek commercial gallery representation but have no idea where/how to even begin the process. The people that I know who are represented by galleries seem to have it just “happen” to them. What are some things that I could do to get the ball rolling? I know that it is usually not a good idea to just send in a work sample and CV cold. Any tips/suggestions would be great.\u003c/b>\u003c/p>\n\u003cp>First of all, congratulations on maintaining a rigorous practice after grad school. There are many people who leave with an MFA and, for a variety of reasons, are not able to continue making art; so in spite of your current concerns, I hope that you look back on what you’ve accomplished so far and feel proud.\u003c/p>\n\u003cp>I also want to say that finding gallery representation rarely just “happens,” despite the many artists who like to make it seem as though everything just falls into their laps (implying, of course, that they are so talented that the world just comes running). This kind of social game might be fun at parties, but it seldom happens in reality. Finding representation —- especially the right representation, not just any old gallery -— takes research, commitment, and often some good connections; and this is all in addition to slogging away in the studio.\u003c/p>\n\u003cp>What you need to begin are a couple of great resources that will lay out the task in front of you. Start by reading \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">Edward Winkleman’s advice for artists\u003c/a>. He lists five items that should be on the checklist of anyone seeking representation, which I will paraphrase: “1. Do some honest and serious thinking about where your artwork belongs in the art market. 2. Do some serious research to find the program that best fits your artwork within that market. 3. Don’t make mistakes that will discourage you. 4. Work toward a short list. And be very honest with yourself. 5. Once you have an ‘in,’ so to speak, then let the gallery know you’re interested in having them consider your work.”\u003c/p>\n\u003cp>That’s the short version, but take the time to go read the whole thing \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">\u003cem>right now\u003c/em>\u003c/a>. I’ll wait.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-sokolow.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Deb Sokolow, \u003ci>Untitled \u003c/i>,2009.\u003c/p>\n\u003cp>Okay, now that you’re back with a more complete idea of the research project that you’re undertaking, you should consider buying a copy of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>, a book I will probably keep recommending until I die. Not only is it an excellent primer for all kinds of professional activities (galleries, contracts, consignment, etc.), it also has helpful quotes from gallerists and dealers that help you understand things from their perspective. It’s not expensive and it really is a wonderful resource, so please obtain a copy and keep it on hand as you start to negotiate this path. \u003c/p>\n\u003cp>It’s important to remember that this undertaking is not just a matter of doing your homework and sending images. I asked Alexis Mackenzie, the assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>, for some insight. Here’s what she said: “Getting started in the commercial gallery world is best facilitated by engagement with the arts community; participating in public events, residencies, group shows, etc. and building relationships with other artists is one of the better ways to get your work seen while making connections to other curators and gallerists. The upcoming exhibitions at non-profit, artist-run spaces are the perfect starting point for this. Even something as simple as having a basic website where people can see examples of your work, your CV, an artist statement, and contact information is very useful.” \u003c/p>\n\u003cp>She continued with some advice that reiterates Mr. Winkleman’s wise counsel: “Outside of building connections within the arts community around you, I think one of the most important things to consider when it comes to approaching (or being approached by) any gallery is to look at their program and see if your work is a good fit. If your work is not in line with their program then it wouldn’t make sense for either of you to work together, as it would most likely not register with their audience, and they might not have collectors for you. Artists shouldn’t show at a gallery just for the sake of being exhibited; consider the fact that they will be representing you and your work, and should be able to speak for it with understanding and appreciation, and within the context of their program. This means that a gallery is most likely not going to be interested in work that this doesn’t apply to it, even if the work is good.” \u003c/p>\n\u003cp>Additional resources for finding the right fit might be some of the curators (independent or institutional) in your region. They are likely to have a bit of insider knowledge regarding the programs of local commercial galleries, so invite a few for studio visits and ask if/where they see your work fitting into the local scene. They might have several suggestions for you, and if they like the work — a best-case scenario — they also might be willing to make an introduction. If you pursue this course of action, be diplomatic and don’t put pressure on anyone to make it happen for you. Recommending an emerging artist to a specific gallery is an act of generosity and best initiated by the curator. In other words, approach these meetings with enthusiasm and curiosity but don’t be a pest.\u003c/p>\n\u003cp>Also, don’t be crushed if the commercial gallery thing doesn’t work out as quickly as you were hoping it would. Ms. Mackenzie has a final suggestion for you to keep in mind as you build your career: “There are other paths besides exhibiting commercially; try looking into grants, public art, non-profits, etc. if a commercial path does not seem to be opening up at this point in time. And personally, I think the work itself should always come first. Make strong work that you believe in, and the rest should follow.”\u003c/p>\n\u003cp>Good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"headTitle": "‘Fiat Lux,’ Ansel Adams and the University of California | KQED",
"content": "\u003cp>“If you did an environmental, ecological history of the University [of California], and you were able to visualize its impact on the landscape of California, it would be profound — far beyond this landscape in Berkeley, or that landscape in Davis, or in Riverside. It’s a good part of the whole state,” says author Michael Pollan in a documentary film that is part of a new exhibition entitled \u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> currently on view at The Bancroft Library Gallery on the University of California, Berkeley campus.\u003c/p>\n\u003cp>In 1964 Clark Kerr, who was then President of the University of California, commissioned two artists to create a portrait of the entire UC system: photographer Ansel Adams and writer Nancy Newhall. Together they worked for over three years, travelling the length and breadth of state, visiting the nine UC campuses and also its myriad research stations, observatories, natural reserves and agricultural extensions. The result was a book called \u003ci>Fiat Lux\u003c/i> published in 1967 for the University of California’s centennial the following year. Also in 1967, just as the book was going into production, the UC Board of Regents under the presidency of Governor Ronald Reagan dramatically fired Clark Kerr. In such a tumultuous climate, the University became apprehensive about even publishing the book, according to Ansel Adams, who said, “everybody at the University was scared to print it.” Their fear, presumably, was the possibility of incurring the wrath of the newly elected California governor since Reagan rose to power on a platform of “cleaning up the mess at Berkeley” —- a mess he believed was caused by the permissiveness of Kerr in the face of student protests.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Campus Park, The Commons, and Library Administration Building, UC Irvine, April 1967\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Addition to the Health Science Building, UC Los Angeles, November 1966\u003c/i>.\u003c/p>\n\u003cp>While the \u003ci>Fiat Lux\u003c/i> project was in many ways eclipsed by historic events, it represents an extraordinary time capsule, massive in scale and breathtaking scope. Most notable is its optimistic vision of vast, expansive horizons —- a perspective that seems quite remote today, a time of massive disinvestment in public higher education, rapidly increasing tuition, and skyrocketing educational debt, which now exceeds consumer debt nationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representing one of the largest projects of Ansel Adams’ career, the \u003ci>Fiat Lux\u003c/i> archive contains over 6,700 negatives and 600 fine prints, all of which the UC Regents own. After Yosemite, the University of California appears to be Adams’ most documented subject. The \u003ci>Fiat Lux\u003c/i> collection is currently being exhibited for the first time at UC Berkeley in The Bancroft Library Gallery. \u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> is on view September 27, 2012 through February 28, 2013 and features 50 original photographs selected from 605 signed Ansel Adams prints in Bancroft’s collection. The photographs offer a rarely seen look at the evolution of the renowned University of California system through the eyes of a master photographer best known for his iconic California landscapes. On view also are related archival materials about the controversial Kerr himself and the development of his ideas and ideals.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Laboratory Research, Langley Porter Neuropsychiatric Institute, San Francisco Medical Center, UC San Francisco, August 1964\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Dr. Wheat and students in the large animal clinic, UC Davis, 1966\u003c/i>.\u003c/p>\n\u003cp>Clark Kerr asked Ansel Adams to take photographs of the future — to project, as much as possible, the next one hundred years. We are nearly half way into the century he was asked to imagine, and therefore the present is an opportune moment to consider the extraordinary vision that \u003ci>Fiat Lux\u003c/i> represents both of the University and the State of California to which it belongs.\u003c/p>\n\u003cp>An integral part of the \u003cb>Fiat Lux Redux\u003c/b> exhibition is a documentary film project called “Take Five,” \u003ca href=\"http://onthesamepage.berkeley.edu/fl-remix/detail/take-five\">a series of short videos\u003c/a> based on interviews with UC Berkeley faculty, staff, alumni, students, and neighbors. Filmmaker Kwame Braun and I asked interviewees to select and discuss five images from the collection that speak to them personally. Through these videos, we meet the people of the University of California today, as they reflect on past visions and future prospects for California’s public higher education.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=d60XsE0Imik&w=500&h=281]\u003c/p>\n\u003cp>Among those featured in the project is writer Michael Pollen, author of \u003ci>The Omnivore’s Dilemma\u003c/i> and professor in Berkeley’s School of Journalism. In his “Take Five” video, Pollan reflects on how everything America knew about farming had to be re-invented in California given the challenges of its climate and environment. The University of California played a crucial role in that reinvention. How does one grow rice in a desert? The UC helped California figure out how to do that, says Pollan. Also palpable in the \u003ci>Fiat Lux\u003c/i> archive, for Pollan, is how these photographs capture a “moment of confidence on the part of the University and on the part of the society about public education.” Pollan sees in \u003ci>Fiat Lux\u003c/i> the University “extending out its tendrils to the landscape. . . There’s a great sense of ‘anything is possible’ and ‘we can do it here.’ And now that we’re in such an era of straightened circumstances . . . there’s a sense of lowered horizon when I look at this.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=1MFqO2rTGeQ&w=500&h=281]\u003c/p>\n\u003cp>While for agricultural and food writer Pollan the \u003ci>Fiat Lux\u003c/i> archive is a lens onto California agriculture and the public good, Berkeley artist Anne Walsh sees the images as an unexpected aesthetic vision from America’s preeminent nature photographer. In her “Take Five” video, Walsh draws attention to Adams’ unexpected aesthetic choices. She asks, “What does a nature photographer do when he has to go inside and photograph people and buildings and machines?” A visual artist who works with video, performance, sound, photography and text, Walsh explores how Ansel Adams, the preeminent photographer of the natural world, worked indoors as he staged photographs of the University of California in the 1960s. She finds in these images unexpected resonances with Film Noir.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Strawberry Fields, Plastic Covers for Fumigation, UC Agricultural Extension, Salinas Valley, March 1966\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>UC Riverside, Bell Tower from Humanities Building, View North, 1966\u003c/i>.\u003c/p>\n\u003cp>The \u003ci>Fiat Lux\u003c/i> archive is perhaps most notable for the variety of responses it generates and the discussions that these photographs provoke. The \u003cb>Fiat Lux Redux\u003c/b> exhibition invites visitors to view and respond to these images and to express their visions of public higher education for the 21st Century.\u003c/p>\n\u003cp>\u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> is on view September 27, 2012 through February 28, 2013 at Bancroft Library on the U.C. Berkeley campus. Admission to the exhibition is free. For \u003ca href=\"http://bancroft.berkeley.edu/Exhibits/onexhibit.html#fiatlux\">more information\u003c/a> visit bancroft.berkeley.edu.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos courtesy The Regents of the University of California, by permission of The Bancroft Library.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“If you did an environmental, ecological history of the University [of California], and you were able to visualize its impact on the landscape of California, it would be profound — far beyond this landscape in Berkeley, or that landscape in Davis, or in Riverside. It’s a good part of the whole state,” says author Michael Pollan in a documentary film that is part of a new exhibition entitled \u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> currently on view at The Bancroft Library Gallery on the University of California, Berkeley campus.\u003c/p>\n\u003cp>In 1964 Clark Kerr, who was then President of the University of California, commissioned two artists to create a portrait of the entire UC system: photographer Ansel Adams and writer Nancy Newhall. Together they worked for over three years, travelling the length and breadth of state, visiting the nine UC campuses and also its myriad research stations, observatories, natural reserves and agricultural extensions. The result was a book called \u003ci>Fiat Lux\u003c/i> published in 1967 for the University of California’s centennial the following year. Also in 1967, just as the book was going into production, the UC Board of Regents under the presidency of Governor Ronald Reagan dramatically fired Clark Kerr. In such a tumultuous climate, the University became apprehensive about even publishing the book, according to Ansel Adams, who said, “everybody at the University was scared to print it.” Their fear, presumably, was the possibility of incurring the wrath of the newly elected California governor since Reagan rose to power on a platform of “cleaning up the mess at Berkeley” —- a mess he believed was caused by the permissiveness of Kerr in the face of student protests.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Campus Park, The Commons, and Library Administration Building, UC Irvine, April 1967\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Addition to the Health Science Building, UC Los Angeles, November 1966\u003c/i>.\u003c/p>\n\u003cp>While the \u003ci>Fiat Lux\u003c/i> project was in many ways eclipsed by historic events, it represents an extraordinary time capsule, massive in scale and breathtaking scope. Most notable is its optimistic vision of vast, expansive horizons —- a perspective that seems quite remote today, a time of massive disinvestment in public higher education, rapidly increasing tuition, and skyrocketing educational debt, which now exceeds consumer debt nationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representing one of the largest projects of Ansel Adams’ career, the \u003ci>Fiat Lux\u003c/i> archive contains over 6,700 negatives and 600 fine prints, all of which the UC Regents own. After Yosemite, the University of California appears to be Adams’ most documented subject. The \u003ci>Fiat Lux\u003c/i> collection is currently being exhibited for the first time at UC Berkeley in The Bancroft Library Gallery. \u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> is on view September 27, 2012 through February 28, 2013 and features 50 original photographs selected from 605 signed Ansel Adams prints in Bancroft’s collection. The photographs offer a rarely seen look at the evolution of the renowned University of California system through the eyes of a master photographer best known for his iconic California landscapes. On view also are related archival materials about the controversial Kerr himself and the development of his ideas and ideals.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Laboratory Research, Langley Porter Neuropsychiatric Institute, San Francisco Medical Center, UC San Francisco, August 1964\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Dr. Wheat and students in the large animal clinic, UC Davis, 1966\u003c/i>.\u003c/p>\n\u003cp>Clark Kerr asked Ansel Adams to take photographs of the future — to project, as much as possible, the next one hundred years. We are nearly half way into the century he was asked to imagine, and therefore the present is an opportune moment to consider the extraordinary vision that \u003ci>Fiat Lux\u003c/i> represents both of the University and the State of California to which it belongs.\u003c/p>\n\u003cp>An integral part of the \u003cb>Fiat Lux Redux\u003c/b> exhibition is a documentary film project called “Take Five,” \u003ca href=\"http://onthesamepage.berkeley.edu/fl-remix/detail/take-five\">a series of short videos\u003c/a> based on interviews with UC Berkeley faculty, staff, alumni, students, and neighbors. Filmmaker Kwame Braun and I asked interviewees to select and discuss five images from the collection that speak to them personally. Through these videos, we meet the people of the University of California today, as they reflect on past visions and future prospects for California’s public higher education.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d60XsE0Imik'\n title='//www.youtube.com/embed/d60XsE0Imik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Among those featured in the project is writer Michael Pollen, author of \u003ci>The Omnivore’s Dilemma\u003c/i> and professor in Berkeley’s School of Journalism. In his “Take Five” video, Pollan reflects on how everything America knew about farming had to be re-invented in California given the challenges of its climate and environment. The University of California played a crucial role in that reinvention. How does one grow rice in a desert? The UC helped California figure out how to do that, says Pollan. Also palpable in the \u003ci>Fiat Lux\u003c/i> archive, for Pollan, is how these photographs capture a “moment of confidence on the part of the University and on the part of the society about public education.” Pollan sees in \u003ci>Fiat Lux\u003c/i> the University “extending out its tendrils to the landscape. . . There’s a great sense of ‘anything is possible’ and ‘we can do it here.’ And now that we’re in such an era of straightened circumstances . . . there’s a sense of lowered horizon when I look at this.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1MFqO2rTGeQ'\n title='//www.youtube.com/embed/1MFqO2rTGeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While for agricultural and food writer Pollan the \u003ci>Fiat Lux\u003c/i> archive is a lens onto California agriculture and the public good, Berkeley artist Anne Walsh sees the images as an unexpected aesthetic vision from America’s preeminent nature photographer. In her “Take Five” video, Walsh draws attention to Adams’ unexpected aesthetic choices. She asks, “What does a nature photographer do when he has to go inside and photograph people and buildings and machines?” A visual artist who works with video, performance, sound, photography and text, Walsh explores how Ansel Adams, the preeminent photographer of the natural world, worked indoors as he staged photographs of the University of California in the 1960s. She finds in these images unexpected resonances with Film Noir.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>Strawberry Fields, Plastic Covers for Fumigation, UC Agricultural Extension, Salinas Valley, March 1966\u003c/i>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fiatlux5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ansel Adams, \u003ci>UC Riverside, Bell Tower from Humanities Building, View North, 1966\u003c/i>.\u003c/p>\n\u003cp>The \u003ci>Fiat Lux\u003c/i> archive is perhaps most notable for the variety of responses it generates and the discussions that these photographs provoke. The \u003cb>Fiat Lux Redux\u003c/b> exhibition invites visitors to view and respond to these images and to express their visions of public higher education for the 21st Century.\u003c/p>\n\u003cp>\u003cb>Fiat Lux Redux: Ansel Adams and Clark Kerr\u003c/b> is on view September 27, 2012 through February 28, 2013 at Bancroft Library on the U.C. Berkeley campus. Admission to the exhibition is free. For \u003ca href=\"http://bancroft.berkeley.edu/Exhibits/onexhibit.html#fiatlux\">more information\u003c/a> visit bancroft.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All photos courtesy The Regents of the University of California, by permission of The Bancroft Library.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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