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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>Is a gap in your artist resume detrimental to your current job, exhibition and other prospects? I haven’t exhibited art in a year for various circumstantial reasons. Now I am looking for a job as an art teacher and in a few months, I will be applying for exhibitions here in my new home of New York City. What if 2013 rolls around and I have no exhibitions or work to show for 2012? Am I in a hole that just gets deeper and deeper with each month? \u003c/b>\u003c/p>\n\u003cp>The short answer is that a hiatus from exhibiting is not a disaster. The longer answer depends on how lengthy your pause is and how you deal with it. Let’s go through the finer points.\u003c/p>\n\u003cp>I contacted a number of art-school human resources departments, but no one was willing to go on record and pony up a definitive answer. However, \u003ca href=\"http://www.stephenslappe.com/\">Stephen Slappe\u003c/a>, who serves as the Chair of Video & Sound at \u003ca href=\"http://www.pnca.edu/\">Pacific Northwest College of Art\u003c/a> (he’s sat on a number of hiring and grant committees), came through with some reassuring advice for the job seeker: “A one-year gap wouldn’t even be a blip on the radar from my point of view. A person could have been working on a big solo show, relocating to a new city, or even suffering from an illness. I think most hiring committees understand the ups and downs of careers and lives. If your CV had a multi-year gap then it might draw more attention from a committee.” So you really don’t need to worry at this point.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/hd-shiota.jpg\" />\u003cbr />\nChiharu Shiota, \u003ci>Installation at Art Basel Miami Beach\u003c/i>, 2010.\u003c/p>\n\u003cp>Bear in mind that you’ll use different informational formats to apply for teaching gigs than you would for an exhibition proposal or grant application. A teaching resume will emphasize your instructional experience, media-specific expertise, and other specialties like working with age/language populations. There are lots of sample art-teaching resumes out there, and you can check out a few \u003ca href=\"http://www.resume-resource.com/extea7.html\">here\u003c/a> (but leave off the little painter’s palette icon, please), \u003ca href=\"http://www.topsampleresume.com/art-resumes/art-teacher-resume.html\">here\u003c/a>, \u003ca href=\"http://www.meredith.edu/acp/edm_resume.htm\">here\u003c/a>, and \u003ca href=\"http://www.passengermay.org/art-teacher-resume.html\">here\u003c/a>. Also, a job resume is often limited by length (usually one or two pages), so you’ll want to use the space to highlight your pedagogical experience and accomplishments instead of your exhibition record. When you’re applying for a job, do pay particular attention to the requested page limit. Having sat on a few hiring committees myself, I can tell you that when you’re faced with a giant stack of applications, you start to look for ways to sort the wheat from the chaff; applications that don’t adhere to the stated guidelines are often relegated to the circular file.\u003c/p>\n\u003cp>The terms of engagement are different for teaching jobs than for exhibition proposals/grants/residency applications, and you’ll want to tailor your document to suit. Often these submissions ask for a CV with no set page length, and they are meant to be a complete list of all of your art-related achievements, which means that your gap might be more apparent here. Even so, a one-year lacuna is still not a big deal for the same reasons pointed out by Professor Slappe, above. For further information on formatting a standard CV, you can review the College Art Association’s handy guidelines \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">here\u003c/a>.\u003c/p>\n\u003cp>Instead of worrying that this gap is going to put you out of the running for various opportunities, is there something self-directed you could be doing to move forward? There are plenty of artist cooperatives in the Outer Boroughs (like \u003ca href=\"http://brooklynartspace.org/\">Brooklyn Art Space\u003c/a>) with gallery space and exhibition opportunities. Open Studios are another way to get the ball rolling and they can be super for meeting patrons and other artists. \u003ca href=\"http://artsinbushwick.org/bos2012/\">Bushwick Open Studios\u003c/a> got quite a bit of press this year and you can also check out \u003ca href=\"http://www.gobrooklynart.org/explore/artists\">GO Gowanus, Bushwick, and Greenpoint\u003c/a>. Additionally, volunteering for a job on the Open Studios organizing or administrative committee can help you build your resume and make connections that might lead to exhibition opportunities.\u003c/p>\n\u003cp>There are also call-for-entry websites like the \u003ca href=\"http://www.collegeart.org/opportunities/type/3/\">CAA\u003c/a>‘s and \u003ca href=\"http://blog.re-title.com/opportunities/\">re-title.com\u003c/a> where you might find a good match for your work. Caveat emptor, though — only apply to calls from reputable spaces and keep one hand on your wallet. It’s not worth the head-and-heart-ache that comes from applying to a dubious organization that charges more than a small administrative fee, especially if the result is a rejection.\u003c/p>\n\u003cp>Also consider creating an opportunity for yourself from scratch. If you are really concerned about a lack of recent exhibitions, scout some empty storefronts and contact the owners/managers. They might love to have someone stage an exhibition rather than keep windows papered over, and might let you put up a temporary show for little or no money. In my opinion, actions that demonstrate imagination and initiative are more attractive for the job-and-exhibition seeker than waiting for an opportunity to come along. 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>Is a gap in your artist resume detrimental to your current job, exhibition and other prospects? I haven’t exhibited art in a year for various circumstantial reasons. Now I am looking for a job as an art teacher and in a few months, I will be applying for exhibitions here in my new home of New York City. What if 2013 rolls around and I have no exhibitions or work to show for 2012? Am I in a hole that just gets deeper and deeper with each month? \u003c/b>\u003c/p>\n\u003cp>The short answer is that a hiatus from exhibiting is not a disaster. The longer answer depends on how lengthy your pause is and how you deal with it. Let’s go through the finer points.\u003c/p>\n\u003cp>I contacted a number of art-school human resources departments, but no one was willing to go on record and pony up a definitive answer. However, \u003ca href=\"http://www.stephenslappe.com/\">Stephen Slappe\u003c/a>, who serves as the Chair of Video & Sound at \u003ca href=\"http://www.pnca.edu/\">Pacific Northwest College of Art\u003c/a> (he’s sat on a number of hiring and grant committees), came through with some reassuring advice for the job seeker: “A one-year gap wouldn’t even be a blip on the radar from my point of view. A person could have been working on a big solo show, relocating to a new city, or even suffering from an illness. I think most hiring committees understand the ups and downs of careers and lives. If your CV had a multi-year gap then it might draw more attention from a committee.” So you really don’t need to worry at this point.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/hd-shiota.jpg\" />\u003cbr />\nChiharu Shiota, \u003ci>Installation at Art Basel Miami Beach\u003c/i>, 2010.\u003c/p>\n\u003cp>Bear in mind that you’ll use different informational formats to apply for teaching gigs than you would for an exhibition proposal or grant application. A teaching resume will emphasize your instructional experience, media-specific expertise, and other specialties like working with age/language populations. There are lots of sample art-teaching resumes out there, and you can check out a few \u003ca href=\"http://www.resume-resource.com/extea7.html\">here\u003c/a> (but leave off the little painter’s palette icon, please), \u003ca href=\"http://www.topsampleresume.com/art-resumes/art-teacher-resume.html\">here\u003c/a>, \u003ca href=\"http://www.meredith.edu/acp/edm_resume.htm\">here\u003c/a>, and \u003ca href=\"http://www.passengermay.org/art-teacher-resume.html\">here\u003c/a>. Also, a job resume is often limited by length (usually one or two pages), so you’ll want to use the space to highlight your pedagogical experience and accomplishments instead of your exhibition record. When you’re applying for a job, do pay particular attention to the requested page limit. Having sat on a few hiring committees myself, I can tell you that when you’re faced with a giant stack of applications, you start to look for ways to sort the wheat from the chaff; applications that don’t adhere to the stated guidelines are often relegated to the circular file.\u003c/p>\n\u003cp>The terms of engagement are different for teaching jobs than for exhibition proposals/grants/residency applications, and you’ll want to tailor your document to suit. Often these submissions ask for a CV with no set page length, and they are meant to be a complete list of all of your art-related achievements, which means that your gap might be more apparent here. Even so, a one-year lacuna is still not a big deal for the same reasons pointed out by Professor Slappe, above. For further information on formatting a standard CV, you can review the College Art Association’s handy guidelines \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">here\u003c/a>.\u003c/p>\n\u003cp>Instead of worrying that this gap is going to put you out of the running for various opportunities, is there something self-directed you could be doing to move forward? There are plenty of artist cooperatives in the Outer Boroughs (like \u003ca href=\"http://brooklynartspace.org/\">Brooklyn Art Space\u003c/a>) with gallery space and exhibition opportunities. Open Studios are another way to get the ball rolling and they can be super for meeting patrons and other artists. \u003ca href=\"http://artsinbushwick.org/bos2012/\">Bushwick Open Studios\u003c/a> got quite a bit of press this year and you can also check out \u003ca href=\"http://www.gobrooklynart.org/explore/artists\">GO Gowanus, Bushwick, and Greenpoint\u003c/a>. Additionally, volunteering for a job on the Open Studios organizing or administrative committee can help you build your resume and make connections that might lead to exhibition opportunities.\u003c/p>\n\u003cp>There are also call-for-entry websites like the \u003ca href=\"http://www.collegeart.org/opportunities/type/3/\">CAA\u003c/a>‘s and \u003ca href=\"http://blog.re-title.com/opportunities/\">re-title.com\u003c/a> where you might find a good match for your work. Caveat emptor, though — only apply to calls from reputable spaces and keep one hand on your wallet. It’s not worth the head-and-heart-ache that comes from applying to a dubious organization that charges more than a small administrative fee, especially if the result is a rejection.\u003c/p>\n\u003cp>Also consider creating an opportunity for yourself from scratch. If you are really concerned about a lack of recent exhibitions, scout some empty storefronts and contact the owners/managers. They might love to have someone stage an exhibition rather than keep windows papered over, and might let you put up a temporary show for little or no money. In my opinion, actions that demonstrate imagination and initiative are more attractive for the job-and-exhibition seeker than waiting for an opportunity to come along. 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 a semi-successful studio artist for almost 30 years. For about the last 10 of these I have been able to support myself financially with my work. I consider this a fortunate situation, but recently I have had to admit to myself that I’m getting tired and that the satisfaction of being an artist no longer seems worth the hustle of maintaining a viable studio practice. However, I am still an ambitious person (possibly out of habit) and I feel very acutely the pressure to produce work in a certain quantity. Being an artist has been the central part of my identity for so long, and I still romanticize it, but I’m just not sure I can do it any longer. If I did stop making my work, I think there’s plenty I could do to make a living in the city where I live, but the thought of giving up a national reputation is frightening. Not that I think that there’s an adoring public who would be devastated, but I can’t deny that my studio practice is externally motivated at this point. Is there a way to gracefully wrap up an art career without dying? Is there a way to turn down opportunities and quell the beast of the “artist’s ego” in order to lead a more sane and relaxing existence? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Of the many possible dilemmas to have, let’s admit that this one is rather attractive. Selling work steadily enough to provide a livable income is something that many artists yearn for, a marker of capital-S Success — at least on the commercial market. And for the past ten years you’ve had it, but now it has lost its luster. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-copyshop.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Thomas Demand, \u003ci>Copyshop\u003c/i>, 1999.\u003c/p>\n\u003cp>Certainly, you could start bowing out. A regular job worked forty hours a week would surely make you too busy (and definitely too tired) to meet your current production demands. If this is what you really want, you need to have some honest conversations with your gallerists and dealers. Tell them that you need some space to pursue other goals right now and will be slowing down your studio work. It will be a hard conversation to have, but if you’re going to go down this path you need to be candid with the people who have helped support your career.\u003c/p>\n\u003cp>But before you initiate those conversations, you need to have one with yourself first. Clichéd though it may be, it’s absolutely true that age has a way of putting things into perspective and it might be that you’ve matured and grown distant from your current life. Before you lock the door to your studio and throw away the key, let’s try to figure out how you got here in the first place. To put it bluntly, let’s make sure that this is a well-considered course of action and not just a mid-life-crisis maneuver that ends in remorse.\u003c/p>\n\u003cp>There are some questions that you need to ask yourself. What are the specifics that make your current practice untenable? Could it be that production pressure alone is the cause of your reluctance to continue? How do you feel about fulfilling orders for work that’s not yet made, knowing it has to be good every time? Do you feel like you have room to experiment or are you locked into a saleable style, medium, or format? Do you have artist friends that you see regularly, or are you stuck in the studio? Are you working with studio assistants, or do you do everything yourself? How quickly are you expected to produce work? Take stock of your current modes and methods. How many of the pressures come from without, and how many from within? When was the last time you felt really inspired to work?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-ghost.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Thomas Demand, \u003ci>Ghost\u003c/i>, 2003.\u003c/p>\n\u003cp>Take a couple of days to assess your studio practice and jot down anything that pops into your head. When you feel like you have a robust audit of what’s really going on, then it’s time to imagine the studio practice that would fit you perfectly. Would you work less? Change media? Work with others? Have a different space? This is total fantasy-land, so feel free to write down whatever you think might make you feel satisfied and engaged.\u003c/p>\n\u003cp>Supposing that you still feel the right course of action is to just walk away, then I suggest that you talk to your dealers, find a job, and then engage the services of a professional therapist to help you sort through any related ego issues as you transition to your new life. But if you feel a twinge of hope (or potential regret), then you’ll want to explore some ways to reconcile your current practice with your fantasy practice.\u003c/p>\n\u003cp>If you decide that what you need most is some breathing room, what about a limited-term hiatus from art (two months, say, reading novels or hiking or taking cooking classes)? Conversely, if you feel that what you require is a break from pressure but not from art, how about a residency where you can experiment with some new ideas?\u003c/p>\n\u003cp>If the demands of your current practice have kept you from engaging with others, think about attending as many openings, lectures, and events as you can stomach. Sometimes the energy of inspiration comes from looking, thinking, and talking about art; and that might be in short supply in your hustle-bustle life. Take time to connect with the other artists and art professionals in your community. If being with others lights a spark, consider teaching a class or two, as well. With thirty years of experience, there’s no doubt that you have a lot of hard-earned wisdom that you could share. Whether it’s at a selective art school or the local community college, nothing satisfies the hungry ego like a weekly meeting with a roomful of admiring students. Whatever path you choose, 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 a semi-successful studio artist for almost 30 years. For about the last 10 of these I have been able to support myself financially with my work. I consider this a fortunate situation, but recently I have had to admit to myself that I’m getting tired and that the satisfaction of being an artist no longer seems worth the hustle of maintaining a viable studio practice. However, I am still an ambitious person (possibly out of habit) and I feel very acutely the pressure to produce work in a certain quantity. Being an artist has been the central part of my identity for so long, and I still romanticize it, but I’m just not sure I can do it any longer. If I did stop making my work, I think there’s plenty I could do to make a living in the city where I live, but the thought of giving up a national reputation is frightening. Not that I think that there’s an adoring public who would be devastated, but I can’t deny that my studio practice is externally motivated at this point. Is there a way to gracefully wrap up an art career without dying? Is there a way to turn down opportunities and quell the beast of the “artist’s ego” in order to lead a more sane and relaxing existence? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Of the many possible dilemmas to have, let’s admit that this one is rather attractive. Selling work steadily enough to provide a livable income is something that many artists yearn for, a marker of capital-S Success — at least on the commercial market. And for the past ten years you’ve had it, but now it has lost its luster. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-copyshop.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Thomas Demand, \u003ci>Copyshop\u003c/i>, 1999.\u003c/p>\n\u003cp>Certainly, you could start bowing out. A regular job worked forty hours a week would surely make you too busy (and definitely too tired) to meet your current production demands. If this is what you really want, you need to have some honest conversations with your gallerists and dealers. Tell them that you need some space to pursue other goals right now and will be slowing down your studio work. It will be a hard conversation to have, but if you’re going to go down this path you need to be candid with the people who have helped support your career.\u003c/p>\n\u003cp>But before you initiate those conversations, you need to have one with yourself first. Clichéd though it may be, it’s absolutely true that age has a way of putting things into perspective and it might be that you’ve matured and grown distant from your current life. Before you lock the door to your studio and throw away the key, let’s try to figure out how you got here in the first place. To put it bluntly, let’s make sure that this is a well-considered course of action and not just a mid-life-crisis maneuver that ends in remorse.\u003c/p>\n\u003cp>There are some questions that you need to ask yourself. What are the specifics that make your current practice untenable? Could it be that production pressure alone is the cause of your reluctance to continue? How do you feel about fulfilling orders for work that’s not yet made, knowing it has to be good every time? Do you feel like you have room to experiment or are you locked into a saleable style, medium, or format? Do you have artist friends that you see regularly, or are you stuck in the studio? Are you working with studio assistants, or do you do everything yourself? How quickly are you expected to produce work? Take stock of your current modes and methods. How many of the pressures come from without, and how many from within? When was the last time you felt really inspired to work?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-ghost.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Thomas Demand, \u003ci>Ghost\u003c/i>, 2003.\u003c/p>\n\u003cp>Take a couple of days to assess your studio practice and jot down anything that pops into your head. When you feel like you have a robust audit of what’s really going on, then it’s time to imagine the studio practice that would fit you perfectly. Would you work less? Change media? Work with others? Have a different space? This is total fantasy-land, so feel free to write down whatever you think might make you feel satisfied and engaged.\u003c/p>\n\u003cp>Supposing that you still feel the right course of action is to just walk away, then I suggest that you talk to your dealers, find a job, and then engage the services of a professional therapist to help you sort through any related ego issues as you transition to your new life. But if you feel a twinge of hope (or potential regret), then you’ll want to explore some ways to reconcile your current practice with your fantasy practice.\u003c/p>\n\u003cp>If you decide that what you need most is some breathing room, what about a limited-term hiatus from art (two months, say, reading novels or hiking or taking cooking classes)? Conversely, if you feel that what you require is a break from pressure but not from art, how about a residency where you can experiment with some new ideas?\u003c/p>\n\u003cp>If the demands of your current practice have kept you from engaging with others, think about attending as many openings, lectures, and events as you can stomach. Sometimes the energy of inspiration comes from looking, thinking, and talking about art; and that might be in short supply in your hustle-bustle life. Take time to connect with the other artists and art professionals in your community. If being with others lights a spark, consider teaching a class or two, as well. With thirty years of experience, there’s no doubt that you have a lot of hard-earned wisdom that you could share. Whether it’s at a selective art school or the local community college, nothing satisfies the hungry ego like a weekly meeting with a roomful of admiring students. Whatever path you choose, good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Widely respected philanthropist and arts champion Ann Hatch has recently founded a new project called the Workshop Residence in San Francisco’s up and coming Dogpatch neighborhood. The Workshop Residence invites a wide array of cultural producers, visual artists and thinkers from varied disciplines, from fashion to industrial design to technology to create “meaningful, functional objects meant to be used.” A retail space at the entrance of the studio, also online, presents the work for sale. The roster is impressive and the projects are accessibly priced considering the brain trust involved in their production.\u003c/p>\n\u003cp>Esteemed artist \u003ca href=\"http://www.annhamiltonstudio.com/\">Ann Hamilton\u003c/a>, a former MacArthur fellow who represented the United States at the 1999 Venice Biennale, was in residence in August working on a series of coats inspired by everyday unisex work clothes, Amish clothing patterns, a found vintage sewing journal and a well-worn Japanese carpenter’s pouch, among other things. Previous residents include Belgian artist \u003ca href=\"http://www.dirkvansaene.com/\">Dirk Van Saene\u003c/a>, who created unglazed ceramic creature-like vessels, and graphic designer and recipient of the prestigious AIGA Medal \u003ca href=\"http://morladesign.com/\">Jennifer Morla\u003c/a>, who created housewares from industrial felt wool and Irish linen. Local artists \u003ca href=\"http://www.jdbeltran.com/Home.html\">JD Beltran\u003c/a> and \u003ca href=\"http://www.slminneman.com/\">Scott Minneman\u003c/a> have been working on an interactive snow globe and \u003ca href=\"http://www.laurendicioccio.com/\">Lauren DiCioccio\u003c/a>, whom Hatch met as a resident at \u003ca href=\"http://www.recologysf.com/AIR/\">Recology SF\u003c/a>, has created a series of tote bags utilizing industrial embroidery.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Housewares designed by Jennifer Morla.\u003c/p>\n\u003cp>The Workshop Residency functions like an R & D think tank for aesthetics, bringing resident artists together with other artists, academics and craft specialists to research and develop the production processes. Local garment expert Georgene Shelton worked closely with Hamilton, who hadn’t sewn much before, to develop her project. Brother and sister Chris and Ben Ospital, proprietors of posh retailer \u003ca href=\"http://modernappealingclothing.com/\">MAC (Modern Appealing Clothing)\u003c/a>, have also been supportive and have been on hand to offer Hamilton technical insights about clothing construction. Longtime friends of the artist, a few small sculptures from one of her previous projects adorn their nearby shop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Opening for Lauren DiCioccio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Shoes designed by Martha Davis.\u003c/p>\n\u003cp>Projects are also aided by the technical acumen of Workshop Residence director \u003ca href=\"http://www.linkedin.com/pub/braden-weeks-earp/1/522/491\">Braden Weeks Earp\u003c/a>, a recent graduate of Yale’s architecture and design program who previously served as head of studio for sculptor \u003ca href=\"http://www.ursulavonrydingsvard.net/\">Ursula Von Rydingsvard\u003c/a> and, more recently, managed post-earthquake reconstruction projects in West Sumatra, Indonesia and Sichuan, China. When former resident, French artist and fashion designer \u003ca href=\"http://www.aurorethibout.com/\">Aurore Thibout\u003c/a> wanted to cast a vintage wedding dress in Hydrocal, Weeks Earp developed the bracing structure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist Aurore Thibout working with bracing developed by Braden Weeks Earp at the Workshop Residence.\u003c/p>\n\u003cp>Hatch’s previous contributions to the arts are extensive. She has served as a trustee for organizations such as \u003ca href=\"http://www.cca.edu/\">California College of the Arts\u003c/a>, \u003ca href=\"http://www.bampfa.berkeley.edu/\">Berkeley Art Museum\u003c/a>, \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a>, and \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a>, among others. She co-founded both the \u003ca href=\"http://oxbowschool.org/\">Oxbow School\u003c/a>, an independent high school for the arts, and \u003ca href=\"http://www.wattis.org/capp\">Capp Street Project\u003c/a>, the first residency program in the country to foster the development of large-scale installations. In 1991 San Francisco Mayor Art Agnos declared January 31 to be “Ann Hatch Day” in recognition for her cultural contributions. Given Hatch’s deep knowledge and vast network of relationships across disciplines, the Workshop Residence is a natural extension of her long career, with one salient exception: it is her first commercial enterprise. After seeing many nonprofits struggle from lack of revenue, Hatch is developing the Workshop Residence to be self-sustaining. Along the way, she considered other models based on the collaborative development of artists’ multiples, including \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, an object-based publication series produced by local artist-innovators Jonn Herschend and Will Rogan, and New York-based \u003ca href=\"http://www.artwareeditions.com/Default.asp\">Artware Editions\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hamilton.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ann Hamilton working with Georgene Shelton on coat prototype at The Workshop Residence.\u003c/p>\n\u003cp>Recently, Ann Hamilton sat in the sunlit studio and talked about her residency while punching a needle through luminous blonde ringlets sourced from a blind local Wensleydale sheep. Her project for the Workshop Residence dovetails with a massive architectural installation later this year commissioned for the historic Park Avenue Armory, a building the size of a New York city block. The results of her San Francisco residency will invariably wend their way into the artist’s larger participatory project, titled \u003ci>the event of a thread\u003c/i>. “Every project draws on so many forms of expertise and with this opportunity [at the Workshop Residence], there was this amazing constellation of people here that really allowed me to push the project forward,” she observed, while noting the value of being able to speak with so many local artists and craftspeople about various aspects of the installation, from pinch pot ceramics to pressing records to artisanal joinery techniques. “The process of moving from what you know to what you don’t know animates everything.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Wilma cups with coffee designed by Dirk Van Saene.\u003c/p>\n\u003cp>When asked about projects in the works, Ann Hatch talks about offering workshops to build seaworthy boats from scratch and the development of furniture designed by artist Phil Ross, made with organic materials based on a mycelium compound. At some point, she hopes to work with an artist on a perfume. Or perhaps taxidermy. She eschews the term “experimental” when discussing the Workshop Residence as an alternative model for working with artists, but of course the whole endeavor is rooted in experimentation. Like resident artists in the studio, Hatch is in the process of moving from what she knows to what she doesn’t know — and animating a new idea in the process. Some businesses, even experimental ones, bear the mark of success when someone gets behind it and makes it work through sheer force of will. As far as the development of the Workshop Residence is concerned, Ann Hatch’s willfulness when it comes to supporting artists is already a matter of record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Workshop Residence hosts public events and workshops, along with regular store hours. For \u003ca href=\"http://www.theworkshopresidence.com/\">more information\u003c/a>, visit theworkshopresidence.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Widely respected philanthropist and arts champion Ann Hatch has recently founded a new project called the Workshop Residence in San Francisco’s up and coming Dogpatch neighborhood. The Workshop Residence invites a wide array of cultural producers, visual artists and thinkers from varied disciplines, from fashion to industrial design to technology to create “meaningful, functional objects meant to be used.” A retail space at the entrance of the studio, also online, presents the work for sale. The roster is impressive and the projects are accessibly priced considering the brain trust involved in their production.\u003c/p>\n\u003cp>Esteemed artist \u003ca href=\"http://www.annhamiltonstudio.com/\">Ann Hamilton\u003c/a>, a former MacArthur fellow who represented the United States at the 1999 Venice Biennale, was in residence in August working on a series of coats inspired by everyday unisex work clothes, Amish clothing patterns, a found vintage sewing journal and a well-worn Japanese carpenter’s pouch, among other things. Previous residents include Belgian artist \u003ca href=\"http://www.dirkvansaene.com/\">Dirk Van Saene\u003c/a>, who created unglazed ceramic creature-like vessels, and graphic designer and recipient of the prestigious AIGA Medal \u003ca href=\"http://morladesign.com/\">Jennifer Morla\u003c/a>, who created housewares from industrial felt wool and Irish linen. Local artists \u003ca href=\"http://www.jdbeltran.com/Home.html\">JD Beltran\u003c/a> and \u003ca href=\"http://www.slminneman.com/\">Scott Minneman\u003c/a> have been working on an interactive snow globe and \u003ca href=\"http://www.laurendicioccio.com/\">Lauren DiCioccio\u003c/a>, whom Hatch met as a resident at \u003ca href=\"http://www.recologysf.com/AIR/\">Recology SF\u003c/a>, has created a series of tote bags utilizing industrial embroidery.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Housewares designed by Jennifer Morla.\u003c/p>\n\u003cp>The Workshop Residency functions like an R & D think tank for aesthetics, bringing resident artists together with other artists, academics and craft specialists to research and develop the production processes. Local garment expert Georgene Shelton worked closely with Hamilton, who hadn’t sewn much before, to develop her project. Brother and sister Chris and Ben Ospital, proprietors of posh retailer \u003ca href=\"http://modernappealingclothing.com/\">MAC (Modern Appealing Clothing)\u003c/a>, have also been supportive and have been on hand to offer Hamilton technical insights about clothing construction. Longtime friends of the artist, a few small sculptures from one of her previous projects adorn their nearby shop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Opening for Lauren DiCioccio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Shoes designed by Martha Davis.\u003c/p>\n\u003cp>Projects are also aided by the technical acumen of Workshop Residence director \u003ca href=\"http://www.linkedin.com/pub/braden-weeks-earp/1/522/491\">Braden Weeks Earp\u003c/a>, a recent graduate of Yale’s architecture and design program who previously served as head of studio for sculptor \u003ca href=\"http://www.ursulavonrydingsvard.net/\">Ursula Von Rydingsvard\u003c/a> and, more recently, managed post-earthquake reconstruction projects in West Sumatra, Indonesia and Sichuan, China. When former resident, French artist and fashion designer \u003ca href=\"http://www.aurorethibout.com/\">Aurore Thibout\u003c/a> wanted to cast a vintage wedding dress in Hydrocal, Weeks Earp developed the bracing structure.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist Aurore Thibout working with bracing developed by Braden Weeks Earp at the Workshop Residence.\u003c/p>\n\u003cp>Hatch’s previous contributions to the arts are extensive. She has served as a trustee for organizations such as \u003ca href=\"http://www.cca.edu/\">California College of the Arts\u003c/a>, \u003ca href=\"http://www.bampfa.berkeley.edu/\">Berkeley Art Museum\u003c/a>, \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a>, and \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a>, among others. She co-founded both the \u003ca href=\"http://oxbowschool.org/\">Oxbow School\u003c/a>, an independent high school for the arts, and \u003ca href=\"http://www.wattis.org/capp\">Capp Street Project\u003c/a>, the first residency program in the country to foster the development of large-scale installations. In 1991 San Francisco Mayor Art Agnos declared January 31 to be “Ann Hatch Day” in recognition for her cultural contributions. Given Hatch’s deep knowledge and vast network of relationships across disciplines, the Workshop Residence is a natural extension of her long career, with one salient exception: it is her first commercial enterprise. After seeing many nonprofits struggle from lack of revenue, Hatch is developing the Workshop Residence to be self-sustaining. Along the way, she considered other models based on the collaborative development of artists’ multiples, including \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, an object-based publication series produced by local artist-innovators Jonn Herschend and Will Rogan, and New York-based \u003ca href=\"http://www.artwareeditions.com/Default.asp\">Artware Editions\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hamilton.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ann Hamilton working with Georgene Shelton on coat prototype at The Workshop Residence.\u003c/p>\n\u003cp>Recently, Ann Hamilton sat in the sunlit studio and talked about her residency while punching a needle through luminous blonde ringlets sourced from a blind local Wensleydale sheep. Her project for the Workshop Residence dovetails with a massive architectural installation later this year commissioned for the historic Park Avenue Armory, a building the size of a New York city block. The results of her San Francisco residency will invariably wend their way into the artist’s larger participatory project, titled \u003ci>the event of a thread\u003c/i>. “Every project draws on so many forms of expertise and with this opportunity [at the Workshop Residence], there was this amazing constellation of people here that really allowed me to push the project forward,” she observed, while noting the value of being able to speak with so many local artists and craftspeople about various aspects of the installation, from pinch pot ceramics to pressing records to artisanal joinery techniques. “The process of moving from what you know to what you don’t know animates everything.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/workshop4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Wilma cups with coffee designed by Dirk Van Saene.\u003c/p>\n\u003cp>When asked about projects in the works, Ann Hatch talks about offering workshops to build seaworthy boats from scratch and the development of furniture designed by artist Phil Ross, made with organic materials based on a mycelium compound. At some point, she hopes to work with an artist on a perfume. Or perhaps taxidermy. She eschews the term “experimental” when discussing the Workshop Residence as an alternative model for working with artists, but of course the whole endeavor is rooted in experimentation. Like resident artists in the studio, Hatch is in the process of moving from what she knows to what she doesn’t know — and animating a new idea in the process. Some businesses, even experimental ones, bear the mark of success when someone gets behind it and makes it work through sheer force of will. As far as the development of the Workshop Residence is concerned, Ann Hatch’s willfulness when it comes to supporting artists is already a matter of record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Workshop Residence hosts public events and workshops, along with regular store hours. For \u003ca href=\"http://www.theworkshopresidence.com/\">more information\u003c/a>, visit theworkshopresidence.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "help_desk_the_social_disease",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have never approached a gallery or reached out to the art world beyond maintaining a basic website because I haven’t had a body of work I felt the least bit thrilled with — until now. Meanwhile, my best friend — a successful radio morning-show guy — spent the wee hours of his recent 40th birthday accusing me of being an ivory-tower artist and insisting that I was insane not to be promoting myself on Facebook and other social media. Any defense I could mount sounded elitist and snobby despite my best intentions. It’s been a few days and I’m still having a hard time articulating my reservations. On the one hand, of course I want vast numbers of people to see my work for its own sake and make of it what they will. On the other hand, I am repulsed by the idea of jumping into the public pool just because all the other lemmings did, naively unconcerned with the ramifications of having their lives irreversibly put on public display, just to play trite ego-games in an environment controlled by big business, monitored by government, and all of it propped up by nuclear-energy-guzzling machines made in places with questionable labor and environmental practices, whence they ultimately return on toxic waste barges. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Leaving my paranoia aside, I also feel that an artist today would do well to cultivate a little mystique. Despite my friend’s imploring to the contrary, I feel that yes, I will indeed be somehow rewarded someday for not succumbing to social media, because I feel that a gallerist wants to be the discoverer of the artist as a diamond in the rough, and how can you “discover” someone who already has 3,000 “likes” or “friends?” Am I an e-prude? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Golly. I can’t tell if you’ve come to the absolute right place or the wrongest of wrong places for an answer. Like you, I’ve eschewed most forms of social networking, and while I’m maybe not \u003ci>quite\u003c/i> as paranoid (at least on the good days), I do share some of your concerns about privacy and what you winningly call “ego games.” So my answer might be a little bit preaching-to-the-choir, but I’ll do my best to help you puzzle through your current situation. \u003c/p>\n\u003cp>First, let’s deal with practical matters. If you really want to attempt a defense that doesn’t sound elitist, you could cite the studies on \u003ca href=\"http://www.medicalnewstoday.com/articles/247616.php\">Facebook and anxiety\u003c/a> and \u003ca href=\"http://news.menshealth.com/facebook-self-esteem/2012/02/12/\">what it does to your self-esteem\u003c/a>. Or you could try a more pragmatic tack by talking about how fast technology turns over (remember MySpace and Friendster?), something that the techno-pundits are already discussing. You could mention that \u003ca href=\"http://en.wikipedia.org/wiki/Facebook_IPO\">Facebook’s IPO was miserable\u003c/a> compared to financial projections, \u003ca href=\"http://edition.cnn.com/2011/TECH/social.media/06/13/facebook.dropping.america/index.html\">the site is losing users\u003c/a>, and co-founder Dustin Moskovitz and board member Peter Thiel are \u003ca href=\"http://techcrunch.com/2012/08/20/peter-thiel-sells-majority-of-his-facebook-shares/\">dumping millions of shares of stock\u003c/a> from their portfolios —- \u003ca href=\"http://www.nypost.com/p/news/business/it_crashbook_IEppCgW8VKhjVneIBEeWSL\">not a good sign\u003c/a>. And in case you thought FB was the only villain, Twitter is now going to be \u003ca href=\"http://www.forbes.com/sites/roberthof/2012/08/30/twitter-launches-ads-targeted-to-interests-starting-at-a-penny/\">spamming everyone’s feed with “promoted tweets”\u003c/a> based on their interests. Because nothing in this world is truly free, \u003ca href=\"http://www.slate.com/blogs/future_tense/2012/08/31/facebook_email_phone_numbers_vs_twitter_interest_targeting_the_race_to_capitalize_on_personal_data_.html\">all social media moves in the direction of targeted advertising\u003c/a>, which they accomplish by tracking your data.\u003c/p>\n\u003cp>But really what you need to do, instead of mounting an airtight defense, is to stop comparing yourself to your friend — and stop letting him compare his situation to yours, because they’re completely different. He has a vested interest in being a part of social media: as a radio-show host, he’s a public figure with a specific message. Radio stations are supported by advertising, which the radio station sells to businesses by telling them how many people will hear their ads. They can increase that number of listeners, and then sell ads for more money, by using social media to market the show. By tweeting his political views or NOM NOM sushi lunch, your friend could be ultimately ensuring that he has a job next month. (Just as I’m sure that my editors are reading this right now and thinking, \u003ci>Yes, darling, get a damned Twitter account already and help us sell some advertising so we can keep on cutting checks for this column.\u003c/i> But I digress.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kempsurfing.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Justin Kemp, \u003ci>surfing with the sand between my toes (after brian wilson)\u003c/i>, 2010.\u003c/p>\n\u003cp>Of course, you \u003ci>are\u003c/i> an e-prude, at least by today’s standards. If that makes you feel insufferably bad, you’re either going to have to give it up and get publicly naked on the Internet or else cultivate a sense of pride and learn to wear your smug, elitist, aloof moral superiority (because that’s certainly what you’ll be accused of) as a badge of honor. If you opt for the latter, recognize now that you may never get to have a normal conversation about the Internet again. No matter how neutrally you frame it, some people will look upon your lack of social media presence as a negative assessment of their own habits and get defensive and preachy. I spent ten years without a television, and learning that fact never stopped anyone from first heartily vowing that they never \u003ci>really\u003c/i> watched TV either, and then following that up by recounting the plot of some idiotic sitcom that they were convinced I would just adore. I expect it’ll be the same with social media — your obvious expression of disinterest won’t make the proselytizers go away, so if you hold your ground just resign yourself to having that chat. But you’re a creative person, right? So surely you can figure out a creative way to get people looking at your work without compromising what you believe in. \u003c/p>\n\u003cp>I don’t know about this mystique thing, though, or the idea of being “rewarded” for shunning social media (the reward you get from not being on Twitter is that you don’t have to receive 140-character messages about anyone’s baby or puppy or gourmet sandwich — isn’t that enough?). While I’ve never run a gallery myself, it seems to me that gallerists prefer artists who can make good work, work that they can sell, in enough quantity to keep everyone happy. It’s my impression that they could care less if you have 3,000 “friends” or not, as long as they can do their job and pay the gallery’s rent. I am sure, however, that waiting at the soda fountain to get discovered like Lana Turner is not going to do the trick; but that doesn’t mean you need to jump into a pool that you find so completely offensive. I highly recommend that you spend a day or two at your local library reading art-career books like \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1346613490&sr=8-1&keywords=art%2Fwork\">\u003cem>Art/Work\u003c/em>\u003c/a>, \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_1?s=books&ie=UTF8&qid=1346613513&sr=1-1&keywords=taking+the+leap+building+a+career+as+a+visual+artist\">\u003cem>Taking the Leap\u003c/em>\u003c/a>, and others. These books will give you some alternate ideas on how to reach out and cultivate connections in the art community. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kemponstage.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Justin Kemp, \u003ci>Status Updates (with Nick DeMarco)\u003c/i>, 2011.\u003c/p>\n\u003cp>I dig that social media isn’t your scene, and I’m glad that you both know yourself \u003ci>and\u003c/i> stick to your principles, but the last bit of advice I want to dole out this week is that you can always change your mind. If you think of a brilliant way to use social media as part of, or in support of, your practice then by all means dive in. And maybe the next iteration of social networking will somehow be ecologically conscious and privacy-friendly, so never say never. Artists, even stubborn ones like you and me, should be open to the possibilities. Take this great new work of yours that you’re thrilled about and get it in front of people in a way that doesn’t leave a bad taste in your mouth. Perhaps someday social media will catch up to you, instead of the other way around. \u003c/p>\n\u003cp>\u003ci>This week’s column features the smart, funny work of artist \u003ca href=\"http://justinkemp.com/hey_whats_up.html\">Justin Kemp\u003c/a> (in particular, I love his \u003c/em>\u003ca href=\"http://justinkemp.com/adding_to_the_internet.html\">adding to the internet\u003c/a>\u003cem> project, which was too big to be included here). I found his work on the \u003ca href=\"http://rhizome.org/artbase/\">Rhizome ArtBase\u003c/a>,”an online home for works that employ materials such as software, code, websites, moving images, games and browsers towards aesthetic and critical ends.” Check it out!\u003c/i>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have never approached a gallery or reached out to the art world beyond maintaining a basic website because I haven’t had a body of work I felt the least bit thrilled with — until now. Meanwhile, my best friend — a successful radio morning-show guy — spent the wee hours of his recent 40th birthday accusing me of being an ivory-tower artist and insisting that I was insane not to be promoting myself on Facebook and other social media. Any defense I could mount sounded elitist and snobby despite my best intentions. It’s been a few days and I’m still having a hard time articulating my reservations. On the one hand, of course I want vast numbers of people to see my work for its own sake and make of it what they will. On the other hand, I am repulsed by the idea of jumping into the public pool just because all the other lemmings did, naively unconcerned with the ramifications of having their lives irreversibly put on public display, just to play trite ego-games in an environment controlled by big business, monitored by government, and all of it propped up by nuclear-energy-guzzling machines made in places with questionable labor and environmental practices, whence they ultimately return on toxic waste barges. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Leaving my paranoia aside, I also feel that an artist today would do well to cultivate a little mystique. Despite my friend’s imploring to the contrary, I feel that yes, I will indeed be somehow rewarded someday for not succumbing to social media, because I feel that a gallerist wants to be the discoverer of the artist as a diamond in the rough, and how can you “discover” someone who already has 3,000 “likes” or “friends?” Am I an e-prude? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Golly. I can’t tell if you’ve come to the absolute right place or the wrongest of wrong places for an answer. Like you, I’ve eschewed most forms of social networking, and while I’m maybe not \u003ci>quite\u003c/i> as paranoid (at least on the good days), I do share some of your concerns about privacy and what you winningly call “ego games.” So my answer might be a little bit preaching-to-the-choir, but I’ll do my best to help you puzzle through your current situation. \u003c/p>\n\u003cp>First, let’s deal with practical matters. If you really want to attempt a defense that doesn’t sound elitist, you could cite the studies on \u003ca href=\"http://www.medicalnewstoday.com/articles/247616.php\">Facebook and anxiety\u003c/a> and \u003ca href=\"http://news.menshealth.com/facebook-self-esteem/2012/02/12/\">what it does to your self-esteem\u003c/a>. Or you could try a more pragmatic tack by talking about how fast technology turns over (remember MySpace and Friendster?), something that the techno-pundits are already discussing. You could mention that \u003ca href=\"http://en.wikipedia.org/wiki/Facebook_IPO\">Facebook’s IPO was miserable\u003c/a> compared to financial projections, \u003ca href=\"http://edition.cnn.com/2011/TECH/social.media/06/13/facebook.dropping.america/index.html\">the site is losing users\u003c/a>, and co-founder Dustin Moskovitz and board member Peter Thiel are \u003ca href=\"http://techcrunch.com/2012/08/20/peter-thiel-sells-majority-of-his-facebook-shares/\">dumping millions of shares of stock\u003c/a> from their portfolios —- \u003ca href=\"http://www.nypost.com/p/news/business/it_crashbook_IEppCgW8VKhjVneIBEeWSL\">not a good sign\u003c/a>. And in case you thought FB was the only villain, Twitter is now going to be \u003ca href=\"http://www.forbes.com/sites/roberthof/2012/08/30/twitter-launches-ads-targeted-to-interests-starting-at-a-penny/\">spamming everyone’s feed with “promoted tweets”\u003c/a> based on their interests. Because nothing in this world is truly free, \u003ca href=\"http://www.slate.com/blogs/future_tense/2012/08/31/facebook_email_phone_numbers_vs_twitter_interest_targeting_the_race_to_capitalize_on_personal_data_.html\">all social media moves in the direction of targeted advertising\u003c/a>, which they accomplish by tracking your data.\u003c/p>\n\u003cp>But really what you need to do, instead of mounting an airtight defense, is to stop comparing yourself to your friend — and stop letting him compare his situation to yours, because they’re completely different. He has a vested interest in being a part of social media: as a radio-show host, he’s a public figure with a specific message. Radio stations are supported by advertising, which the radio station sells to businesses by telling them how many people will hear their ads. They can increase that number of listeners, and then sell ads for more money, by using social media to market the show. By tweeting his political views or NOM NOM sushi lunch, your friend could be ultimately ensuring that he has a job next month. (Just as I’m sure that my editors are reading this right now and thinking, \u003ci>Yes, darling, get a damned Twitter account already and help us sell some advertising so we can keep on cutting checks for this column.\u003c/i> But I digress.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kempsurfing.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Justin Kemp, \u003ci>surfing with the sand between my toes (after brian wilson)\u003c/i>, 2010.\u003c/p>\n\u003cp>Of course, you \u003ci>are\u003c/i> an e-prude, at least by today’s standards. If that makes you feel insufferably bad, you’re either going to have to give it up and get publicly naked on the Internet or else cultivate a sense of pride and learn to wear your smug, elitist, aloof moral superiority (because that’s certainly what you’ll be accused of) as a badge of honor. If you opt for the latter, recognize now that you may never get to have a normal conversation about the Internet again. No matter how neutrally you frame it, some people will look upon your lack of social media presence as a negative assessment of their own habits and get defensive and preachy. I spent ten years without a television, and learning that fact never stopped anyone from first heartily vowing that they never \u003ci>really\u003c/i> watched TV either, and then following that up by recounting the plot of some idiotic sitcom that they were convinced I would just adore. I expect it’ll be the same with social media — your obvious expression of disinterest won’t make the proselytizers go away, so if you hold your ground just resign yourself to having that chat. But you’re a creative person, right? So surely you can figure out a creative way to get people looking at your work without compromising what you believe in. \u003c/p>\n\u003cp>I don’t know about this mystique thing, though, or the idea of being “rewarded” for shunning social media (the reward you get from not being on Twitter is that you don’t have to receive 140-character messages about anyone’s baby or puppy or gourmet sandwich — isn’t that enough?). While I’ve never run a gallery myself, it seems to me that gallerists prefer artists who can make good work, work that they can sell, in enough quantity to keep everyone happy. It’s my impression that they could care less if you have 3,000 “friends” or not, as long as they can do their job and pay the gallery’s rent. I am sure, however, that waiting at the soda fountain to get discovered like Lana Turner is not going to do the trick; but that doesn’t mean you need to jump into a pool that you find so completely offensive. I highly recommend that you spend a day or two at your local library reading art-career books like \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1346613490&sr=8-1&keywords=art%2Fwork\">\u003cem>Art/Work\u003c/em>\u003c/a>, \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_1?s=books&ie=UTF8&qid=1346613513&sr=1-1&keywords=taking+the+leap+building+a+career+as+a+visual+artist\">\u003cem>Taking the Leap\u003c/em>\u003c/a>, and others. These books will give you some alternate ideas on how to reach out and cultivate connections in the art community. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kemponstage.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Justin Kemp, \u003ci>Status Updates (with Nick DeMarco)\u003c/i>, 2011.\u003c/p>\n\u003cp>I dig that social media isn’t your scene, and I’m glad that you both know yourself \u003ci>and\u003c/i> stick to your principles, but the last bit of advice I want to dole out this week is that you can always change your mind. If you think of a brilliant way to use social media as part of, or in support of, your practice then by all means dive in. And maybe the next iteration of social networking will somehow be ecologically conscious and privacy-friendly, so never say never. Artists, even stubborn ones like you and me, should be open to the possibilities. Take this great new work of yours that you’re thrilled about and get it in front of people in a way that doesn’t leave a bad taste in your mouth. Perhaps someday social media will catch up to you, instead of the other way around. \u003c/p>\n\u003cp>\u003ci>This week’s column features the smart, funny work of artist \u003ca href=\"http://justinkemp.com/hey_whats_up.html\">Justin Kemp\u003c/a> (in particular, I love his \u003c/em>\u003ca href=\"http://justinkemp.com/adding_to_the_internet.html\">adding to the internet\u003c/a>\u003cem> project, which was too big to be included here). I found his work on the \u003ca href=\"http://rhizome.org/artbase/\">Rhizome ArtBase\u003c/a>,”an online home for works that employ materials such as software, code, websites, moving images, games and browsers towards aesthetic and critical ends.” Check it out!\u003c/i>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Barry McGee is internationally known and one of San Francisco’s own. He’s an artist we love to brag about, and many of us are admittedly influenced by his style. His appearances are ambitious, rare, and spread out so widely across the world that a local retrospective is an enormous blessing — an opportunity to see the best of over thirty years of his artwork and exhibits in one place.\u003c/p>\n\u003cp>The Berkeley Art Museum has aggressive, concrete architecture not unlike a parking structure, which is fitting since McGee installed a signature wrecked vehicle, an overstocked bodega, and a TV tower, among other face-melting installations. It’s not a big show at Deitch Projects, or a museum installation, or a bunch of Internet photos. This well-earned retrospective is a chance to truly feel the heart and the history of McGee’s life and career.\u003c/p>\n\u003cp>The work represents everything about the artist. These are the things he’s collected, painted, lettered, sorted, and kept close. This is his life. This is what he’s obsessed with and where he finds beauty and importance. Nothing is insignificant. Ziplock baggies full of drawings are just as important as ceramic sculptures. McGee’s friends and family are represented in vitrines of art and ephemera contributed by his crew. Everything represents his interests in community, street culture, objects with history, and life’s contrasts. Everything is on the table. To some it’s chaotic, but there are clear formal concerns that are realized in a style that has felt exciting forever.\u003c/p>\n\u003cp>The artist’s scholarly documentation of graffiti in the days before it was commodified to death is an important part of the show. There is evidence of time spent painting in the train yards and bombing the streets. McGee uses everything he can get his hands on as installation materials and canvases: printmaking trays, surfboards, spray cans, reclaimed wood, vehicles, books, buildings, and broken VCRs. He has a magical capacity for making damaged and discarded objects desirable again.\u003c/p>\n\u003cp>Legions of young artists owe a debt to McGee. His influence is constant like a heartbeat. When it comes to life, art, and objects, maybe it’s true that “you can’t take it with you,” but McGee’s legacy thus far proves that you can leave a bright, shining mark on the world, and the scale is up to you. And while anyone’s life experiences and loves could be translated into an enormous museum show, nobody could ever do it quite like Barry McGee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barry McGee is internationally known and one of San Francisco’s own. He’s an artist we love to brag about, and many of us are admittedly influenced by his style. His appearances are ambitious, rare, and spread out so widely across the world that a local retrospective is an enormous blessing — an opportunity to see the best of over thirty years of his artwork and exhibits in one place.\u003c/p>\n\u003cp>The Berkeley Art Museum has aggressive, concrete architecture not unlike a parking structure, which is fitting since McGee installed a signature wrecked vehicle, an overstocked bodega, and a TV tower, among other face-melting installations. It’s not a big show at Deitch Projects, or a museum installation, or a bunch of Internet photos. This well-earned retrospective is a chance to truly feel the heart and the history of McGee’s life and career.\u003c/p>\n\u003cp>The work represents everything about the artist. These are the things he’s collected, painted, lettered, sorted, and kept close. This is his life. This is what he’s obsessed with and where he finds beauty and importance. Nothing is insignificant. Ziplock baggies full of drawings are just as important as ceramic sculptures. McGee’s friends and family are represented in vitrines of art and ephemera contributed by his crew. Everything represents his interests in community, street culture, objects with history, and life’s contrasts. Everything is on the table. To some it’s chaotic, but there are clear formal concerns that are realized in a style that has felt exciting forever.\u003c/p>\n\u003cp>The artist’s scholarly documentation of graffiti in the days before it was commodified to death is an important part of the show. There is evidence of time spent painting in the train yards and bombing the streets. McGee uses everything he can get his hands on as installation materials and canvases: printmaking trays, surfboards, spray cans, reclaimed wood, vehicles, books, buildings, and broken VCRs. He has a magical capacity for making damaged and discarded objects desirable again.\u003c/p>\n\u003cp>Legions of young artists owe a debt to McGee. His influence is constant like a heartbeat. When it comes to life, art, and objects, maybe it’s true that “you can’t take it with you,” but McGee’s legacy thus far proves that you can leave a bright, shining mark on the world, and the scale is up to you. And while anyone’s life experiences and loves could be translated into an enormous museum show, nobody could ever do it quite like Barry McGee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries who want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate or would I just tell them to talk it out? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly affects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.” \u003c/p>\n\u003cp>Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of \u003ca href=\"http://winkleman.com/home\">Winkleman Gallery\u003c/a> in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so…” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jordan Tate, \u003ci>New Work #141\u003c/i>, 2009.\u003c/p>\n\u003cp>I’d say it sounds like you need to initiate conversations with all of your galleries so that everyone is on the same page. In their responses, both Edward and Nathan brought up the related issue of having enough work on hand to satisfy your dealers and collectors, so make sure to discuss expectations regarding quantity with your galleries. For example, Nathan pointed out, “At some point there comes a time in an artist’s career where they must face the task of supplying enough work to maintain the interest and active collecting of a (hopefully) ever-growing and widening audience. Especially for an artist whose star is on the rise, there is definitely a case to be made for producing enough work to satisfy this demand. An artist I work with has this great anecdote from a visit to Andy Warhol’s studio. He, Andy and several others were standing around chatting and the question of, ‘how to become a well-collected artist’ came up. Andy’s reply was simple: ‘You can’t be well-collected if there aren’t enough works to collect.'” \u003c/p>\n\u003cp>Edward underlined the need to put everything on the table before problems arise: “Trickier for the artist is how to keep each gallery who might want to bring work to the same fair (or to fairs near the same time) happy when supply is short. Multiples are one solution, if that fits within the artist’s practice. Otherwise, it makes sense to simply have a conversation with each representing gallery well in advance, letting them know what you, the artist, feel is available for that fair. Yes, this can lead to disagreements, but the earlier such conversations take place, the easier it becomes to work out solutions that keep everyone reasonably happy.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jordan Tate, \u003ci>New Work #141 (detail)\u003c/i>, 2009.\u003c/p>\n\u003cp>So you have to think very carefully about not only where your work is going, but also how much work you can reasonably produce to have on hand for each fair. Nathan continued with some savvy observations on how an art fair functions for the artist, the gallery, and the collector: “Success at art fairs is often tied quite closely to a well-planned and executed strategy. Despite the ‘free for all’ feel on the fair’s floor, a large portion of sales start before the fair opens and even more activity culminates well after everything has been packed away. Galleries who are successful at art fairs develop leads before the fair. Later, follow-up communications after the fair can lead to sales and museum shows. Rarely do these things happen from coincidence.” \u003c/p>\n\u003cp>“Though some galleries find success in a ‘something for everyone’ scattershot approach to their art fair presence, I’d venture that this type of booth caters most to the impulsive ‘shopper’ who is looking for low-hanging fruit and less to the serious collectors who are generally using art fairs to check in on artists they already collect and to consider new work; to finally see in person works that they’ve been hearing a buzz about; and/or to reconnect with their network of trusted advisors (galleries) and to learn about new artists who match their interests.” \u003c/p>\n\u003cp>“With these points in mind, talk with your galleries. Learn about the fairs they will be showing at. Go to the fairs yourself and determine where you’d like to be seen. Find out how your galleries intend to structure their booths. Who will you be showing with? How do they see your work fitting the market where the fair is? How are they advertising? Who do they know in the area? Are there leads they are trying to capitalize on? What work of yours are they hoping to show? A few small drawings in the corner of a booth with twenty artists could do fine for an emerging career. A solo booth at a prominent fair could be the gateway to museum shows. If you are a multidisciplinary artist who works across several media and styles, you may be able to split works thematically amongst your galleries, providing each with work that best matches their program’s focus.” \u003c/p>\n\u003cp>Nathan summed up with some final words of wisdom: “Be inquisitive, make a plan that works for the vested parties, but also let the professionals do their job. There are a lot of variables to consider, so talk it out. It’s good to be wanted — don’t shy away from opportunity. But make sure the choices fit your goals and your ability to make quality work for this important presentation of your art. Communication is key.” \u003c/p>\n\u003cp>Amen to that!\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/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 may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries who want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate or would I just tell them to talk it out? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly affects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.” \u003c/p>\n\u003cp>Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of \u003ca href=\"http://winkleman.com/home\">Winkleman Gallery\u003c/a> in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so…” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jordan Tate, \u003ci>New Work #141\u003c/i>, 2009.\u003c/p>\n\u003cp>I’d say it sounds like you need to initiate conversations with all of your galleries so that everyone is on the same page. In their responses, both Edward and Nathan brought up the related issue of having enough work on hand to satisfy your dealers and collectors, so make sure to discuss expectations regarding quantity with your galleries. For example, Nathan pointed out, “At some point there comes a time in an artist’s career where they must face the task of supplying enough work to maintain the interest and active collecting of a (hopefully) ever-growing and widening audience. Especially for an artist whose star is on the rise, there is definitely a case to be made for producing enough work to satisfy this demand. An artist I work with has this great anecdote from a visit to Andy Warhol’s studio. He, Andy and several others were standing around chatting and the question of, ‘how to become a well-collected artist’ came up. Andy’s reply was simple: ‘You can’t be well-collected if there aren’t enough works to collect.'” \u003c/p>\n\u003cp>Edward underlined the need to put everything on the table before problems arise: “Trickier for the artist is how to keep each gallery who might want to bring work to the same fair (or to fairs near the same time) happy when supply is short. Multiples are one solution, if that fits within the artist’s practice. Otherwise, it makes sense to simply have a conversation with each representing gallery well in advance, letting them know what you, the artist, feel is available for that fair. Yes, this can lead to disagreements, but the earlier such conversations take place, the easier it becomes to work out solutions that keep everyone reasonably happy.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/27/jordantate2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Jordan Tate, \u003ci>New Work #141 (detail)\u003c/i>, 2009.\u003c/p>\n\u003cp>So you have to think very carefully about not only where your work is going, but also how much work you can reasonably produce to have on hand for each fair. Nathan continued with some savvy observations on how an art fair functions for the artist, the gallery, and the collector: “Success at art fairs is often tied quite closely to a well-planned and executed strategy. Despite the ‘free for all’ feel on the fair’s floor, a large portion of sales start before the fair opens and even more activity culminates well after everything has been packed away. Galleries who are successful at art fairs develop leads before the fair. Later, follow-up communications after the fair can lead to sales and museum shows. Rarely do these things happen from coincidence.” \u003c/p>\n\u003cp>“Though some galleries find success in a ‘something for everyone’ scattershot approach to their art fair presence, I’d venture that this type of booth caters most to the impulsive ‘shopper’ who is looking for low-hanging fruit and less to the serious collectors who are generally using art fairs to check in on artists they already collect and to consider new work; to finally see in person works that they’ve been hearing a buzz about; and/or to reconnect with their network of trusted advisors (galleries) and to learn about new artists who match their interests.” \u003c/p>\n\u003cp>“With these points in mind, talk with your galleries. Learn about the fairs they will be showing at. Go to the fairs yourself and determine where you’d like to be seen. Find out how your galleries intend to structure their booths. Who will you be showing with? How do they see your work fitting the market where the fair is? How are they advertising? Who do they know in the area? Are there leads they are trying to capitalize on? What work of yours are they hoping to show? A few small drawings in the corner of a booth with twenty artists could do fine for an emerging career. A solo booth at a prominent fair could be the gateway to museum shows. If you are a multidisciplinary artist who works across several media and styles, you may be able to split works thematically amongst your galleries, providing each with work that best matches their program’s focus.” \u003c/p>\n\u003cp>Nathan summed up with some final words of wisdom: “Be inquisitive, make a plan that works for the vested parties, but also let the professionals do their job. There are a lot of variables to consider, so talk it out. It’s good to be wanted — don’t shy away from opportunity. But make sure the choices fit your goals and your ability to make quality work for this important presentation of your art. Communication is key.” \u003c/p>\n\u003cp>Amen to that!\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lydia Fong, Robert Pimple, Twist, or Barry McGee — no matter what you call him, this San Francisco artist continues to obliterate the gap between street art culture and fine art institutions, and his first retrospective (at the Berkeley Art Museum) is nothing less than spectacular. The show, featuring works from the ’80s to now, is an enormous gift to our community. We couldn’t wait to show you a few sneak peek photos of the exhibition, which opens tomorrow, Friday, August 24, at 11am. See you there?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stay tuned for more Barrymania!\u003c/p>\n\u003cp>\u003cb>Barry McGee\u003c/b> runs through December 9, 2012 at the Berkeley Art Museum. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/mcgee\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lydia Fong, Robert Pimple, Twist, or Barry McGee — no matter what you call him, this San Francisco artist continues to obliterate the gap between street art culture and fine art institutions, and his first retrospective (at the Berkeley Art Museum) is nothing less than spectacular. The show, featuring works from the ’80s to now, is an enormous gift to our community. We couldn’t wait to show you a few sneak peek photos of the exhibition, which opens tomorrow, Friday, August 24, at 11am. See you there?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stay tuned for more Barrymania!\u003c/p>\n\u003cp>\u003cb>Barry McGee\u003c/b> runs through December 9, 2012 at the Berkeley Art Museum. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/mcgee\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last fall, I drew up a list of fresh, noteworthy art books on the market. They ranged from books about art to books written about artists to books about living a creative life. This summer’s selection is no different; my criterion for judging a good art book is that it be thoughtful, evocative, and a little sexy. Not unlike the qualities I look for in a new friend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.artbook.com/9781935202820.html\">\u003ci>Larry Sultan & Mike Mandel \u003c/i>\u003c/a>\u003c/b>\u003cbr>The artists \u003ca href=\"http://www.cca.edu/academics/faculty/lsultan\">Larry Sultan\u003c/a> and \u003ca href=\"http://www.smfa.edu/facultymodule/view/id/172/src/@random4a83044d9a8b2/\">Mike Mandel\u003c/a> met as graduate students at San Francisco Art Institute and collaborated on over thirty art projects, including the influential found photography book \u003ca href=\"http://www.ahornmagazine.com/issue_3/review7_shea_mandelsultan/review_shea_evidence2.html\">\u003ci>Evidence\u003c/i>\u003c/a>, during Sultan’s lifetime (he passed away in December of 2009). The book acts as a kind of visual retrospective, and includes essays from the LACMA curator Charlotte Cotton, the novelist and essayist Jonathan Lethem, a longtime admirer of the artists, and the former Berkeley Art Museum curator Constance Lewallen, among others.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/billboard.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Larry Sultan & Mike Mandel\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.howshouldapersonbe.com/\">\u003ci>How Should A Person Be? A Novel From Life\u003c/i>\u003c/a>\u003cbr>Sheila Heti\u003c/b>\u003cbr>The Interview Editor at \u003ca href=\"http://www.believermag.com/\">The Believer\u003c/a> magazine, Sheila Heti, has just penned her third novel. And she is only thirty-five. This one, titled \u003cb>How Should A Person Be? A Novel From Life\u003c/b> is one part intimate diary entry, one part dramatic play, one part existential query. With a form unlike any other book I have read, it queries the (often paradoxical) anxieties and desires of a young, creative person, trying to be sexy, intellectual, and above all, known.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/howshouldbe.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>How Should a Person Be?\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.tbwbooks.com/books/DEAD-MEN-DONT-LOOK-LIKE-ME\">\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003c/a>\u003cbr>Paul Schiek\u003c/b>\u003cbr>Concurrent with his recent exhibition, \u003cb>Dead Men Don’t Look Like Me\u003c/b>, Oakland-based artist \u003ca href=\"http://www.paulschiek.com/\">Paul Schiek\u003c/a> published a small, fifty-six page artist’s book of the same title. Introduced with a text by the esteemed photography critic Vince Aletti, the book features a series of mug shots, re-photographed by Schiek from the originals, of criminals from the 1950s. The male subjects are bruised, but shockingly handsome and tender looking. All stains, tears, staples, and general damage done to the surface of the images (they were initially found in an abandoned prison in Georgia) remain intact. Printed in an addition of 800, the books will go fast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/deadmendont.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment\u003c/i>\u003c/a>\u003c/b>\u003cbr>\u003ca href=\"http://www.papermonument.com/\">\u003ci>Paper Monument\u003c/i>\u003c/a> is the arts supplement of the esteemed literary Journal \u003ca href=\"http://nplusonemag.com/\">\u003ci>n+1\u003c/i>\u003c/a>. They publish instructional narrative books for artists that are both earnest and tongue-in-cheek. Last year, they published an etiquette guide for conducting studio visits, which was very popular. Most recently, they have come out with \u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment \u003c/i>. The book is what it sounds like: a series of artists and teachers recounting the most (and least) popular assignments that they have given and received. The collection is funny, perverse, generous, and insightful. And at $15, it’s a steal.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://horsesthink.com/?p=6374\">\u003ci>2013\u003c/i>\u003c/a>\u003cbr>Justin James Reed\u003cbr>\u003c/b>\u003ca href=\"http://horsesthink.com/\">\u003ci>Horses Think\u003c/i>\u003c/a> is most commonly known as a popular art blog, with an emphasis on photography. However, the artist who runs it, Ofer Wolberger, has also published a series of his own appropriative-style books. For the first time, Wolberger’s press has published a book by another artist, Justin James Reed, entitled \u003ci>2013\u003c/i>. The limited-edition, twenty-four page book uses invisible “firefly ink” that needs to be viewed with a black light flashlight. In addition, Wolberger’s book \u003ci>Covers\u003c/i>, is being released concurrently from the press. Both books ARE the work of art, rather than simply a documentation of an existing exhibition.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.momastore.org/museum/moma/ProductDisplay?catalogId=10451&categoryId=11486&productId=121042&langId=-1&storeId=10001&krypto=N3b9Bzmdf1yUkOSdC2B1RsXfVbG0K%2F1XgkOLGD3fTNcZpYpxq2N1A3ZcRa4XnhBXWe%2BOF9seNbJP%0D%0AlWQRToZJmbCyGVpoAxFja%2BItluROgos%3D\">\u003ci>Sanja Ivekovic: Sweet Violence\u003c/i>\u003c/a>\u003c/b>\u003cbr>The recently closed exhibition \u003cb>Sanja Ivekovic: Sweet Violence\u003c/b> at the Museum of Modern Art in New York blew me away; this cunning, feminist Croat artist had flown under the radar for too long. Ivekovic’s exhibition catalog does not disappoint either. Replete with deep essays from the exhibition curator Roxana Marcoci — whose contribution illuminates the contemporary history of protest art before and after the Iron Curtain in the former Yugoslavia — and the philosopher Terry Eagleton, who contemplates the nature of tragedy itself. (Another forthcoming catalog that I am looking forward to is \u003cb>Teeny Tiny Woman: Amanda Ross-Ho\u003c/b> at the Museum of Contemporary Art in Los Angeles.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ivekovic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sanja Ivekovic, \u003ci>Make Up-Make Down\u003c/i> (video still), 1978.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.chroniclebooks.com/titles/little-paper-planes.html\">\u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>\u003c/a>\u003cbr>Kelly Lynn Jones\u003c/b>\u003cbr>The Oakland-based company \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a> has published a book titled \u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>. Each of the participants has (appropriately) created artwork around the theme of the paper airplane. Printed with perforated edges for easy removal and assembly, each page/plane is a unique work of craft and design, as well as being a workable toy. Kelly Lynn Jones, the founder of LPP, has brought together artists ranging from Gemma Correll, Michael Hsiung, Julia Rothman, Alyson Fox and Lisa Congdon for the book, which was printed by San Francisco’s Chronicle Books.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, I drew up a list of fresh, noteworthy art books on the market. They ranged from books about art to books written about artists to books about living a creative life. This summer’s selection is no different; my criterion for judging a good art book is that it be thoughtful, evocative, and a little sexy. Not unlike the qualities I look for in a new friend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.artbook.com/9781935202820.html\">\u003ci>Larry Sultan & Mike Mandel \u003c/i>\u003c/a>\u003c/b>\u003cbr>The artists \u003ca href=\"http://www.cca.edu/academics/faculty/lsultan\">Larry Sultan\u003c/a> and \u003ca href=\"http://www.smfa.edu/facultymodule/view/id/172/src/@random4a83044d9a8b2/\">Mike Mandel\u003c/a> met as graduate students at San Francisco Art Institute and collaborated on over thirty art projects, including the influential found photography book \u003ca href=\"http://www.ahornmagazine.com/issue_3/review7_shea_mandelsultan/review_shea_evidence2.html\">\u003ci>Evidence\u003c/i>\u003c/a>, during Sultan’s lifetime (he passed away in December of 2009). The book acts as a kind of visual retrospective, and includes essays from the LACMA curator Charlotte Cotton, the novelist and essayist Jonathan Lethem, a longtime admirer of the artists, and the former Berkeley Art Museum curator Constance Lewallen, among others.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/billboard.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Larry Sultan & Mike Mandel\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.howshouldapersonbe.com/\">\u003ci>How Should A Person Be? A Novel From Life\u003c/i>\u003c/a>\u003cbr>Sheila Heti\u003c/b>\u003cbr>The Interview Editor at \u003ca href=\"http://www.believermag.com/\">The Believer\u003c/a> magazine, Sheila Heti, has just penned her third novel. And she is only thirty-five. This one, titled \u003cb>How Should A Person Be? A Novel From Life\u003c/b> is one part intimate diary entry, one part dramatic play, one part existential query. With a form unlike any other book I have read, it queries the (often paradoxical) anxieties and desires of a young, creative person, trying to be sexy, intellectual, and above all, known.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/howshouldbe.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>How Should a Person Be?\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.tbwbooks.com/books/DEAD-MEN-DONT-LOOK-LIKE-ME\">\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003c/a>\u003cbr>Paul Schiek\u003c/b>\u003cbr>Concurrent with his recent exhibition, \u003cb>Dead Men Don’t Look Like Me\u003c/b>, Oakland-based artist \u003ca href=\"http://www.paulschiek.com/\">Paul Schiek\u003c/a> published a small, fifty-six page artist’s book of the same title. Introduced with a text by the esteemed photography critic Vince Aletti, the book features a series of mug shots, re-photographed by Schiek from the originals, of criminals from the 1950s. The male subjects are bruised, but shockingly handsome and tender looking. All stains, tears, staples, and general damage done to the surface of the images (they were initially found in an abandoned prison in Georgia) remain intact. Printed in an addition of 800, the books will go fast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/deadmendont.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Dead Men Don’t Look Like Me\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment\u003c/i>\u003c/a>\u003c/b>\u003cbr>\u003ca href=\"http://www.papermonument.com/\">\u003ci>Paper Monument\u003c/i>\u003c/a> is the arts supplement of the esteemed literary Journal \u003ca href=\"http://nplusonemag.com/\">\u003ci>n+1\u003c/i>\u003c/a>. They publish instructional narrative books for artists that are both earnest and tongue-in-cheek. Last year, they published an etiquette guide for conducting studio visits, which was very popular. Most recently, they have come out with \u003ci>Draw It With Your Eyes Closed: The Art of the Art Assignment \u003c/i>. The book is what it sounds like: a series of artists and teachers recounting the most (and least) popular assignments that they have given and received. The collection is funny, perverse, generous, and insightful. And at $15, it’s a steal.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://horsesthink.com/?p=6374\">\u003ci>2013\u003c/i>\u003c/a>\u003cbr>Justin James Reed\u003cbr>\u003c/b>\u003ca href=\"http://horsesthink.com/\">\u003ci>Horses Think\u003c/i>\u003c/a> is most commonly known as a popular art blog, with an emphasis on photography. However, the artist who runs it, Ofer Wolberger, has also published a series of his own appropriative-style books. For the first time, Wolberger’s press has published a book by another artist, Justin James Reed, entitled \u003ci>2013\u003c/i>. The limited-edition, twenty-four page book uses invisible “firefly ink” that needs to be viewed with a black light flashlight. In addition, Wolberger’s book \u003ci>Covers\u003c/i>, is being released concurrently from the press. Both books ARE the work of art, rather than simply a documentation of an existing exhibition.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.momastore.org/museum/moma/ProductDisplay?catalogId=10451&categoryId=11486&productId=121042&langId=-1&storeId=10001&krypto=N3b9Bzmdf1yUkOSdC2B1RsXfVbG0K%2F1XgkOLGD3fTNcZpYpxq2N1A3ZcRa4XnhBXWe%2BOF9seNbJP%0D%0AlWQRToZJmbCyGVpoAxFja%2BItluROgos%3D\">\u003ci>Sanja Ivekovic: Sweet Violence\u003c/i>\u003c/a>\u003c/b>\u003cbr>The recently closed exhibition \u003cb>Sanja Ivekovic: Sweet Violence\u003c/b> at the Museum of Modern Art in New York blew me away; this cunning, feminist Croat artist had flown under the radar for too long. Ivekovic’s exhibition catalog does not disappoint either. Replete with deep essays from the exhibition curator Roxana Marcoci — whose contribution illuminates the contemporary history of protest art before and after the Iron Curtain in the former Yugoslavia — and the philosopher Terry Eagleton, who contemplates the nature of tragedy itself. (Another forthcoming catalog that I am looking forward to is \u003cb>Teeny Tiny Woman: Amanda Ross-Ho\u003c/b> at the Museum of Contemporary Art in Los Angeles.)\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ivekovic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Sanja Ivekovic, \u003ci>Make Up-Make Down\u003c/i> (video still), 1978.\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.chroniclebooks.com/titles/little-paper-planes.html\">\u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>\u003c/a>\u003cbr>Kelly Lynn Jones\u003c/b>\u003cbr>The Oakland-based company \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a> has published a book titled \u003ci>Little Paper Planes: Twenty Artists Reinvent the Childhood Classic\u003c/i>. Each of the participants has (appropriately) created artwork around the theme of the paper airplane. Printed with perforated edges for easy removal and assembly, each page/plane is a unique work of craft and design, as well as being a workable toy. Kelly Lynn Jones, the founder of LPP, has brought together artists ranging from Gemma Correll, Michael Hsiung, Julia Rothman, Alyson Fox and Lisa Congdon for the book, which was printed by San Francisco’s Chronicle Books.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I am currently attending art school (RISD) on the East Coast to receive a BFA in painting. I will be a junior this coming year and feel that things have really started to pick up. The first half of my undergraduate education has gone fairly well. Foundation year was rigorous and last year I explored a lot within my own work. I have multiple on-campus jobs and am beginning to feel good about my contact and personal relationships with the faculty. Besides my own personal goals to read a lot and really hit the ground running in the studio, I was wondering if you had any advice on what I can do to make the most out of my remaining two years in undergrad? Specific class topics? Outside experiences? Maybe taking advantage of the close vicinity to Boston and New York? Any advice would be great. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I’m glad to hear that you feel good about how things are going in general. Art school can be tough and competitive, but it sounds like you’re on an even keel and ready to work on your next steps. It’s been a long time now since I was an undergrad, but in order to answer your question I spent some time thinking about the beneficial things I did — and the things I wish I had done — when I was in school. Below are some ideas for you to consider, which I have divided into the three categories of career, artwork, and personal development.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, \u003ci>Untitled #29\u003c/i>, 2002.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Career: I like that you have on-campus jobs and are cultivating good relationships with faculty. When you graduate, you’re going to run into a lot of people who will say, “Oh, you went to RISD? Do you know Professor X?” and it may be helpful if you’re able to say, “Yes.” Make sure that you get at least a little face time with all of the people in your own department.\u003c/p>\n\u003cp>Also, spend some time talking to teachers in other departments, because it’s easy to become conceptually isolated in the echo chamber of a particular department. You can figure out which people you want to contact by listening carefully when your friends discuss their classes and instructors. Who is a good teacher? Who gives good feedback? Who is friendly and generous? You want these people in your life, if for no other reason than they will create good energy and positive vibes for your practice (and I can say that with a straight face, because I live in California). If you hear of someone really phenomenal, ask for a studio visit. Inviting people from other departments to your studio will expand your understanding and your practice, which will serve you well after graduation. After all, there are no media-specific departments in real life. When you’re done with school you’re going to have to contend with the entirety of contemporary art, not just contemporary painting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, 2006 Installation at Gallery Paule Anglim, San Francisco.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Art work: Before school starts, take a day to look back through old sketchbooks or notebooks and find the ideas that you jotted down and then forgot. Do those notions still have merit? How could you develop them? You may find related ideas that can be explored along thematic lines. I assume you have some sort of thesis or culminating project to tackle at the end of your tenure at RISD (and if you don’t, it might be a good idea to act as if you do, if for no other reason than it will be good practice for producing a body of work). Some further thinking might lead you to an interesting thesis topic. But before you get locked into an idea, I sincerely recommend that you experiment your ass off this year. I don’t know exactly how RISD works, but if you can avoid committing yourself to a particular mode of working just yet, then do it. Experimentation leads to growth, and growth leads to wisdom, so make a pact with yourself to try as many things as you can think of this year and see where they take you. I’m not recommending that you fling yourself willy-nilly in all directions; instead, start with an idea for a painting and then come up with ten ways you could express that idea. Then paint three of them. Then evaluate those three and see what works and what doesn’t. To do this requires an enormous commitment to your practice (unless you’re the world’s fastest painter), but the payoff could be incredible. Trust yourself, trust the process, and work, work, work. By the time you do have to hand in your thesis proposal, you’ll have ideas dripping from your very fingers and a solid direction in which to take your work. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, \u003ci>Untitled\u003c/i>, 2010.\u003c/center>\u003c/p>\n\u003cp>Personal Development: Somewhere in there, between your jobs, your studio visits, and your late-night sessions in the studio, consider taking a class in a subject that you know nothing about. If you want an intellectual challenge, sign up for a semiotics or film theory seminar. If you want something hands-on, take a class in sewing or woodworking. Follow your interests, because when you graduate you want to feel like you got the most out of your education. You could also discover something about yourself and the ways in which you prefer to work — and “know thyself” is a helpful tenet for a young artist. Take the time to look at lots of art in museums and galleries, too. You already mention taking trips to your nearest metropolitan areas, and I agree that it’s worthwhile to take advantage of your current proximity while you can.\u003c/p>\n\u003cp>I’d like to end on a note that applies to everyone, not just students who are heading back to school. A very long time ago, a kind and generous teacher taught me the phrase, “Ask for what you need,” and I’ve been trying to put it into practice in my life ever since (with varying degrees of success). We live in a culture of self-reliance and competition, so asking for help can be one of the hardest things to do. But the benefits can be enormous: not only do you often obtain the assistance you need just by asking; but you also expose the weaknesses and vulnerabilities of your artistic practice and life to others, which creates the potential for them to do the same. Often the questions we have and the issues with which we struggle are not unique, and when we express them we create an opportunity to connect. I encourage you, in the next two years and beyond, to identify your goals, map out a potential route for yourself, and then reach out to others who might be able to assist you. Offer to reciprocate as best you can — a cup of coffee, a few hours of babysitting, or homemade cookies may be all that you can offer right now, but eventually you’ll be in a position to help others and can pass along the good work. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I am currently attending art school (RISD) on the East Coast to receive a BFA in painting. I will be a junior this coming year and feel that things have really started to pick up. The first half of my undergraduate education has gone fairly well. Foundation year was rigorous and last year I explored a lot within my own work. I have multiple on-campus jobs and am beginning to feel good about my contact and personal relationships with the faculty. Besides my own personal goals to read a lot and really hit the ground running in the studio, I was wondering if you had any advice on what I can do to make the most out of my remaining two years in undergrad? Specific class topics? Outside experiences? Maybe taking advantage of the close vicinity to Boston and New York? Any advice would be great. \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>I’m glad to hear that you feel good about how things are going in general. Art school can be tough and competitive, but it sounds like you’re on an even keel and ready to work on your next steps. It’s been a long time now since I was an undergrad, but in order to answer your question I spent some time thinking about the beneficial things I did — and the things I wish I had done — when I was in school. Below are some ideas for you to consider, which I have divided into the three categories of career, artwork, and personal development.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, \u003ci>Untitled #29\u003c/i>, 2002.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Career: I like that you have on-campus jobs and are cultivating good relationships with faculty. When you graduate, you’re going to run into a lot of people who will say, “Oh, you went to RISD? Do you know Professor X?” and it may be helpful if you’re able to say, “Yes.” Make sure that you get at least a little face time with all of the people in your own department.\u003c/p>\n\u003cp>Also, spend some time talking to teachers in other departments, because it’s easy to become conceptually isolated in the echo chamber of a particular department. You can figure out which people you want to contact by listening carefully when your friends discuss their classes and instructors. Who is a good teacher? Who gives good feedback? Who is friendly and generous? You want these people in your life, if for no other reason than they will create good energy and positive vibes for your practice (and I can say that with a straight face, because I live in California). If you hear of someone really phenomenal, ask for a studio visit. Inviting people from other departments to your studio will expand your understanding and your practice, which will serve you well after graduation. After all, there are no media-specific departments in real life. When you’re done with school you’re going to have to contend with the entirety of contemporary art, not just contemporary painting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, 2006 Installation at Gallery Paule Anglim, San Francisco.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Art work: Before school starts, take a day to look back through old sketchbooks or notebooks and find the ideas that you jotted down and then forgot. Do those notions still have merit? How could you develop them? You may find related ideas that can be explored along thematic lines. I assume you have some sort of thesis or culminating project to tackle at the end of your tenure at RISD (and if you don’t, it might be a good idea to act as if you do, if for no other reason than it will be good practice for producing a body of work). Some further thinking might lead you to an interesting thesis topic. But before you get locked into an idea, I sincerely recommend that you experiment your ass off this year. I don’t know exactly how RISD works, but if you can avoid committing yourself to a particular mode of working just yet, then do it. Experimentation leads to growth, and growth leads to wisdom, so make a pact with yourself to try as many things as you can think of this year and see where they take you. I’m not recommending that you fling yourself willy-nilly in all directions; instead, start with an idea for a painting and then come up with ten ways you could express that idea. Then paint three of them. Then evaluate those three and see what works and what doesn’t. To do this requires an enormous commitment to your practice (unless you’re the world’s fastest painter), but the payoff could be incredible. Trust yourself, trust the process, and work, work, work. By the time you do have to hand in your thesis proposal, you’ll have ideas dripping from your very fingers and a solid direction in which to take your work. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mcgee3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Barry McGee, \u003ci>Untitled\u003c/i>, 2010.\u003c/center>\u003c/p>\n\u003cp>Personal Development: Somewhere in there, between your jobs, your studio visits, and your late-night sessions in the studio, consider taking a class in a subject that you know nothing about. If you want an intellectual challenge, sign up for a semiotics or film theory seminar. If you want something hands-on, take a class in sewing or woodworking. Follow your interests, because when you graduate you want to feel like you got the most out of your education. You could also discover something about yourself and the ways in which you prefer to work — and “know thyself” is a helpful tenet for a young artist. Take the time to look at lots of art in museums and galleries, too. You already mention taking trips to your nearest metropolitan areas, and I agree that it’s worthwhile to take advantage of your current proximity while you can.\u003c/p>\n\u003cp>I’d like to end on a note that applies to everyone, not just students who are heading back to school. A very long time ago, a kind and generous teacher taught me the phrase, “Ask for what you need,” and I’ve been trying to put it into practice in my life ever since (with varying degrees of success). We live in a culture of self-reliance and competition, so asking for help can be one of the hardest things to do. But the benefits can be enormous: not only do you often obtain the assistance you need just by asking; but you also expose the weaknesses and vulnerabilities of your artistic practice and life to others, which creates the potential for them to do the same. Often the questions we have and the issues with which we struggle are not unique, and when we express them we create an opportunity to connect. I encourage you, in the next two years and beyond, to identify your goals, map out a potential route for yourself, and then reach out to others who might be able to assist you. Offer to reciprocate as best you can — a cup of coffee, a few hours of babysitting, or homemade cookies may be all that you can offer right now, but eventually you’ll be in a position to help others and can pass along the good work. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Will Brown is not what, or who, you think it/he is. First of all, the art space is not actually operated by anyone named Will Brown. Started last year, it is run by the artists and curators Lindsey White, David Kazprzak and Jordan Stein. Second, it is not really a gallery, as often presumed; the Mission-based art space functions as more of a “micro-museum,” curating thematic, rather than commercial, exhibitions.\u003c/p>\n\u003cp>Founded in January of this year, Will Brown occupies the storefront on 24th and Treat that was formerly in use by Triple Base Gallery. After that gallery closed their doors in December of last year, its directors offered their lease to White. “It sort of fell in our laps,” says Kazprzak, and the group had to move quickly. Usually galleries (and even alternative spaces) are formed over long stretches of time, during which potential gallerists generate capital, gather a stable of artists, and exhaustively hunt for real estate. The genesis of Will Brown happened a bit in reverse: only after White, Kazprzak and Stein agreed to be collaborators, and signed the lease, did they begin to conceive of their mission for the space. It was a process, says Stein, “of reverse combustion.” In deciding what they wanted out of their communal project, the group had a lot of conversations about what they felt was missing in the San Francisco art community. During their first meeting, “which consisted of burritos and beers in Lindsey’s kitchen,” says Stein, a common ethos surfaced. Above all, the three friends didn’t want to “represent artists or show ‘art’ in the traditional, [commercial] sense,” says White. Rather, they were interested in engaging a community dialogue that wasn’t afraid to be playful. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kazprzak, Jordan Stein and Lindsey White\u003cbr>\u003c/center>\n\u003cp>Their first show, \u003cb>Illegitimate Business\u003c/b>, was a collaboration between Bay Area artists Zachary Royer Scholz and Brion Nuda Rosch. It explored — or debunked — the very function of the gallery itself, as each of the works on display (such as those from internationally renowned artists Kara Walker, Catherine Opie, and Andres Serrano) were obtained “without monetary exchange [and sometimes] illicitly.” Obviously, nothing in the show was for sale. Most recently, Will Brown’s April/June show, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=93138\">\u003cb>Manitoba Museum of Finds Art\u003c/b>\u003c/a> recreated a little-known “fictional museum.” Originally organized by Alberta Mayo in the waiting room of the SFMOMA Director Henry Hopkins in 1975, the MMOFA was comprised of ephemera and artworks both found and made. Both of these shows perfectly encompass Will Brown’s value system: to present interesting and engaging art that refuses the standardized (and often exclusive) conventions of commercial display and value. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Will Brown is not limited to art exhibitions, and has also held a number of events including, but not limited to: a Goth dance party; a figure drawing/comedy stand-up night; book and magazine launches; live performances, lectures and demonstrations by artists Chris Duncan, Jon Porras, Andy Vogt, The Post Brothers, and Tony Discenza. Those events help raise funds, though Will Brown’s principal support comes from its “Supportfolio,” a limited edition box set of photographs by Gregory Halpern, Dru Donovan, Sean McFarland, and Emily Prince.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>This strategy of non-commerciality and community involvement has been partially conceived of in relation to Will Brown’s upper Mission location. It’s a neighborhood that White, Stein, and Kazprzak are enthusiastic about, and deeply connected to. “We live, eat, and socialize here,” says Stein, “So, why have the space anywhere else?” However, more than a familiar district for them, the climate of rapid gentrification in the Mission actually helped form Will Brown’s guiding principles. For instance, the decision not to represent artists, which generally involves catering to and selling work to an outsider crowd, was influenced by the lack of cultural exchange between residents in the Mission, and a desire to create “serious yet unpretentious [and inclusive] dialogues around art in the neighborhood,” says Stein. “We thought we had a bigger job to do [than sell art].” Still, Will Brown is not wholly distinct from the active transformation of the neighborhood, a fact that Kazprzak acknowledges: “We’re part of that transition. Any transition like this has its growing pains, and we’re trying to be really sensitive to our neighbors by creating a space that everyone can feel comfortable in… we’re not selling $20 sandwiches!” \u003c/p>\n\u003cp>So, you may be wondering: who is Will Brown? As it turns out, its namesake is a real person. “Will is a local guy who helped run Triple Base Gallery in its final days.” says Kazprzak. It’s a smart and funny decision to name the gallery after a cool guy with an inconspicuous sounding name, and one that points back to the gallery’s mission: to be a generous everyman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Will Brown is not what, or who, you think it/he is. First of all, the art space is not actually operated by anyone named Will Brown. Started last year, it is run by the artists and curators Lindsey White, David Kazprzak and Jordan Stein. Second, it is not really a gallery, as often presumed; the Mission-based art space functions as more of a “micro-museum,” curating thematic, rather than commercial, exhibitions.\u003c/p>\n\u003cp>Founded in January of this year, Will Brown occupies the storefront on 24th and Treat that was formerly in use by Triple Base Gallery. After that gallery closed their doors in December of last year, its directors offered their lease to White. “It sort of fell in our laps,” says Kazprzak, and the group had to move quickly. Usually galleries (and even alternative spaces) are formed over long stretches of time, during which potential gallerists generate capital, gather a stable of artists, and exhaustively hunt for real estate. The genesis of Will Brown happened a bit in reverse: only after White, Kazprzak and Stein agreed to be collaborators, and signed the lease, did they begin to conceive of their mission for the space. It was a process, says Stein, “of reverse combustion.” In deciding what they wanted out of their communal project, the group had a lot of conversations about what they felt was missing in the San Francisco art community. During their first meeting, “which consisted of burritos and beers in Lindsey’s kitchen,” says Stein, a common ethos surfaced. Above all, the three friends didn’t want to “represent artists or show ‘art’ in the traditional, [commercial] sense,” says White. Rather, they were interested in engaging a community dialogue that wasn’t afraid to be playful. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kazprzak, Jordan Stein and Lindsey White\u003cbr>\u003c/center>\n\u003cp>Their first show, \u003cb>Illegitimate Business\u003c/b>, was a collaboration between Bay Area artists Zachary Royer Scholz and Brion Nuda Rosch. It explored — or debunked — the very function of the gallery itself, as each of the works on display (such as those from internationally renowned artists Kara Walker, Catherine Opie, and Andres Serrano) were obtained “without monetary exchange [and sometimes] illicitly.” Obviously, nothing in the show was for sale. Most recently, Will Brown’s April/June show, \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=93138\">\u003cb>Manitoba Museum of Finds Art\u003c/b>\u003c/a> recreated a little-known “fictional museum.” Originally organized by Alberta Mayo in the waiting room of the SFMOMA Director Henry Hopkins in 1975, the MMOFA was comprised of ephemera and artworks both found and made. Both of these shows perfectly encompass Will Brown’s value system: to present interesting and engaging art that refuses the standardized (and often exclusive) conventions of commercial display and value. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Will Brown is not limited to art exhibitions, and has also held a number of events including, but not limited to: a Goth dance party; a figure drawing/comedy stand-up night; book and magazine launches; live performances, lectures and demonstrations by artists Chris Duncan, Jon Porras, Andy Vogt, The Post Brothers, and Tony Discenza. Those events help raise funds, though Will Brown’s principal support comes from its “Supportfolio,” a limited edition box set of photographs by Gregory Halpern, Dru Donovan, Sean McFarland, and Emily Prince.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/willbrown3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>This strategy of non-commerciality and community involvement has been partially conceived of in relation to Will Brown’s upper Mission location. It’s a neighborhood that White, Stein, and Kazprzak are enthusiastic about, and deeply connected to. “We live, eat, and socialize here,” says Stein, “So, why have the space anywhere else?” However, more than a familiar district for them, the climate of rapid gentrification in the Mission actually helped form Will Brown’s guiding principles. For instance, the decision not to represent artists, which generally involves catering to and selling work to an outsider crowd, was influenced by the lack of cultural exchange between residents in the Mission, and a desire to create “serious yet unpretentious [and inclusive] dialogues around art in the neighborhood,” says Stein. “We thought we had a bigger job to do [than sell art].” Still, Will Brown is not wholly distinct from the active transformation of the neighborhood, a fact that Kazprzak acknowledges: “We’re part of that transition. Any transition like this has its growing pains, and we’re trying to be really sensitive to our neighbors by creating a space that everyone can feel comfortable in… we’re not selling $20 sandwiches!” \u003c/p>\n\u003cp>So, you may be wondering: who is Will Brown? As it turns out, its namesake is a real person. “Will is a local guy who helped run Triple Base Gallery in its final days.” says Kazprzak. It’s a smart and funny decision to name the gallery after a cool guy with an inconspicuous sounding name, and one that points back to the gallery’s mission: to be a generous everyman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.wearewillbrown.com/\">more information\u003c/a> visit wearewillbrown.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Authoring Texts on Praxis, Revisited",
"headTitle": "Authoring Texts on Praxis, Revisited | KQED",
"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I think it’s great you’re passing on sensible advice regarding the writing of clear, articulate, open gallery texts, but what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do. Obviously, no top level Frieze, Armory, Basel, FIAC type gallery would touch my work if I could write clearly about it, so is there some secret template for obfuscation, complex-ification and obscurantism into which I might insert my variables, and hey, Voila! my MFA show garners the attention of several hip galleries at once? This is not a joke! I genuinely need your help. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this question because I want to make fun of it and I can’t. Just when I am prepared to argue that we all need to write clearly and concisely in order to reach our audience(s), I get something like this in my inbox, delivered on July 31 from \u003ca href=\"http://www.mitpressjournals.org/loi/artm\">MIT Press\u003c/a>: “\u003ci>ARTMargins\u003c/i> is a new triannual publication that invites researchers and practitioners who operate under the conditions of neoliberal capitalism to critically reflect on what we call the ‘thickened global margin,’ encompassing historical, geographical, as well as philosophical or theoretical post-peripheries.” The part of me that taught English to high school kids wants to sigh, \u003ci>really? \u003c/i>, but to be honest, as examples go this one is not even the worst I’ve seen.\u003c/p>\n\u003cp>So while I’d love to be dismissive of this issue, there are indeed some facts that need to be acknowledged. The first is that, no matter how many educators (self included) make claims for prose that is accessible and intelligible, the truth is that we do operate in a field with its own specialized vocabulary. The second is that arts writing undertakes the process of expressing the aesthetic experience as text, and like any translation something ineffable gets lost along the way. To try to make up for this loss while still working within the circumstances that produced it means that writers essentially scratch around hoping to find a designation that will come closest to what they are attempting to explain. With something as complex and nuanced as art the best we can hope for is that the arrow, once shot, will graze its target; because in translation a true bull’s eye is nearly impossible. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-leviathan.jpg\">\u003cbr>Anish Kapoor, \u003ci>Leviathan\u003c/i>, 2011.\u003c/p>\n\u003cp>Your question is complicated, though, because it’s not just about language but perceptions, expectations, and your relationship to your own work. Let’s tackle this one first. When you say “what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do” it trips my worry switch. Why don’t you feel that you know about your own work? Didn’t you make it? Aren’t you the captain of this ship? That others may see things in your work that you don’t is a natural consequence of identity and differentiation. My vision of the world is not yours, and that’s a good thing. It’s not your job to think of every eventuality, to meet all comers. To do so will only guarantee you a lifetime of defensive posturing, and it’s unwise to build a career that requires you to keep your fists up. Additionally, don’t forget that an illogical or overly dense statement can undermine powerful work. \u003c/p>\n\u003cp>But you requested a template. Though I am skeptical about the power of a mere statement to dazzle a blue-chip gallery, I also want to give you what you asked for. As it happens, because there is an Internet and it is filled with the work of delightful and intelligent people, there is (of course) already a website for this. It’s called \u003ca href=\"http://www.artybollocks.com/\">Arty Bollocks\u003c/a> and you simply click “generate some bollocks” and it will give you a complete statement. Here’s what I got: \u003c/p>\n\u003cp>\u003ci>My work explores the relationship between the body and counter-terrorism. With influences as diverse as Nietzsche and John Cage, new insights are manufactured from both opaque and transparent narratives. Ever since I was a pre-adolescent I have been fascinated by the unrelenting divergence of relationships. What starts out as undefined soon becomes finessed into a manifesto of lust, leaving only a sense of chaos and the chance of a new synthesis. As shifting forms become undefined through frantic and diverse practice, the viewer is left with an impression of the darkness of our existence. \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-past.jpg\">\u003cbr>Anish Kapoor, Past, Present, Future, 2006.\u003c/p>\n\u003cp>If your results aren’t opaque enough, you can click “Not arty enough for you?” and you’ll get a statement that turns the \u003ca href=\"http://dictionary.reference.com/browse/caliginosity\">caliginosity\u003c/a> up to 11:\u003c/p>\n\u003cp>\u003ci>My work explores the relationship between pre-Raphaelite tenets and unwanted gifts. With influences as diverse as Camus and Andy Warhol, new synergies are manufactured from both mundane and transcendent structures. Ever since I was a postgraduate I have been fascinated by the theoretical limits of the human condition. What starts out as vision soon becomes finessed into a tragedy of power, leaving only a sense of dread and the unlikelihood of a new synthesis. As temporal replicas become transformed through diligent and diverse practice, the viewer is left with a new agenda of the limits of our condition. \u003c/i>\u003c/p>\n\u003cp>Are you surprised to find that parts of this statement could fit your work? That’s because it is so vague and meaningless that it could be applied with equal efficacy to nearly any artwork. (And if you still venture down this path, beware: sometimes there are errors in the text. Spell check the statement before you send it off to \u003ca href=\"http://www.neugerriemschneider.com/\">Neugerriemschneider\u003c/a>.)\u003c/p>\n\u003cp>If you want to try a sillier generator (à la Mad Libs), I recommend 10gallon.com’s \u003ca href=\"http://10gallon.com/statement2000/\">Patented Artist Statement Generator 2000\u003c/a>. I took some liberties with the directions (for the prompt “CELEBRITY WHO WAS ON THE LOVE BOAT” I entered “Hans Ulrich Obrist”), and with a little tweaking this is what I got: \u003c/p>\n\u003cp>\u003ci>Through my work I attempt to examine the phenomenon of history as a metaphorical interpretation of both Sigmar Polke and data mining. What began as a personal journey of orthodoxy has translated into images of narrative and installations that resonate with cultured people to question their own connection to the archive. My mixed-media kleptomania embodies an idiosyncratic view of tension, yet the familiar imagery allows for a connection between Slavoj Zizek, knitting magazines, and modern American values. My work is in the private collection of Hans Ulrich Obrist who said ‘Yikes!, that’s some real smooth art.’ I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of the Menil Collection in Houston, Texas. I have exhibited in group shows at Jake’s Bar and the Serpentine Gallery, though not at the same time. I currently spend my time between the space under my bed and Berlin.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-cloudgate.jpg\">\u003cbr>Anish Kapoor, \u003ci>Cloud Gate\u003c/i>, 2006.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How droll! But let’s turn our attention, finally, to how a statement can alter the perception of the work. Though many artists seem to believe that a highfalutin statement will cover flaws in their artwork, this is wrong. The curators at the level you hope to reach are, in my (albeit limited) experience, quite intelligent and will not be fooled. Instead, try making a list of all the things that you think your work does, what conditions it addresses, what questions it answers, how it operates, whom it’s talking back to. Starting from this document, you might find an agreeable middle ground between an oversimplification and total philosophical abstraction. Rather than trying to write for curators you’ve never met, write to expand the work’s aims. If the work is funny, write a comedic statement. If it’s opaque and prickly, then by all means write a waspishly incomprehensible text. If your work is simple, try limiting yourself to three concise sentences. Fit the text to the work in a meaningful way. In the end, I think the question you submitted was humorous and smart, and so I have no doubt that if you trust yourself you’ll come up with a statement that adds to an understanding of your work. Good luck! \u003c/p>\n\n",
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"excerpt": "In which our droll advice columnist revisits the hilarious world of the artist statement, with the obligatory cameo by Slavoj Zizek.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I think it’s great you’re passing on sensible advice regarding the writing of clear, articulate, open gallery texts, but what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do. Obviously, no top level Frieze, Armory, Basel, FIAC type gallery would touch my work if I could write clearly about it, so is there some secret template for obfuscation, complex-ification and obscurantism into which I might insert my variables, and hey, Voila! my MFA show garners the attention of several hip galleries at once? This is not a joke! I genuinely need your help. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this question because I want to make fun of it and I can’t. Just when I am prepared to argue that we all need to write clearly and concisely in order to reach our audience(s), I get something like this in my inbox, delivered on July 31 from \u003ca href=\"http://www.mitpressjournals.org/loi/artm\">MIT Press\u003c/a>: “\u003ci>ARTMargins\u003c/i> is a new triannual publication that invites researchers and practitioners who operate under the conditions of neoliberal capitalism to critically reflect on what we call the ‘thickened global margin,’ encompassing historical, geographical, as well as philosophical or theoretical post-peripheries.” The part of me that taught English to high school kids wants to sigh, \u003ci>really? \u003c/i>, but to be honest, as examples go this one is not even the worst I’ve seen.\u003c/p>\n\u003cp>So while I’d love to be dismissive of this issue, there are indeed some facts that need to be acknowledged. The first is that, no matter how many educators (self included) make claims for prose that is accessible and intelligible, the truth is that we do operate in a field with its own specialized vocabulary. The second is that arts writing undertakes the process of expressing the aesthetic experience as text, and like any translation something ineffable gets lost along the way. To try to make up for this loss while still working within the circumstances that produced it means that writers essentially scratch around hoping to find a designation that will come closest to what they are attempting to explain. With something as complex and nuanced as art the best we can hope for is that the arrow, once shot, will graze its target; because in translation a true bull’s eye is nearly impossible. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-leviathan.jpg\">\u003cbr>Anish Kapoor, \u003ci>Leviathan\u003c/i>, 2011.\u003c/p>\n\u003cp>Your question is complicated, though, because it’s not just about language but perceptions, expectations, and your relationship to your own work. Let’s tackle this one first. When you say “what I need to know how to write are the kinds of texts that make it look like I know a lot more about the work I make than I actually do” it trips my worry switch. Why don’t you feel that you know about your own work? Didn’t you make it? Aren’t you the captain of this ship? That others may see things in your work that you don’t is a natural consequence of identity and differentiation. My vision of the world is not yours, and that’s a good thing. It’s not your job to think of every eventuality, to meet all comers. To do so will only guarantee you a lifetime of defensive posturing, and it’s unwise to build a career that requires you to keep your fists up. Additionally, don’t forget that an illogical or overly dense statement can undermine powerful work. \u003c/p>\n\u003cp>But you requested a template. Though I am skeptical about the power of a mere statement to dazzle a blue-chip gallery, I also want to give you what you asked for. As it happens, because there is an Internet and it is filled with the work of delightful and intelligent people, there is (of course) already a website for this. It’s called \u003ca href=\"http://www.artybollocks.com/\">Arty Bollocks\u003c/a> and you simply click “generate some bollocks” and it will give you a complete statement. Here’s what I got: \u003c/p>\n\u003cp>\u003ci>My work explores the relationship between the body and counter-terrorism. With influences as diverse as Nietzsche and John Cage, new insights are manufactured from both opaque and transparent narratives. Ever since I was a pre-adolescent I have been fascinated by the unrelenting divergence of relationships. What starts out as undefined soon becomes finessed into a manifesto of lust, leaving only a sense of chaos and the chance of a new synthesis. As shifting forms become undefined through frantic and diverse practice, the viewer is left with an impression of the darkness of our existence. \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-past.jpg\">\u003cbr>Anish Kapoor, Past, Present, Future, 2006.\u003c/p>\n\u003cp>If your results aren’t opaque enough, you can click “Not arty enough for you?” and you’ll get a statement that turns the \u003ca href=\"http://dictionary.reference.com/browse/caliginosity\">caliginosity\u003c/a> up to 11:\u003c/p>\n\u003cp>\u003ci>My work explores the relationship between pre-Raphaelite tenets and unwanted gifts. With influences as diverse as Camus and Andy Warhol, new synergies are manufactured from both mundane and transcendent structures. Ever since I was a postgraduate I have been fascinated by the theoretical limits of the human condition. What starts out as vision soon becomes finessed into a tragedy of power, leaving only a sense of dread and the unlikelihood of a new synthesis. As temporal replicas become transformed through diligent and diverse practice, the viewer is left with a new agenda of the limits of our condition. \u003c/i>\u003c/p>\n\u003cp>Are you surprised to find that parts of this statement could fit your work? That’s because it is so vague and meaningless that it could be applied with equal efficacy to nearly any artwork. (And if you still venture down this path, beware: sometimes there are errors in the text. Spell check the statement before you send it off to \u003ca href=\"http://www.neugerriemschneider.com/\">Neugerriemschneider\u003c/a>.)\u003c/p>\n\u003cp>If you want to try a sillier generator (à la Mad Libs), I recommend 10gallon.com’s \u003ca href=\"http://10gallon.com/statement2000/\">Patented Artist Statement Generator 2000\u003c/a>. I took some liberties with the directions (for the prompt “CELEBRITY WHO WAS ON THE LOVE BOAT” I entered “Hans Ulrich Obrist”), and with a little tweaking this is what I got: \u003c/p>\n\u003cp>\u003ci>Through my work I attempt to examine the phenomenon of history as a metaphorical interpretation of both Sigmar Polke and data mining. What began as a personal journey of orthodoxy has translated into images of narrative and installations that resonate with cultured people to question their own connection to the archive. My mixed-media kleptomania embodies an idiosyncratic view of tension, yet the familiar imagery allows for a connection between Slavoj Zizek, knitting magazines, and modern American values. My work is in the private collection of Hans Ulrich Obrist who said ‘Yikes!, that’s some real smooth art.’ I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of the Menil Collection in Houston, Texas. I have exhibited in group shows at Jake’s Bar and the Serpentine Gallery, though not at the same time. I currently spend my time between the space under my bed and Berlin.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-cloudgate.jpg\">\u003cbr>Anish Kapoor, \u003ci>Cloud Gate\u003c/i>, 2006.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How droll! But let’s turn our attention, finally, to how a statement can alter the perception of the work. Though many artists seem to believe that a highfalutin statement will cover flaws in their artwork, this is wrong. The curators at the level you hope to reach are, in my (albeit limited) experience, quite intelligent and will not be fooled. Instead, try making a list of all the things that you think your work does, what conditions it addresses, what questions it answers, how it operates, whom it’s talking back to. Starting from this document, you might find an agreeable middle ground between an oversimplification and total philosophical abstraction. Rather than trying to write for curators you’ve never met, write to expand the work’s aims. If the work is funny, write a comedic statement. If it’s opaque and prickly, then by all means write a waspishly incomprehensible text. If your work is simple, try limiting yourself to three concise sentences. Fit the text to the work in a meaningful way. In the end, I think the question you submitted was humorous and smart, and so I have no doubt that if you trust yourself you’ll come up with a statement that adds to an understanding of your work. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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