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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a collector friend who recently went into a gallery to acquire a new piece for his collection. He was prepared to pay cash and was surprised when told by the gallerist that the piece was not available (there was no indication on the exhibition list). However, that was incorrect — the piece was available and was then offered to another collector who declined (a friend of the original collector). Why did the gallerist misinform the original collector? (The piece was also never offered to him later.) \u003c/b>\u003c/p>\n\u003cp>It turns out that selling artwork is a little like getting rid of a cat. Some folks will hand the beast over to anyone, and some are more protective and want Mister Mittens to go to a “good home only.” It sounds like your friend fell victim to the latter.\u003c/p>\n\u003cp>Not one to rely on my own conjectures, I contacted some gallerists to confirm that this is indeed the case. One well-respected New York gallery director suggested that we first consider another possibility: “It’s impossible to know exactly what transpired when the one collector was not able to purchase an artwork which was offered later to another collector. To give the gallery the benefit of the doubt, it’s feasible that the work was on reserve when the first collector inquired and was offered later once the reserve was removed. (That doesn’t explain why the first collector was not contacted in advance of the second collector, of course.)” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-unpleasant1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kramer, \u003ci>My People\u003c/i>, 2012.\u003c/center>\n\u003cp>However, he continued, “More likely the gallery was being selective regarding to whom it would sell the piece. Galleries often prefer to sell works to collectors whom they know or know by reputation. If the gallery is representing the work of an artist or estate, \u003ci>it will want to be sure that pieces are placed in collections that are known to be responsible and safe homes.\u003c/i> As such, it’s not unusual for a gallery to give preference to certain collectors over others.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another long-standing gallerist in Seattle explicated further (in an admirably straightforward manner): “The gallerist was giving the work to a preferred client or to someone who he felt had more potential…This kind of issue is more prominent when an artist is particularly hot or poised for some kind of success. And when a dealer has worked hard to put an artist on the map, they tend to get more guarded about where the work ends up.” And voilà, Mister Mittens now lives with Madame and Monsieur Posh and not with your pal. \u003c/p>\n\u003cp>If your friend is really serious about collecting work by this artist, he has a couple of options: he could ask again about the same work to see if it remains unsold; or inquire about other works by the same artist; or see if the artist is represented by a different gallery. Call me naive, but I think it might not hurt to have another (polite) conversation with the original gallery. If one needs to prove one’s seriousness as a collector before being admitted to the inner sanctum, one must start somewhere. \u003ci>Bonne chance! \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kramer1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kramer, exhibition view of \u003cb>Untitled (Because I am not Richard Prince…\u003c/b> at Galerie Laurent Godin, Paris, 2010.\u003c/center>\n\u003cp>\u003cb>I recently moved to a new city to start a full-time university teaching job in my field that a lot of people had been competing for. I was relatively unknown among the local arts community before arriving and was surprised to find a lot of antagonism directed at me from people I had never met before. Most people that know me or have worked with me like (or at least respect) me and I think that if these new people at least give me a chance, they would find that I’m not so bad. Instead, I’ve had vicious rumors spread about me (about inappropriate affairs with students), extremely uncomfortable lectures and studio visits with students at other local institutions, and a general sense of ill will. I wonder if there is anything I can do to smooth things out, but it seems weird that I should have to go out of my way to placate people who are giving me a hard time for no reason. Ultimately my feelings are just kind of hurt. Can I really write this off to professional jealousy? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s just cut to the chase: yes, it is weird to placate a bunch of meanies. Of course you are hurt. And yes, you could write this off, but you’re not going to. \u003c/p>\n\u003cp>Now that I’ve affirmed your feelings — we’ll come back to them in a moment — remember that you stepped into a situation that others are reacting to; that it’s not you per se that they find objectionable, but what you might represent. Perhaps there were some goings-on that predated your arrival, and the job was verbally offered to another person and then rescinded, or there was an interdepartmental rivalry for the position. Universities, like most bureaucracies, provide a sanctuary for the perfidious and the petty. However, writing this problem off to jealousy does nothing to ameliorate your situation. What you need is a one-person public relations campaign that will mollify your critics and win you some friends. Otherwise, your professional life is going to be a living hell and you’ll never get anything done. \u003c/p>\n\u003cp>You’ve got to start somewhere before things get truly desperate, so take out a piece of paper and write a list of your colleagues that you could ask to lunch. You need to start connecting with these people, so suck it up and send the first email. No reply? Send an email to the next person on the list. Suggest a topic of conversation in the email so that it’s less open ended: “I see that you’re teaching Video Poetry next semester and I wonder if I could ask you a couple of questions about your reading list” or something equally neutral. All of humanity loves to talk about their interests and pursuits, so prepare a couple of questions and get ready to listen. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kramer2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kramer, A Survey of Works, 2010.\u003c/center>\n\u003cp>While you’re forming some one-to-one relationships (and hopefully finding common interests), work on the whole department at the same time. You could try feeding them (pick up a box of donuts on the way to work, bring in some cookies claiming they were an experiment, leave the leftover Halloween candy). You don’t have to announce it, just leave an “eat me” sign on the plate in the main office or the staff room. Everyone who wanders in will ask where they came from. You can also volunteer for some crappy job that no one likes to do, like organizing an all-students meeting or cleaning out the office fridge. Don’t go overboard, but try to find a way to contribute. The point is to make everyone see that you are an asset. When you’ve been kicked in the pants the tendency is to hide away and lick your wounds; but taking yourself out of the public eye will only ensure your continued unhappiness. \u003c/p>\n\u003cp>You may not be able to do much with the arseholes at other institutions. Making friends (or at least making nice) with your own colleagues may help that situation (they probably all know each other), but in the end it’s hard to win over people you see only occasionally. As for the students at other institutions, the response to rudeness is a long pause followed by a succinct and dignified, “You don’t seem to require my assistance. Is there anything I can do for you before I go?” The last time I checked, it was still important to be kind and polite to visiting professors; anyone who doesn’t know this should be treated (gently) like the imbecile she is. \u003c/p>\n\u003cp>Back to your feelings: your situation sounds pretty miserable, and I wonder what you’re doing to improve your mental health. If you have friends in your area — real friends, people you can trust — make lots of time for them, too. If not, take up jogging, or meditation, or join a book club, but for heaven’s sake go somewhere every week where you can get some positive feedback. If you don’t make a commitment to take care of yourself, you might as well start polishing your resume now because you’re not going to have the stamina to turn this job around. \u003c/p>\n\u003cp>Dale Carnegie’s \u003ca href=\"http://www.amazon.com/How-Win-Friends-Influence-People/dp/1439167346/ref=sr_1_1?s=books&ie=UTF8&qid=1342413929&sr=1-1&keywords=how+to+win+friends+and+influence+people\">\u003ci>How to Win Friends and Influence People\u003c/i>\u003c/a> is a classic for a reason, so I suggest that you buy a copy. It’s one of those hokey-but-true books that won’t take you more than a day to read, and it’s got some good tips for dealing with difficult people. And in the end, if after a couple of months you’re still hitting the same wall, remember that there is nothing so maddening to the jealous as a happy, secure person. Smile at the bullies, sail past the rumormongers, and focus your attention on the things that are going well. Best of luck to you. Let us all know how it goes, okay? \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another long-standing gallerist in Seattle explicated further (in an admirably straightforward manner): “The gallerist was giving the work to a preferred client or to someone who he felt had more potential…This kind of issue is more prominent when an artist is particularly hot or poised for some kind of success. And when a dealer has worked hard to put an artist on the map, they tend to get more guarded about where the work ends up.” And voilà, Mister Mittens now lives with Madame and Monsieur Posh and not with your pal. \u003c/p>\n\u003cp>If your friend is really serious about collecting work by this artist, he has a couple of options: he could ask again about the same work to see if it remains unsold; or inquire about other works by the same artist; or see if the artist is represented by a different gallery. Call me naive, but I think it might not hurt to have another (polite) conversation with the original gallery. If one needs to prove one’s seriousness as a collector before being admitted to the inner sanctum, one must start somewhere. \u003ci>Bonne chance! \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kramer1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kramer, exhibition view of \u003cb>Untitled (Because I am not Richard Prince…\u003c/b> at Galerie Laurent Godin, Paris, 2010.\u003c/center>\n\u003cp>\u003cb>I recently moved to a new city to start a full-time university teaching job in my field that a lot of people had been competing for. I was relatively unknown among the local arts community before arriving and was surprised to find a lot of antagonism directed at me from people I had never met before. Most people that know me or have worked with me like (or at least respect) me and I think that if these new people at least give me a chance, they would find that I’m not so bad. Instead, I’ve had vicious rumors spread about me (about inappropriate affairs with students), extremely uncomfortable lectures and studio visits with students at other local institutions, and a general sense of ill will. I wonder if there is anything I can do to smooth things out, but it seems weird that I should have to go out of my way to placate people who are giving me a hard time for no reason. Ultimately my feelings are just kind of hurt. Can I really write this off to professional jealousy? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s just cut to the chase: yes, it is weird to placate a bunch of meanies. Of course you are hurt. And yes, you could write this off, but you’re not going to. \u003c/p>\n\u003cp>Now that I’ve affirmed your feelings — we’ll come back to them in a moment — remember that you stepped into a situation that others are reacting to; that it’s not you per se that they find objectionable, but what you might represent. Perhaps there were some goings-on that predated your arrival, and the job was verbally offered to another person and then rescinded, or there was an interdepartmental rivalry for the position. Universities, like most bureaucracies, provide a sanctuary for the perfidious and the petty. However, writing this problem off to jealousy does nothing to ameliorate your situation. What you need is a one-person public relations campaign that will mollify your critics and win you some friends. Otherwise, your professional life is going to be a living hell and you’ll never get anything done. \u003c/p>\n\u003cp>You’ve got to start somewhere before things get truly desperate, so take out a piece of paper and write a list of your colleagues that you could ask to lunch. You need to start connecting with these people, so suck it up and send the first email. No reply? Send an email to the next person on the list. Suggest a topic of conversation in the email so that it’s less open ended: “I see that you’re teaching Video Poetry next semester and I wonder if I could ask you a couple of questions about your reading list” or something equally neutral. All of humanity loves to talk about their interests and pursuits, so prepare a couple of questions and get ready to listen. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kramer2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>David Kramer, A Survey of Works, 2010.\u003c/center>\n\u003cp>While you’re forming some one-to-one relationships (and hopefully finding common interests), work on the whole department at the same time. You could try feeding them (pick up a box of donuts on the way to work, bring in some cookies claiming they were an experiment, leave the leftover Halloween candy). You don’t have to announce it, just leave an “eat me” sign on the plate in the main office or the staff room. Everyone who wanders in will ask where they came from. You can also volunteer for some crappy job that no one likes to do, like organizing an all-students meeting or cleaning out the office fridge. Don’t go overboard, but try to find a way to contribute. The point is to make everyone see that you are an asset. When you’ve been kicked in the pants the tendency is to hide away and lick your wounds; but taking yourself out of the public eye will only ensure your continued unhappiness. \u003c/p>\n\u003cp>You may not be able to do much with the arseholes at other institutions. Making friends (or at least making nice) with your own colleagues may help that situation (they probably all know each other), but in the end it’s hard to win over people you see only occasionally. As for the students at other institutions, the response to rudeness is a long pause followed by a succinct and dignified, “You don’t seem to require my assistance. Is there anything I can do for you before I go?” The last time I checked, it was still important to be kind and polite to visiting professors; anyone who doesn’t know this should be treated (gently) like the imbecile she is. \u003c/p>\n\u003cp>Back to your feelings: your situation sounds pretty miserable, and I wonder what you’re doing to improve your mental health. If you have friends in your area — real friends, people you can trust — make lots of time for them, too. If not, take up jogging, or meditation, or join a book club, but for heaven’s sake go somewhere every week where you can get some positive feedback. If you don’t make a commitment to take care of yourself, you might as well start polishing your resume now because you’re not going to have the stamina to turn this job around. \u003c/p>\n\u003cp>Dale Carnegie’s \u003ca href=\"http://www.amazon.com/How-Win-Friends-Influence-People/dp/1439167346/ref=sr_1_1?s=books&ie=UTF8&qid=1342413929&sr=1-1&keywords=how+to+win+friends+and+influence+people\">\u003ci>How to Win Friends and Influence People\u003c/i>\u003c/a> is a classic for a reason, so I suggest that you buy a copy. It’s one of those hokey-but-true books that won’t take you more than a day to read, and it’s got some good tips for dealing with difficult people. And in the end, if after a couple of months you’re still hitting the same wall, remember that there is nothing so maddening to the jealous as a happy, secure person. Smile at the bullies, sail past the rumormongers, and focus your attention on the things that are going well. Best of luck to you. Let us all know how it goes, okay? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you are visiting New York in the summer months, you may have already been told that the art world goes to sleep, hibernating during the long, humid days of July and August. While it’s generally true that there are fewer gallery shows to see on a given day, the art world is still very much awake. If anything, air-conditioned exhibitions can be the best places to spend hot summer days. And the art isn’t bad either. \u003c/p>\n\u003cp>Here are my picks for gallery and museum shows to visit in the muggy, New York summer:\u003c/p>\n\u003cp>1. \u003cb>Taryn Simon, A Living Man Declared Dead and Other Chapters I–XVIII \u003c/b> at the Museum of Modern Art\u003cbr>After travelling through a series of European museums, this body of work has finally landed in the United States. It is, without question, one of the most moving, affective, and thorough art projects I’ve seen in a long time. Simon, a photographer known for her formal presentation and elaborate research into the worlds of the “unseen,” does not disappoint in these MoMA galleries. Following eighteen “chapters” made over a four-year period, Simon systematically documents members of specific families, or “bloodlines,” whose history has been fraught with conflict or dispossession. Her subjects include genocide victims in Bosnia, the “living dead” in India, and children in a Ukrainian orphanage. The exhibition runs through September 3, 2012. For \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1248\">more information\u003c/a>, visit moma.org. And check out \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1248#media_player/2/1\">this great slideshow\u003c/a> if you can’t make it to NYC.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zwirner.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Installation Shot, \u003ci>People Who Work Here\u003c/i>, David Zwirner Gallery, New York.\u003cbr>\u003c/center>\n\u003cp>2. \u003cb>People Who Work Here\u003c/b> at David Zwirner Gallery\u003cbr>The title of this group show is to be taken quite literally: each of the seventeen artists in this exhibition are, in fact, full time employees of the gallery. To boot, the show is being curated by Rawson Projects, a small Brooklyn-based gallery that is run by another two members of the Zwirner staff. It’s a homegrown operation. It’s rare to see a gallery celebrate and champion the art of their own workers, and in the case of a blockbuster gallery like Zwirner, it’s practically unheard of. The exhibition runs through August 10, 2012. \u003ca href=\"http://www.davidzwirner.com/exhibition/people-who-work-here/\">more information\u003c/a>, visit davidzwirner.com.\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/houcks.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Houck, \u003ci>Aggregate (detail)\u003c/i>. \u003cbr>\u003c/center>\n\u003cp>3. John Houck, \u003cb>To Understand Photography, You Must First Understand Photography\u003c/b> at KANSAS\u003cbr>This is Houck’s first solo show in New York, and his work, which is subtle and peculiar, doesn’t disappoint. Houck’s gridded, folded photographs explore the illusionistic properties of photography, flat surfaces, and digital technologies. Through the most composed means possible, Houck’s work is about the breakdown of systems of vision and visual organization. The show runs through August 4, 2012. For \u003ca href=\"http://kansasgallery.com/current-exhibitions/\">more information\u003c/a>, visit kansasgallery.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ellsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ellsworth Kelly, \u003ci>Sunflower\u003c/i>, 1957.\u003cbr>\u003c/center>\n\u003cp>4. Ellsworth Kelly, \u003cb>Plant Drawings\u003c/b> at the Metropolitan Museum of Art\u003cbr>If you are scratching your head, let me address your confusion: Yes, that Ellsworth Kelly. If you aren’t familiar with his work, Kelly is one of the great minimal, color-field abstractionists alive today; he is not known for representational work of any kind. However, throughout his life he has made figurative work, and it comes as a lovely surprise. This vast exhibition showcases approximately eighty plant drawings made by Kelly over the course of six decades. The minimalist, graphite and ink contour drawings are full of muted and thoughtful elegance. The exhibition runs through September 3, 2012. For \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2012/ellsworth-kelly\">more information\u003c/a>, visit metmuseum.org.\u003c/p>\n\u003cp>5. Ernesto Burgos, \u003cb>The Tone Was a Synthesis of All the Voices They Had Ever Heard\u003c/b> at Kate Werble Gallery.\u003cbr>In his first solo show at Kate Werble’s West Soho space, Burgos destroys a series of reclaimed sofas. Turned lengthwise on their sides, ripped open, painted over, and grouped densely together, the group appears like an erect, apocalyptic forest. It’s a strange show, at once cerebral and hot-blooded. The show runs through August 10, 2012. For \u003ca href=\"http://www.katewerblegallery.com/\">more information\u003c/a>, visit katewerblegallery.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/erasure.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ben Alper, \u003ci>Erasure #44\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>6. \u003cb>Young Curators, New Ideas\u003c/b> at Meulensteen Gallery\u003cbr>In this annual, juried show, the curators — rather than the artists — are the real stars. In this round, there are thirteen curators and twenty-nine artists on show, creating a feeling of controlled, exciting mania. There was a lot of stand out work, and stand out curating. In fact, it was perhaps most interesting to parse out one from the other, and contemplate how the two kinds of creative, productive vision bleed into one another. In particular, Legacy Russell was a standout curator, as was the collective Court Square. The exhibition runs through August 24, 2012. For \u003ca href=\"http://www.meulensteen.com/exhibitions/young-curators-new-ideas-iv_1\">more information\u003c/a>, visit meulensteen.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hiltonhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rineke Dijkstra, \u003ci>Hilton Head Island, S.C., USA, June 24, 1992\u003c/i>; Courtesy the artist and Marian Goodman Gallery, New York and Paris.\u003cbr>\u003c/center>\n\u003cp>7. \u003cb>Rineke Dijkstra: A Retrospective\u003c/b> at the Guggenheim Museum\u003cbr>In case you missed it was in San Francisco at the SFMOMA, catch this seminal retrospective in New York. Dikstra is the master at capturing something profoundly strange, awkward, and confrontational in the process of transition. The exhibition runs through October 8, 2012. For \u003ca href=\"http://www.guggenheim.org/new-york/exhibitions/on-view/rineke-dijkstra-a-retrospective\">more information\u003c/a>, visitguggenheim.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8: Honorable mentions: \u003ca href=\"http://www.mariangoodman.com/exhibitions/2012-06-26_annette-messager/\">\u003cb>Annette Messager\u003c/b>\u003c/a> at Marian Goodman Gallery; \u003ca href=\"http://www.newmuseum.org/exhibitions/466/ghosts_in_the_machine\">\u003cb>Ghosts in the Machine\u003c/b>\u003c/a> at The New Museum; \u003ca href=\"http://www.jamescohan.com/exhibitions/2012-06-01_everyday-abstract-abstract-everyday/\">\u003cb>Everyday Abstract, Abstract Everyday\u003c/b>\u003c/a> at James Cohan Gallery, \u003ca href=\"http://momaps1.org/exhibitions/view/350\">\u003cb>Lara Favaretto: Just Knocked Out\u003c/b>\u003c/a> at PS1, and \u003ca href=\"http://www.tonkonow.com/index.html\">\u003cb>Carnal Knowledge\u003c/b>\u003c/a> at Leslie Tonkanow Artworks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you are visiting New York in the summer months, you may have already been told that the art world goes to sleep, hibernating during the long, humid days of July and August. While it’s generally true that there are fewer gallery shows to see on a given day, the art world is still very much awake. If anything, air-conditioned exhibitions can be the best places to spend hot summer days. And the art isn’t bad either. \u003c/p>\n\u003cp>Here are my picks for gallery and museum shows to visit in the muggy, New York summer:\u003c/p>\n\u003cp>1. \u003cb>Taryn Simon, A Living Man Declared Dead and Other Chapters I–XVIII \u003c/b> at the Museum of Modern Art\u003cbr>After travelling through a series of European museums, this body of work has finally landed in the United States. It is, without question, one of the most moving, affective, and thorough art projects I’ve seen in a long time. Simon, a photographer known for her formal presentation and elaborate research into the worlds of the “unseen,” does not disappoint in these MoMA galleries. Following eighteen “chapters” made over a four-year period, Simon systematically documents members of specific families, or “bloodlines,” whose history has been fraught with conflict or dispossession. Her subjects include genocide victims in Bosnia, the “living dead” in India, and children in a Ukrainian orphanage. The exhibition runs through September 3, 2012. For \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1248\">more information\u003c/a>, visit moma.org. And check out \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1248#media_player/2/1\">this great slideshow\u003c/a> if you can’t make it to NYC.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zwirner.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Installation Shot, \u003ci>People Who Work Here\u003c/i>, David Zwirner Gallery, New York.\u003cbr>\u003c/center>\n\u003cp>2. \u003cb>People Who Work Here\u003c/b> at David Zwirner Gallery\u003cbr>The title of this group show is to be taken quite literally: each of the seventeen artists in this exhibition are, in fact, full time employees of the gallery. To boot, the show is being curated by Rawson Projects, a small Brooklyn-based gallery that is run by another two members of the Zwirner staff. It’s a homegrown operation. It’s rare to see a gallery celebrate and champion the art of their own workers, and in the case of a blockbuster gallery like Zwirner, it’s practically unheard of. The exhibition runs through August 10, 2012. \u003ca href=\"http://www.davidzwirner.com/exhibition/people-who-work-here/\">more information\u003c/a>, visit davidzwirner.com.\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/houcks.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Houck, \u003ci>Aggregate (detail)\u003c/i>. \u003cbr>\u003c/center>\n\u003cp>3. John Houck, \u003cb>To Understand Photography, You Must First Understand Photography\u003c/b> at KANSAS\u003cbr>This is Houck’s first solo show in New York, and his work, which is subtle and peculiar, doesn’t disappoint. Houck’s gridded, folded photographs explore the illusionistic properties of photography, flat surfaces, and digital technologies. Through the most composed means possible, Houck’s work is about the breakdown of systems of vision and visual organization. The show runs through August 4, 2012. For \u003ca href=\"http://kansasgallery.com/current-exhibitions/\">more information\u003c/a>, visit kansasgallery.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ellsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ellsworth Kelly, \u003ci>Sunflower\u003c/i>, 1957.\u003cbr>\u003c/center>\n\u003cp>4. Ellsworth Kelly, \u003cb>Plant Drawings\u003c/b> at the Metropolitan Museum of Art\u003cbr>If you are scratching your head, let me address your confusion: Yes, that Ellsworth Kelly. If you aren’t familiar with his work, Kelly is one of the great minimal, color-field abstractionists alive today; he is not known for representational work of any kind. However, throughout his life he has made figurative work, and it comes as a lovely surprise. This vast exhibition showcases approximately eighty plant drawings made by Kelly over the course of six decades. The minimalist, graphite and ink contour drawings are full of muted and thoughtful elegance. The exhibition runs through September 3, 2012. For \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2012/ellsworth-kelly\">more information\u003c/a>, visit metmuseum.org.\u003c/p>\n\u003cp>5. Ernesto Burgos, \u003cb>The Tone Was a Synthesis of All the Voices They Had Ever Heard\u003c/b> at Kate Werble Gallery.\u003cbr>In his first solo show at Kate Werble’s West Soho space, Burgos destroys a series of reclaimed sofas. Turned lengthwise on their sides, ripped open, painted over, and grouped densely together, the group appears like an erect, apocalyptic forest. It’s a strange show, at once cerebral and hot-blooded. The show runs through August 10, 2012. For \u003ca href=\"http://www.katewerblegallery.com/\">more information\u003c/a>, visit katewerblegallery.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/erasure.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ben Alper, \u003ci>Erasure #44\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>6. \u003cb>Young Curators, New Ideas\u003c/b> at Meulensteen Gallery\u003cbr>In this annual, juried show, the curators — rather than the artists — are the real stars. In this round, there are thirteen curators and twenty-nine artists on show, creating a feeling of controlled, exciting mania. There was a lot of stand out work, and stand out curating. In fact, it was perhaps most interesting to parse out one from the other, and contemplate how the two kinds of creative, productive vision bleed into one another. In particular, Legacy Russell was a standout curator, as was the collective Court Square. The exhibition runs through August 24, 2012. For \u003ca href=\"http://www.meulensteen.com/exhibitions/young-curators-new-ideas-iv_1\">more information\u003c/a>, visit meulensteen.com.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hiltonhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rineke Dijkstra, \u003ci>Hilton Head Island, S.C., USA, June 24, 1992\u003c/i>; Courtesy the artist and Marian Goodman Gallery, New York and Paris.\u003cbr>\u003c/center>\n\u003cp>7. \u003cb>Rineke Dijkstra: A Retrospective\u003c/b> at the Guggenheim Museum\u003cbr>In case you missed it was in San Francisco at the SFMOMA, catch this seminal retrospective in New York. Dikstra is the master at capturing something profoundly strange, awkward, and confrontational in the process of transition. The exhibition runs through October 8, 2012. For \u003ca href=\"http://www.guggenheim.org/new-york/exhibitions/on-view/rineke-dijkstra-a-retrospective\">more information\u003c/a>, visitguggenheim.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8: Honorable mentions: \u003ca href=\"http://www.mariangoodman.com/exhibitions/2012-06-26_annette-messager/\">\u003cb>Annette Messager\u003c/b>\u003c/a> at Marian Goodman Gallery; \u003ca href=\"http://www.newmuseum.org/exhibitions/466/ghosts_in_the_machine\">\u003cb>Ghosts in the Machine\u003c/b>\u003c/a> at The New Museum; \u003ca href=\"http://www.jamescohan.com/exhibitions/2012-06-01_everyday-abstract-abstract-everyday/\">\u003cb>Everyday Abstract, Abstract Everyday\u003c/b>\u003c/a> at James Cohan Gallery, \u003ca href=\"http://momaps1.org/exhibitions/view/350\">\u003cb>Lara Favaretto: Just Knocked Out\u003c/b>\u003c/a> at PS1, and \u003ca href=\"http://www.tonkonow.com/index.html\">\u003cb>Carnal Knowledge\u003c/b>\u003c/a> at Leslie Tonkanow Artworks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy birthday to David Hockney, born today in 1937.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m in the process of writing an artist statement for a gallery that has recently picked up my work. What makes for a really good artist statement? Ideally, I would like to write something that is approachable and easily understood by other artists, the gallery’s clientele, and the rednecks I grew up with. Any advice here would be greatly appreciated. I find myself in the position of having to write statements at least every few months, but each time it seems difficult to put into words what I’ve been trying to do, as my subject matter changes often, and I do not often write about my work. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oh, the artist statement, that reviled and maligned document! Artists loathe writing them, and it usually shows. But they’re not really that hard to create if you have a clear goal in mind. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let’s begin with your particular case. Even though your subject matter changes often, perhaps you can craft a basic short statement that fits your overall practice, and every time your subject changes you can swap out a couple of sentences as needed. That way you won’t have to start from scratch every time. If you’re not in the habit of writing regularly about your work, I encourage you to start. It doesn’t have to be anything grand, just jot the occasional phrase or sentence down in your sketchbook, or keep an “open thread” type document on your computer. That way you’ll have a grab bag of ideas to choose from when it comes time to put your work into words. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-ring.jpg\">\u003cbr>David Hockney, \u003ci>Rubber Ring Floating In a Swimming Pool\u003c/i>, 1971.\u003c/p>\n\u003cp>What makes a good statement? Well, it has to be readable and say something concrete and interesting about your work. When you tell me that you want your statement to be equally accessible to “other artists, the gallery’s clientele, and the rednecks I grew up with” I worry that you’re trying to serve too many masters. Who is your audience? If your audience is mainly yokels, then by all means write a statement that will appeal to them; but otherwise, the hillbilly parlance will have to go. This statement is for the new gallery, so aim to connect their visitors and collectors to your work. \u003c/p>\n\u003cp>That’s not to say that you have to resort to highfalutin opacity. Your statement is an introduction to your work, the \u003ci>what\u003c/i>, \u003ci>why\u003c/i>, and \u003ci>how\u003c/i> of your practice, and pretentious language will only put your audience off. Here are some tips: \u003c/p>\n\u003cp>Don’t overlook the \u003ci>what\u003c/i> — I can’t tell you how many statements I’ve read that talk about Kierkegaard and liminal space and “the quiet mind” or whatever and I still have no idea what the person makes. Don’t let that be you. If you make sculptures and performances, just say so.\u003c/p>\n\u003cp>The \u003ci>why\u003c/i> is probably the hardest for most people. But really, what makes you go into the studio every day? Are you trying to capture something, figure something out, or just work with your hands? You don’t have to give us the Pop Psych 101 details of your crappy childhood, but if there’s an idea there that helps the viewer understand your motivations, then write it down. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-splash.jpg\">\u003cbr> David Hockney, \u003ci>A Bigger Splash\u003c/i>, 1967.\u003c/p>\n\u003cp>You don’t have to bother with the \u003ci>how\u003c/i> if your process is pretty standard, but by all means, if there’s something that you do that is unique or inventive, let us in on it. \u003c/p>\n\u003cp>Art theory only has a place in an artist statement if it has a direct bearing on your day-to-day studio practice. Otherwise, skip it. \u003c/p>\n\u003cp>Aim for clarity. Could you hand your statement to a stranger and have a reasonable expectation that they would understand your practice? Because once your statement goes up on the gallery wall, that’s essentially what you’re doing. If writing’s not really your game, emphasize facts over flowery language or personality. \u003c/p>\n\u003cp>Nobody wants to read more than 250 words. And let at least one other person read/edit your statement before it goes public. \u003c/p>\n\u003cp>Finally, a plea: leave the artist-statement clichés down in hell where they belong. Please do not, under any circumstances, include the words “I’m inspired by nature” or “My work is about memory.” \u003ci>Because who isn’t inspired by goddamn nature???\u003c/i> If your work is based on the natural environment, give some specifics. Same for memory. Let’s all just agree now to reserve vapid generalities for Top 40 lyrics. \u003c/p>\n\u003cp>About those rednecks: crafting a narrative for your work that fits an art audience might make you feel like you’re leaving Aunt Billie out in the cold, but remember that contemporary art is a specialized field just like information technology or plumbing. The non-professional can’t expect to fully understand everything in one go. With a little effort you can probably think of a few things about your work that family members might connect to, whether regarding your medium or subject matter or studio life, and you can say all these things in a holiday conversation. Your statement is for a particular audience — \u003ci>the audience that regularly reads and cares about artist statements\u003c/i> — and since Aunt Billie’s not going to exhibit, sell, or buy your work, you don’t have to write a statement aimed at her. Your statement is an art-career device, not a literary effort designed to please everyone. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congratulations on your new gallery! Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Happy birthday to David Hockney, born today in 1937.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m in the process of writing an artist statement for a gallery that has recently picked up my work. What makes for a really good artist statement? Ideally, I would like to write something that is approachable and easily understood by other artists, the gallery’s clientele, and the rednecks I grew up with. Any advice here would be greatly appreciated. I find myself in the position of having to write statements at least every few months, but each time it seems difficult to put into words what I’ve been trying to do, as my subject matter changes often, and I do not often write about my work. \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oh, the artist statement, that reviled and maligned document! Artists loathe writing them, and it usually shows. But they’re not really that hard to create if you have a clear goal in mind. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let’s begin with your particular case. Even though your subject matter changes often, perhaps you can craft a basic short statement that fits your overall practice, and every time your subject changes you can swap out a couple of sentences as needed. That way you won’t have to start from scratch every time. If you’re not in the habit of writing regularly about your work, I encourage you to start. It doesn’t have to be anything grand, just jot the occasional phrase or sentence down in your sketchbook, or keep an “open thread” type document on your computer. That way you’ll have a grab bag of ideas to choose from when it comes time to put your work into words. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-ring.jpg\">\u003cbr>David Hockney, \u003ci>Rubber Ring Floating In a Swimming Pool\u003c/i>, 1971.\u003c/p>\n\u003cp>What makes a good statement? Well, it has to be readable and say something concrete and interesting about your work. When you tell me that you want your statement to be equally accessible to “other artists, the gallery’s clientele, and the rednecks I grew up with” I worry that you’re trying to serve too many masters. Who is your audience? If your audience is mainly yokels, then by all means write a statement that will appeal to them; but otherwise, the hillbilly parlance will have to go. This statement is for the new gallery, so aim to connect their visitors and collectors to your work. \u003c/p>\n\u003cp>That’s not to say that you have to resort to highfalutin opacity. Your statement is an introduction to your work, the \u003ci>what\u003c/i>, \u003ci>why\u003c/i>, and \u003ci>how\u003c/i> of your practice, and pretentious language will only put your audience off. Here are some tips: \u003c/p>\n\u003cp>Don’t overlook the \u003ci>what\u003c/i> — I can’t tell you how many statements I’ve read that talk about Kierkegaard and liminal space and “the quiet mind” or whatever and I still have no idea what the person makes. Don’t let that be you. If you make sculptures and performances, just say so.\u003c/p>\n\u003cp>The \u003ci>why\u003c/i> is probably the hardest for most people. But really, what makes you go into the studio every day? Are you trying to capture something, figure something out, or just work with your hands? You don’t have to give us the Pop Psych 101 details of your crappy childhood, but if there’s an idea there that helps the viewer understand your motivations, then write it down. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-splash.jpg\">\u003cbr> David Hockney, \u003ci>A Bigger Splash\u003c/i>, 1967.\u003c/p>\n\u003cp>You don’t have to bother with the \u003ci>how\u003c/i> if your process is pretty standard, but by all means, if there’s something that you do that is unique or inventive, let us in on it. \u003c/p>\n\u003cp>Art theory only has a place in an artist statement if it has a direct bearing on your day-to-day studio practice. Otherwise, skip it. \u003c/p>\n\u003cp>Aim for clarity. Could you hand your statement to a stranger and have a reasonable expectation that they would understand your practice? Because once your statement goes up on the gallery wall, that’s essentially what you’re doing. If writing’s not really your game, emphasize facts over flowery language or personality. \u003c/p>\n\u003cp>Nobody wants to read more than 250 words. And let at least one other person read/edit your statement before it goes public. \u003c/p>\n\u003cp>Finally, a plea: leave the artist-statement clichés down in hell where they belong. Please do not, under any circumstances, include the words “I’m inspired by nature” or “My work is about memory.” \u003ci>Because who isn’t inspired by goddamn nature???\u003c/i> If your work is based on the natural environment, give some specifics. Same for memory. Let’s all just agree now to reserve vapid generalities for Top 40 lyrics. \u003c/p>\n\u003cp>About those rednecks: crafting a narrative for your work that fits an art audience might make you feel like you’re leaving Aunt Billie out in the cold, but remember that contemporary art is a specialized field just like information technology or plumbing. The non-professional can’t expect to fully understand everything in one go. With a little effort you can probably think of a few things about your work that family members might connect to, whether regarding your medium or subject matter or studio life, and you can say all these things in a holiday conversation. Your statement is for a particular audience — \u003ci>the audience that regularly reads and cares about artist statements\u003c/i> — and since Aunt Billie’s not going to exhibit, sell, or buy your work, you don’t have to write a statement aimed at her. Your statement is an art-career device, not a literary effort designed to please everyone. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congratulations on your new gallery! Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Experience David Shrigley's Brain Activity at YBCA",
"headTitle": "Experience David Shrigley’s Brain Activity at YBCA | KQED",
"content": "\u003cp>When I first laid eyes on a David Shrigley book, I was like, “You had me at \u003ci>Ants Have Sex in your Beer\u003c/i>.” Such a classic non sequitur is not to be ignored, and I knew instantly that I had laid eyes on a genius work of art. Or the ramblings of a prisoner. Either way, I loved it instantly.\u003c/p>\n\u003cp>I collected his books for years, obsessed with the text-laden, scribbly art, and photographs, some with cleverly placed signage marked with his distinct handwriting. I wouldn’t even open the books first, I’d just grab them and pay up any time I came across a new one. One of my early acquisitions, a postcard book, holds a longtime favorite image: a sign placed near the water saying, “River for Sale.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleyriver.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>A tiny bit cerebral and quietly hilarious, there is never enough Shrigley in my life. Until now! His really big exhibit, \u003cb>Brain Activity\u003c/b>, just opened in San Francisco after traveling from the UK, where Shrigley lives and works (in Scotland), and I was able to sneak a few photos while the show was being installed. The pages of the books he is known for come to life, inviting you to wander amongst them like a tiny doodled thought in the artist’s curious mind. There are sculptures that look like his drawings crawled off the page, animated films, murals, taxidermy, and hidden secrets. Be sure to look outside on the roof deck. The art insists.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleygate.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Shrigley, \u003ci>Do Not Linger at the Gate\u003c/i>, 2008; courtesy of the artist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David Shrigley’s work is concerned with words, but he doesn’t consider himself a writer. Text is no stranger to visual art, but Shrigley stands out because he seems to follow a stream-of-consciousness thread. He makes what he makes, and contextualization is rarely part of his process. He’s interested in things like diagrams and labels, and as he says, his work is about everything: culture, religion, politics, sex, etc. It is diaristic and takes humor seriously. It is also absurd in the best way possible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleydog.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Shrigley, \u003ci>I’m Dead\u003c/i>, 2010; Photo: Alexander Newtown.\u003c/p>\n\u003cp>For Shrigley’s loyal subjects (including many who are \u003ca href=\"http://www.davidshrigley.com/tattoos/tattoos.htm\">tattooed\u003c/a> with his art), \u003cb>Brain Activity\u003c/b> is better than a Diamond Jubilee. This will be the exhibition’s only West Coast stop, so don’t miss it. Long live Shrigley. God save the Shrigley!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Brain Activity\u003c/b> is on view through September 22, 2012 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/david-shrigley\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first laid eyes on a David Shrigley book, I was like, “You had me at \u003ci>Ants Have Sex in your Beer\u003c/i>.” Such a classic non sequitur is not to be ignored, and I knew instantly that I had laid eyes on a genius work of art. Or the ramblings of a prisoner. Either way, I loved it instantly.\u003c/p>\n\u003cp>I collected his books for years, obsessed with the text-laden, scribbly art, and photographs, some with cleverly placed signage marked with his distinct handwriting. I wouldn’t even open the books first, I’d just grab them and pay up any time I came across a new one. One of my early acquisitions, a postcard book, holds a longtime favorite image: a sign placed near the water saying, “River for Sale.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleyriver.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>A tiny bit cerebral and quietly hilarious, there is never enough Shrigley in my life. Until now! His really big exhibit, \u003cb>Brain Activity\u003c/b>, just opened in San Francisco after traveling from the UK, where Shrigley lives and works (in Scotland), and I was able to sneak a few photos while the show was being installed. The pages of the books he is known for come to life, inviting you to wander amongst them like a tiny doodled thought in the artist’s curious mind. There are sculptures that look like his drawings crawled off the page, animated films, murals, taxidermy, and hidden secrets. Be sure to look outside on the roof deck. The art insists.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleygate.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Shrigley, \u003ci>Do Not Linger at the Gate\u003c/i>, 2008; courtesy of the artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David Shrigley’s work is concerned with words, but he doesn’t consider himself a writer. Text is no stranger to visual art, but Shrigley stands out because he seems to follow a stream-of-consciousness thread. He makes what he makes, and contextualization is rarely part of his process. He’s interested in things like diagrams and labels, and as he says, his work is about everything: culture, religion, politics, sex, etc. It is diaristic and takes humor seriously. It is also absurd in the best way possible.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/shrigleydog.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Shrigley, \u003ci>I’m Dead\u003c/i>, 2010; Photo: Alexander Newtown.\u003c/p>\n\u003cp>For Shrigley’s loyal subjects (including many who are \u003ca href=\"http://www.davidshrigley.com/tattoos/tattoos.htm\">tattooed\u003c/a> with his art), \u003cb>Brain Activity\u003c/b> is better than a Diamond Jubilee. This will be the exhibition’s only West Coast stop, so don’t miss it. Long live Shrigley. God save the Shrigley!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Brain Activity\u003c/b> is on view through September 22, 2012 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/david-shrigley\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Animated Gifs: The Art of the Present Moment",
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"content": "\u003cp>My definition of art is always in progress but here is what I am currently going with: it is whatever makes us human. Specifically: art can be anything intentional that takes part of the world or human experience and makes it special and illuminates it.\u003c/p>\n\u003cp>In the “Age of the Internet” or whatever we are calling now, art is potentially everywhere. PBS has launched \u003ca href=\"http://www.youtube.com/user/pbsideachannel\">a YouTube show called \u003ci>Idea Channel\u003c/i>\u003c/a>, which is just a very engaging guy exploring the interaction of art and the internet a couple times a week. Last week he asked the question: \u003ca href=\"http://www.youtube.com/watch?v=rdEZjZXirbA\">“Is the web browser replacing the art gallery?”\u003c/a>\u003c/p>\n\u003cp>This is a fair question, though really I want to respond with: “Does it matter?”\u003c/p>\n\u003cp>A gallery is an inherently exclusive place with bars for entry — like where you live, who you know, your economic status, what you are wearing and what you know about cheese. But the internet is open to anyone with a computer and access to \u003ca href=\"http://www.npr.org/2012/05/31/153701673/the-internet-a-series-of-tubes-and-then-some\">the tubes\u003c/a> (so, still pretty exclusive if you live in North Korea or Somalia or poorer parts of the U.S.). Art distributed online can become wildly popular without the go-ahead of an old white guy who runs a college or a publication. It can be interactive and responsive. Anyone can be a creator, a distributor and/or a consumer without ever having to feel the icy shiver of judgment after walking into a gallery wearing Hammer pants and Tevas.\u003c/p>\n\u003cp>Which brings us to: the animated gif.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Graphics_Interchange_Format#Animated_GIF\">An animated gif\u003c/a> is a few different images that are put together in a short animation. It’s an old technology, in terms of the internet, one of the earliest ways to animate images online. An animated gif is a way of isolating a moment. Throughout the internet, animated gifs are seeing a resurgence in popularity. They are easy to create and can communicate things a simple image or bit of text can’t, without the long, drawn out experience of a video.\u003c/p>\n\u003cp>Last week I sat down with \u003ca href=\"http://drewbeck.com/\">Drew Beck\u003c/a>, a photographer, designer and creator of the Tumblr \u003ca href=\"http://1800ilovegifs.tumblr.com/\">1800ILOVEGIFS\u003c/a>. We drank whiskey, listened to Destroyer and ate gummy bears while discussing some of the gifs he has collected on his blog and why they work as pieces of art. What follows is an audio visual walk through a few of our favorite gifs.\u003c/p>\n\u003cp>\u003cb>The joy of melting chocolate:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meltingchocolate.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896544&show_artwork=true\">\u003c/iframe> \u003cbr>\u003c/center>\n\u003cp>\u003cb>Nostalgia and Elaine: \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/elaine.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896669&show_artwork=true\">\u003c/iframe> \n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Going back to Dagobah:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/luke.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896792&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>The beauty and rhythm of Spider-Man:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spiderman.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896876&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>I know how the kitty feels:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kitty.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896940&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>The endless feeling of melancholy:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/water.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50897016&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Beware of sharks:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shark.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F51008292&show_artwork=true\">\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Nature’s so crazy:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ladybug.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50897739&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Want more beautiful/weird/disturbing gifs in your life? \u003ca href=\"http://1800ilovegifs.tumblr.com/\">Check out Drew’s blog 1800ILOVEGIFS.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My definition of art is always in progress but here is what I am currently going with: it is whatever makes us human. Specifically: art can be anything intentional that takes part of the world or human experience and makes it special and illuminates it.\u003c/p>\n\u003cp>In the “Age of the Internet” or whatever we are calling now, art is potentially everywhere. PBS has launched \u003ca href=\"http://www.youtube.com/user/pbsideachannel\">a YouTube show called \u003ci>Idea Channel\u003c/i>\u003c/a>, which is just a very engaging guy exploring the interaction of art and the internet a couple times a week. Last week he asked the question: \u003ca href=\"http://www.youtube.com/watch?v=rdEZjZXirbA\">“Is the web browser replacing the art gallery?”\u003c/a>\u003c/p>\n\u003cp>This is a fair question, though really I want to respond with: “Does it matter?”\u003c/p>\n\u003cp>A gallery is an inherently exclusive place with bars for entry — like where you live, who you know, your economic status, what you are wearing and what you know about cheese. But the internet is open to anyone with a computer and access to \u003ca href=\"http://www.npr.org/2012/05/31/153701673/the-internet-a-series-of-tubes-and-then-some\">the tubes\u003c/a> (so, still pretty exclusive if you live in North Korea or Somalia or poorer parts of the U.S.). Art distributed online can become wildly popular without the go-ahead of an old white guy who runs a college or a publication. It can be interactive and responsive. Anyone can be a creator, a distributor and/or a consumer without ever having to feel the icy shiver of judgment after walking into a gallery wearing Hammer pants and Tevas.\u003c/p>\n\u003cp>Which brings us to: the animated gif.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Graphics_Interchange_Format#Animated_GIF\">An animated gif\u003c/a> is a few different images that are put together in a short animation. It’s an old technology, in terms of the internet, one of the earliest ways to animate images online. An animated gif is a way of isolating a moment. Throughout the internet, animated gifs are seeing a resurgence in popularity. They are easy to create and can communicate things a simple image or bit of text can’t, without the long, drawn out experience of a video.\u003c/p>\n\u003cp>Last week I sat down with \u003ca href=\"http://drewbeck.com/\">Drew Beck\u003c/a>, a photographer, designer and creator of the Tumblr \u003ca href=\"http://1800ilovegifs.tumblr.com/\">1800ILOVEGIFS\u003c/a>. We drank whiskey, listened to Destroyer and ate gummy bears while discussing some of the gifs he has collected on his blog and why they work as pieces of art. What follows is an audio visual walk through a few of our favorite gifs.\u003c/p>\n\u003cp>\u003cb>The joy of melting chocolate:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meltingchocolate.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896544&show_artwork=true\">\u003c/iframe> \u003cbr>\u003c/center>\n\u003cp>\u003cb>Nostalgia and Elaine: \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/elaine.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896669&show_artwork=true\">\u003c/iframe> \n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Going back to Dagobah:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/luke.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896792&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>The beauty and rhythm of Spider-Man:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spiderman.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896876&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>I know how the kitty feels:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kitty.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50896940&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>The endless feeling of melancholy:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/water.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50897016&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Beware of sharks:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shark.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F51008292&show_artwork=true\">\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Nature’s so crazy:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ladybug.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"http://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F50897739&show_artwork=true\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Want more beautiful/weird/disturbing gifs in your life? \u003ca href=\"http://1800ilovegifs.tumblr.com/\">Check out Drew’s blog 1800ILOVEGIFS.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"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>Happy issue 26! That’s right, folks, we’re six months into a glorious year of Help Desk. If this column were a baby, it would be rolling over, blowing raspberries, and starting to eat pureed foods from jars. Eww.\u003c/p>\n\u003cp>Not surprisingly, over the last six months I’ve been asked a lot of meta-questions about HD and thought this issue would be a good opportunity to take a break from our regularly scheduled programming in order to share those questions and answers with you. Enjoy!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-hands.jpg\">\u003cbr>André Kertész, \u003ci>Paul Arma’s Hands\u003c/i>, 1928.\u003c/p>\n\u003cp>\u003cb>Why did you start an advice column? \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I love advice columns! They’re an intriguing glimpse into human nature and they usually give me something to think about. I started reading \u003ca href=\"http://www.missmanners.com/\">Miss Manners\u003c/a> in high school and these days I follow the columns of \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\">Emily Yoffe\u003c/a>, \u003ca href=\"http://www.elle.com/life-love/ask-e-jean/\">E. Jean Carroll\u003c/a>, and \u003ca href=\"http://www.salon.com/topic/since_you_asked/\">Carey Tennis\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Do people really write in? Or are you making those questions up? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yes, people do really write in. All of the questions answered in this column have been sent to the \u003ci>Help Desk\u003c/i> from various unknown persons who just need a little help sorting through an art-related issue. \u003c/p>\n\u003cp>\u003cb>Are submissions truly anonymous and confidential? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Absolutely. Though I can be flip about other things, I take this part seriously. In the beginning we recommended sending questions through a free anonymizer service like Anonymouse.com, but then the editors heard from a friend that a query sent that way didn’t get through. Now I just delete the sender’s original email after I copy and paste the question into a spreadsheet. It’s usually a few weeks between receiving a question and publishing the answer anyway, and by then I’ve forgotten who wrote what. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bench.jpg\">\u003cbr>André Kertész, \u003ci>Broken Bench\u003c/i>, NY, 1962.\u003c/p>\n\u003cp>\u003cb>How do you choose the questions you answer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I look for questions that are likely to have a broad audience or that reveal an inner working of the machine we call art. \u003c/p>\n\u003cp>\u003cb>The question about \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">the cheating MFA advisor\u003c/a> wasn’t really an art advice question. Why did you answer it? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The power structures that are in play in the art world are fascinating to me. That question hinted at some concerns that rarely get talked about explicitly in the arts: mentoring and moving from a professional relationship into a friendship. Likewise with \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=82252\">the big boobs question\u003c/a>: if contemplating the use of your sex appeal to get a gallery show isn’t one of “art’s thornier issues” I don’t know what is! \u003c/p>\n\u003cp>\u003cb>How many questions have you answered so far? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>About 50. In the beginning I also answered a few privately, so I’m not sure of the exact count. \u003c/p>\n\u003cp>\u003cb>Have you ever gotten a question that you won’t answer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t really want to deal with angry, assumption-filled rants disguised as questions (though I have \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=96241\">tackled a few\u003c/a>). I’ve also received a few bizarre questions that I simply wasn’t prepared to answer; for those I responded privately to the sender to say that I wasn’t able to take his/her question on. \u003c/p>\n\u003cp>\u003cb>Where do you get all the ideas that you use in the answers? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I ask people who know far better than I how the art world works. I’ve contacted MFA program directors, professors, gallerists, dealers, independent curators, nonprofits, and my fellow artists. I also look through art-advice books to see what they have to say. One of the most interesting aspects of this job is reaching out to the experts. \u003c/p>\n\u003cp>\u003cb>Do you follow your own advice? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not every question applies to my particular situation. I do try to give advice that I would appreciate — and then adopt the advice that I give. To think about it that way is a kind of litmus test — would I do that? — because I don’t want to suggest a course of action that I wouldn’t feel comfortable taking. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In which our advice columnist sums up the first half of 2012 and does a little housekeeping.",
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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>Happy issue 26! That’s right, folks, we’re six months into a glorious year of Help Desk. If this column were a baby, it would be rolling over, blowing raspberries, and starting to eat pureed foods from jars. Eww.\u003c/p>\n\u003cp>Not surprisingly, over the last six months I’ve been asked a lot of meta-questions about HD and thought this issue would be a good opportunity to take a break from our regularly scheduled programming in order to share those questions and answers with you. Enjoy!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-hands.jpg\">\u003cbr>André Kertész, \u003ci>Paul Arma’s Hands\u003c/i>, 1928.\u003c/p>\n\u003cp>\u003cb>Why did you start an advice column? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I love advice columns! They’re an intriguing glimpse into human nature and they usually give me something to think about. I started reading \u003ca href=\"http://www.missmanners.com/\">Miss Manners\u003c/a> in high school and these days I follow the columns of \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\">Emily Yoffe\u003c/a>, \u003ca href=\"http://www.elle.com/life-love/ask-e-jean/\">E. Jean Carroll\u003c/a>, and \u003ca href=\"http://www.salon.com/topic/since_you_asked/\">Carey Tennis\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Do people really write in? Or are you making those questions up? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yes, people do really write in. All of the questions answered in this column have been sent to the \u003ci>Help Desk\u003c/i> from various unknown persons who just need a little help sorting through an art-related issue. \u003c/p>\n\u003cp>\u003cb>Are submissions truly anonymous and confidential? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Absolutely. Though I can be flip about other things, I take this part seriously. In the beginning we recommended sending questions through a free anonymizer service like Anonymouse.com, but then the editors heard from a friend that a query sent that way didn’t get through. Now I just delete the sender’s original email after I copy and paste the question into a spreadsheet. It’s usually a few weeks between receiving a question and publishing the answer anyway, and by then I’ve forgotten who wrote what. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bench.jpg\">\u003cbr>André Kertész, \u003ci>Broken Bench\u003c/i>, NY, 1962.\u003c/p>\n\u003cp>\u003cb>How do you choose the questions you answer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I look for questions that are likely to have a broad audience or that reveal an inner working of the machine we call art. \u003c/p>\n\u003cp>\u003cb>The question about \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">the cheating MFA advisor\u003c/a> wasn’t really an art advice question. Why did you answer it? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The power structures that are in play in the art world are fascinating to me. That question hinted at some concerns that rarely get talked about explicitly in the arts: mentoring and moving from a professional relationship into a friendship. Likewise with \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=82252\">the big boobs question\u003c/a>: if contemplating the use of your sex appeal to get a gallery show isn’t one of “art’s thornier issues” I don’t know what is! \u003c/p>\n\u003cp>\u003cb>How many questions have you answered so far? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>About 50. In the beginning I also answered a few privately, so I’m not sure of the exact count. \u003c/p>\n\u003cp>\u003cb>Have you ever gotten a question that you won’t answer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t really want to deal with angry, assumption-filled rants disguised as questions (though I have \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=96241\">tackled a few\u003c/a>). I’ve also received a few bizarre questions that I simply wasn’t prepared to answer; for those I responded privately to the sender to say that I wasn’t able to take his/her question on. \u003c/p>\n\u003cp>\u003cb>Where do you get all the ideas that you use in the answers? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I ask people who know far better than I how the art world works. I’ve contacted MFA program directors, professors, gallerists, dealers, independent curators, nonprofits, and my fellow artists. I also look through art-advice books to see what they have to say. One of the most interesting aspects of this job is reaching out to the experts. \u003c/p>\n\u003cp>\u003cb>Do you follow your own advice? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not every question applies to my particular situation. I do try to give advice that I would appreciate — and then adopt the advice that I give. To think about it that way is a kind of litmus test — would I do that? — because I don’t want to suggest a course of action that I wouldn’t feel comfortable taking. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Studio Visits, Part 2",
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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 finally scored a studio visit with an important curator!!! Now my problem is that I don’t know what to show him. Should I hang old work, new work, work in progress, or a mix? I’ve never really had a curator like this visit me before. Do big-deal curators want to see my studio in its real state or cleaned up like a gallery? How can I best present my work? Help! Every time I make a decision I wake up the next day and change my mind! \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whoa, there! Now let’s all just take a deep breath and calm down a little. I’m happy to hear that you have netted a visit from your Big Fish, but don’t let it pull you overboard. It may aid you to know that curators get anxious about studio visits just like you do. Only last week I had lunch with a pal who also happens to be a curator, and he told me (quite plaintively), “You know, I walk into an artist’s studio and I’m thinking, \u003ci>I hope they like me, I hope this is a good visit\u003c/i>.” Curators: it turns out that they’re human, too! If we prick them, do they not bleed?\u003c/p>\n\u003cp>But speaking of blood, you’ll want to remove any of it from your studio (unless it’s your medium), along with the trash, food garbage, dangerous substances, and anything that smells bad or that you could trip over. You don’t need to set your studio up like a gallery, but you want to make sure that there’s nothing there to distract you and your curator from the artwork. Tidy up, dust off a comfortable chair, and leave your frisky Irish Setter at home that day.\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/hd-warsaw.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Pawel Althamer (associated with Wilhelm Sasnal, associated with Monika Sosnowska, associated with Jakub Julian Ziolkowski, associated with Artur Zmijewski),\u003ci>FGF, Warsaw\u003c/i>, 2007.\u003c/center>\n\u003cp>As for work, the answer is pretty simple: show your strongest work, which, hopefully is also your most recent. If you have a large studio, you could have some work in progress in the corners, but it shouldn’t be the focus; if you have a tiny space with room for only three works, they should all be complete — in other words, you should be presenting your work to its best advantage. My last studio didn’t have a lot of wall space and I didn’t want to over-hang, so I would put up a few pieces and then make sure my laptop was set up with my website already loaded in the browser. That way the images on the screen had a context and my visitors could get a sense for the materiality of my work before looking at representations. If you don’t have a website (really? In 2012?) you could prepare some PowerPoint slides or a portfolio of printed photographs.\u003c/p>\n\u003cp>Whether the curator stays for ten minutes or an hour, you want it to be a pleasant experience. At minimum, offer a glass of water. You don’t have to go bananas (literally or figuratively) by providing a buffet, but in my opinion a little snack never hurt anyone — a couple of store-bought cookies or a bunch of grapes can easily do the trick. \u003c/p>\n\u003cp>Try not to presuppose too much about this visit. To brazenly misquote Brandon Sanderson, “Expectations are like fine pottery. The harder you hold them, the more likely they are to crack.” Be open and curious about this visit, just as this curator is with your work. And good luck! \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-dalwood.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Dexter Dalwood, \u003ci>Situationist Apartment May ’68\u003c/i>, 2001.\u003c/center>\n\u003cp>\u003cb>The studio visit: a potential promise, act of inclusion, relationship starter, or disappointing interaction — for all parties. How does a curator go on a studio visit without creating or fostering expectations in the artist that the studio visit necessarily leads to something beyond simply a visit? The second part of the question: How does one gently but constructively explain to an artist that one thinks the direction they are going in is not good, that perhaps there are more interesting and successful artistic paths. Basically, if I used to like an artist’s work, which is what brought me to their studio in the first place, and now feel they are going down a black hole, how, on a studio visit, or over coffee, do I tell them this? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>First things first: to avoid fostering misunderstandings about the meeting, make the purpose of your visit clear. You can tell the artist, “I’m just curious to see what you’re up to these days,” or “I saw your work on your website and I’d like to take a look in person.” The artist is free to ask if you have specific intentions (which you can then address), but if she doesn’t ask, you don’t need to assume that she thinks you’re going to show up with the curatorial version of a ring and a promise. It might be hard to believe (especially from the breathless quality of today’s first question), but some of us artists attempt to maintain a healthy neutrality about studio visits. While a few of us may believe that a visit today means a solo show tomorrow, others of our tribe follow the dictum of Alexander Pope: “Blessed is he who expects nothing, for he shall never be disappointed.” In any case, you’re not responsible for other people’s assumptions. Just do what you can to be clear and leave it at that. \u003c/p>\n\u003cp>The second part of your question is much more difficult to answer because it’s dependent on the context of the visit and the prior relationship you have with the artist, as well as the artist’s own temperament and ability to receive criticism. There are a couple of strategies I suggest, depending on your level of familiarity with the artist. \u003c/p>\n\u003cp>No matter if you’ve just met or known each other for years, don’t rush into a dialog about your opinions until you’ve taken the time to understand the artist’s choices. If you are not very well acquainted with the artist, begin by asking questions such as:\u003c/p>\n\u003cp> “What made you switch media from oil paint to ketchup?”\u003cbr> “When did you arrive at that decision?”\u003cbr>“Where would you situate your new work?”\u003cbr>“Have you had others in for studio visits? What did they say?”\u003cbr> “How do you feel about this work in relation to your older work?\u003c/p>\n\u003cp>The answers (and tone of the answers) should give you a hint as to whether the artist is really committed to the new work, which might mean that she is less open to criticism at that moment; or still tentative about the new direction and therefore potentially interested in (negative) feedback. But most important, by listening to the answers you also open yourself up to a different understanding of the work. It’s possible that you’ve misapprehended the work and asking open-ended questions gives you an opportunity to reassess. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-porter.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Liliana Porter, \u003ci>Forced Labor II\u003c/i>, 2004.\u003c/center>\n\u003cp>Another strategy you can use is the dodge. If you feel you must find a way to communicate your disinterest in the new work, you can spend the studio visit asking to see older work (“Do you have any of those stripe paintings around?” or “Where are the small graphite pieces from your website? Can we see those?”). By focusing the visit on the works in which you are interested, you’ll communicate your disinterest in the new work without having to speak directly about it. \u003c/p>\n\u003cp>If you are friends with the artist, by all means, you should be candid about your apprehension. Consider taking that conversation to a place outside of the studio — where criticism can sting the most — and into neutral territory. Buy her a drink and say, “I’ve been meaning to talk to you about your new work. I’m not sure it thrills me in the same way as your older stuff, but I appreciate that you want to try something new. If you want more detailed feedback, I’d be happy to come by and discuss my thoughts in more detail.” Then drop it. If the artist trusts you and feels that your comments will be helpful, she’ll set up a date. If not, at least she knows where you stand. \u003c/p>\n\u003cp>I appreciate the commitment to honesty that your question implies. Curators, artists, and gallerists alike all need to work with people who are honest and faithful to the work at hand. Sometimes that means delivering bad news, but as long as you do it with pure intentions and as much diplomacy as you can muster, I think you’ll do okay. Good luck! \u003c/p>\n\u003cp>Related reading: the post “To Show or Not to Show: Open Thread” over at \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>\u003c/p>\n\u003cp>\u003ci>The artwork in this week’s edition is part of the exhibition \u003cb>Setting the Scene\u003c/b> at the \u003ca href=\"http://www.tate.org.uk/visit/tate-modern\">Tate Modern\u003c/a>, London, curated by Rachel Taylor and Ann Coxon.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I finally scored a studio visit with an important curator!!! Now my problem is that I don’t know what to show him. Should I hang old work, new work, work in progress, or a mix? I’ve never really had a curator like this visit me before. Do big-deal curators want to see my studio in its real state or cleaned up like a gallery? How can I best present my work? Help! Every time I make a decision I wake up the next day and change my mind! \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whoa, there! Now let’s all just take a deep breath and calm down a little. I’m happy to hear that you have netted a visit from your Big Fish, but don’t let it pull you overboard. It may aid you to know that curators get anxious about studio visits just like you do. Only last week I had lunch with a pal who also happens to be a curator, and he told me (quite plaintively), “You know, I walk into an artist’s studio and I’m thinking, \u003ci>I hope they like me, I hope this is a good visit\u003c/i>.” Curators: it turns out that they’re human, too! If we prick them, do they not bleed?\u003c/p>\n\u003cp>But speaking of blood, you’ll want to remove any of it from your studio (unless it’s your medium), along with the trash, food garbage, dangerous substances, and anything that smells bad or that you could trip over. You don’t need to set your studio up like a gallery, but you want to make sure that there’s nothing there to distract you and your curator from the artwork. Tidy up, dust off a comfortable chair, and leave your frisky Irish Setter at home that day.\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/hd-warsaw.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Pawel Althamer (associated with Wilhelm Sasnal, associated with Monika Sosnowska, associated with Jakub Julian Ziolkowski, associated with Artur Zmijewski),\u003ci>FGF, Warsaw\u003c/i>, 2007.\u003c/center>\n\u003cp>As for work, the answer is pretty simple: show your strongest work, which, hopefully is also your most recent. If you have a large studio, you could have some work in progress in the corners, but it shouldn’t be the focus; if you have a tiny space with room for only three works, they should all be complete — in other words, you should be presenting your work to its best advantage. My last studio didn’t have a lot of wall space and I didn’t want to over-hang, so I would put up a few pieces and then make sure my laptop was set up with my website already loaded in the browser. That way the images on the screen had a context and my visitors could get a sense for the materiality of my work before looking at representations. If you don’t have a website (really? In 2012?) you could prepare some PowerPoint slides or a portfolio of printed photographs.\u003c/p>\n\u003cp>Whether the curator stays for ten minutes or an hour, you want it to be a pleasant experience. At minimum, offer a glass of water. You don’t have to go bananas (literally or figuratively) by providing a buffet, but in my opinion a little snack never hurt anyone — a couple of store-bought cookies or a bunch of grapes can easily do the trick. \u003c/p>\n\u003cp>Try not to presuppose too much about this visit. To brazenly misquote Brandon Sanderson, “Expectations are like fine pottery. The harder you hold them, the more likely they are to crack.” Be open and curious about this visit, just as this curator is with your work. And good luck! \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-dalwood.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Dexter Dalwood, \u003ci>Situationist Apartment May ’68\u003c/i>, 2001.\u003c/center>\n\u003cp>\u003cb>The studio visit: a potential promise, act of inclusion, relationship starter, or disappointing interaction — for all parties. How does a curator go on a studio visit without creating or fostering expectations in the artist that the studio visit necessarily leads to something beyond simply a visit? The second part of the question: How does one gently but constructively explain to an artist that one thinks the direction they are going in is not good, that perhaps there are more interesting and successful artistic paths. Basically, if I used to like an artist’s work, which is what brought me to their studio in the first place, and now feel they are going down a black hole, how, on a studio visit, or over coffee, do I tell them this? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>First things first: to avoid fostering misunderstandings about the meeting, make the purpose of your visit clear. You can tell the artist, “I’m just curious to see what you’re up to these days,” or “I saw your work on your website and I’d like to take a look in person.” The artist is free to ask if you have specific intentions (which you can then address), but if she doesn’t ask, you don’t need to assume that she thinks you’re going to show up with the curatorial version of a ring and a promise. It might be hard to believe (especially from the breathless quality of today’s first question), but some of us artists attempt to maintain a healthy neutrality about studio visits. While a few of us may believe that a visit today means a solo show tomorrow, others of our tribe follow the dictum of Alexander Pope: “Blessed is he who expects nothing, for he shall never be disappointed.” In any case, you’re not responsible for other people’s assumptions. Just do what you can to be clear and leave it at that. \u003c/p>\n\u003cp>The second part of your question is much more difficult to answer because it’s dependent on the context of the visit and the prior relationship you have with the artist, as well as the artist’s own temperament and ability to receive criticism. There are a couple of strategies I suggest, depending on your level of familiarity with the artist. \u003c/p>\n\u003cp>No matter if you’ve just met or known each other for years, don’t rush into a dialog about your opinions until you’ve taken the time to understand the artist’s choices. If you are not very well acquainted with the artist, begin by asking questions such as:\u003c/p>\n\u003cp> “What made you switch media from oil paint to ketchup?”\u003cbr> “When did you arrive at that decision?”\u003cbr>“Where would you situate your new work?”\u003cbr>“Have you had others in for studio visits? What did they say?”\u003cbr> “How do you feel about this work in relation to your older work?\u003c/p>\n\u003cp>The answers (and tone of the answers) should give you a hint as to whether the artist is really committed to the new work, which might mean that she is less open to criticism at that moment; or still tentative about the new direction and therefore potentially interested in (negative) feedback. But most important, by listening to the answers you also open yourself up to a different understanding of the work. It’s possible that you’ve misapprehended the work and asking open-ended questions gives you an opportunity to reassess. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-porter.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Liliana Porter, \u003ci>Forced Labor II\u003c/i>, 2004.\u003c/center>\n\u003cp>Another strategy you can use is the dodge. If you feel you must find a way to communicate your disinterest in the new work, you can spend the studio visit asking to see older work (“Do you have any of those stripe paintings around?” or “Where are the small graphite pieces from your website? Can we see those?”). By focusing the visit on the works in which you are interested, you’ll communicate your disinterest in the new work without having to speak directly about it. \u003c/p>\n\u003cp>If you are friends with the artist, by all means, you should be candid about your apprehension. Consider taking that conversation to a place outside of the studio — where criticism can sting the most — and into neutral territory. Buy her a drink and say, “I’ve been meaning to talk to you about your new work. I’m not sure it thrills me in the same way as your older stuff, but I appreciate that you want to try something new. If you want more detailed feedback, I’d be happy to come by and discuss my thoughts in more detail.” Then drop it. If the artist trusts you and feels that your comments will be helpful, she’ll set up a date. If not, at least she knows where you stand. \u003c/p>\n\u003cp>I appreciate the commitment to honesty that your question implies. Curators, artists, and gallerists alike all need to work with people who are honest and faithful to the work at hand. Sometimes that means delivering bad news, but as long as you do it with pure intentions and as much diplomacy as you can muster, I think you’ll do okay. Good luck! \u003c/p>\n\u003cp>Related reading: the post “To Show or Not to Show: Open Thread” over at \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>\u003c/p>\n\u003cp>\u003ci>The artwork in this week’s edition is part of the exhibition \u003cb>Setting the Scene\u003c/b> at the \u003ca href=\"http://www.tate.org.uk/visit/tate-modern\">Tate Modern\u003c/a>, London, curated by Rachel Taylor and Ann Coxon.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In honor of Needles and Pens’ 9th birthday, I went on a \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=22737\">Twenty-Three Dollar Adventure\u003c/a>, a zine-reviewing approach pioneered by Suzanne Kleid on KQED Arts in 2008. For my own zine adventure, I doubled down and bought ten zines. Half were recommended by Needles and Pens’ co-owner and zine specialist, Andrew M. Scott, and the other half were selected by my wandering eye. Surprisingly, it was a challenge to find zines published by women, but after some digging, I left the shop with a well-balanced pile. After poring through each little book, I confirmed that my zine taste leans toward the more illustrative side. Here are the ones I liked best:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zines-enjoys.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Read This to Get Your Enjoys, Number 3\u003c/i> by Maria Forde\u003cbr>It starts with a dedication to her grandmother, Eileen, and ends with portraits of manly, funny men like Louis C.K and Kenny Powers. Maria Forde is a San Francisco artist from Iowa who is beloved on the zine scene and takes special care with the details. This edition includes a bonus mini zine stapled into the middle, and a pocket in the back that holds a coupon for one free sunrise — a reminder that the best things in life are free (and apparently the best zines in life are nine dollars because this was my favorite).\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> by Shawn “AKO” Whisenant\u003cbr>On top of the pile of zines recommended by N&P was a small stitched and folded gem by my pal, Shawn. “AKO” is the one person I know who truly lives like a starving artist. He doesn’t get regular jobs and prefers life on a shoestring budget with the freedom to skate and make art. He’s into stitchwork and doesn’t use a sewing machine. He just hunkers down with a little Walgreen’s sewing kit and gets busy with his two hands, emphasizing the labor of love in his work. Behind its crafty sewn cover, the zine has color copied pages of Shawn’s artworks (paintings and collaged works with paper found on the street, like bus tickets and wet paint signs) and photos from his SF neighborhood adventures.\u003c/p>\n\u003cp>\u003ci>Permanent Vacation 2\u003c/i> by The Viking\u003cbr>You could say this zine looks like a neatly stacked pile of garbage stapled together. Stickers, receipts, to-do lists, and paper bingo boards make up this publication, which is exactly why I liked it. Reading it was like going through someone else’s wallet without feeling guilty. Some pages were photocopied but others had original hand-drawn doodles and tags. In the middle was an airmail envelope with a Loteria card tucked inside, and discovering it made me feel like Nancy Drew; like I’d just found an inconsequential clue. I tracked down \u003ca href=\"http://www.flickr.com/photos/theviking/7040953669/in/photostream%20\">The Viking’s Flickr\u003c/a> and learned that \u003ci>Permanent Vacation 2\u003c/i> also includes the work of some pseudonymed colleagues: “Safety First, Optimist, Morgan, Have, Aider, Spesh and others.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/20/zines1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>All Deez Femalez Crawl\u003c/i> by Amanda Verwey and \u003ci>Solid Silver\u003c/i> by Matt Runkle\u003cbr>This zine is a split mini-comic by two artists. Half of it is described as a “music video” by Amanda Verwey, and when you flip the book over, it’s a whole other story about teenage silver medal winner, Louie Jean Johnston, which was written and illustrated by Matt Runkle. It’s printed in white on black paper, and there’s a transitional page in the middle of the book where the two artists’ characters drift into each other. I was taken with Amanda’s drawings of exaggerated, toothy party girls engaged in debauchery; crawling in piles of cash and booze. I suspect this “music video” in zine form is an ironic look at celebrity culture, and I appreciated the details, like tiny photocopied twenty dollar bills, and nice renderings of Alexander McQueen’s infamous \u003ca href=\"http://www.myfashionlife.com/wp-content/uploads/2009/12/mcqueen-shoes-1.jpg\">Armadillo shoes\u003c/a>.\u003c/p>\n\u003cp>\u003ci>The Fashion Book of Early Death, Volume 2\u003c/i> by Emily Goldface\u003cbr>This zine contains eleven paintings printed in color, is bound with golden thread, and is technically only four pages long. Printed on the back is a clue about the title: “\u003ci>The Fashion Book of Early Death\u003c/i> is a magazine dedicated to the most current trends in ritualistic death masks. For authenticity, all models are nubile young virgins, ripe for sacrifice.” It seemed to be another comment on celebrity culture, and I looked up \u003ca href=\"http://emilygoldface.blogspot.com/\">Emily Goldface’s blog\u003c/a> to find that she’s staged live action fashion-death-mask photo shoots.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/20/zinesthumbnailrectangle.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Pages from Books\u003c/i> and \u003ci>Creep Club Fold-Out Zine\u003c/i> by Jay Howell\u003cbr>San Francisco misses Jay Howell, who moved from here to L.A. to start work on his own Nickelodeon cartoon show. This zine is folded accordion-style and has a crowd of creeps on one side, and samples of Jay’s funny drawings on book pages on the other. If you’re a fan, this is an affordable way to add a frame-able Jay Howell print to your collection. And it’s reversible!\u003c/p>\n\u003cp>My zine adventure made for good summer reading. For those who enjoy the heady ramblings of intellectual strangers, I apologize. I was in the mood for tactile fun and pictures, which is the criteria I set for my review selection. The rest of the pile is free to the first four people who send their mailing address and a nice message or compliment to artsed@KQED.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Needles & Pens is located at 3253 16th Street, between Guerrero and Dolores Streets in San Francisco. Open every day from noon to 7pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of Needles and Pens’ 9th birthday, I went on a \u003ca href=\"http://www.kqed.org/arts/literature/article.jsp?essid=22737\">Twenty-Three Dollar Adventure\u003c/a>, a zine-reviewing approach pioneered by Suzanne Kleid on KQED Arts in 2008. For my own zine adventure, I doubled down and bought ten zines. Half were recommended by Needles and Pens’ co-owner and zine specialist, Andrew M. Scott, and the other half were selected by my wandering eye. Surprisingly, it was a challenge to find zines published by women, but after some digging, I left the shop with a well-balanced pile. After poring through each little book, I confirmed that my zine taste leans toward the more illustrative side. Here are the ones I liked best:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zines-enjoys.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Read This to Get Your Enjoys, Number 3\u003c/i> by Maria Forde\u003cbr>It starts with a dedication to her grandmother, Eileen, and ends with portraits of manly, funny men like Louis C.K and Kenny Powers. Maria Forde is a San Francisco artist from Iowa who is beloved on the zine scene and takes special care with the details. This edition includes a bonus mini zine stapled into the middle, and a pocket in the back that holds a coupon for one free sunrise — a reminder that the best things in life are free (and apparently the best zines in life are nine dollars because this was my favorite).\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> by Shawn “AKO” Whisenant\u003cbr>On top of the pile of zines recommended by N&P was a small stitched and folded gem by my pal, Shawn. “AKO” is the one person I know who truly lives like a starving artist. He doesn’t get regular jobs and prefers life on a shoestring budget with the freedom to skate and make art. He’s into stitchwork and doesn’t use a sewing machine. He just hunkers down with a little Walgreen’s sewing kit and gets busy with his two hands, emphasizing the labor of love in his work. Behind its crafty sewn cover, the zine has color copied pages of Shawn’s artworks (paintings and collaged works with paper found on the street, like bus tickets and wet paint signs) and photos from his SF neighborhood adventures.\u003c/p>\n\u003cp>\u003ci>Permanent Vacation 2\u003c/i> by The Viking\u003cbr>You could say this zine looks like a neatly stacked pile of garbage stapled together. Stickers, receipts, to-do lists, and paper bingo boards make up this publication, which is exactly why I liked it. Reading it was like going through someone else’s wallet without feeling guilty. Some pages were photocopied but others had original hand-drawn doodles and tags. In the middle was an airmail envelope with a Loteria card tucked inside, and discovering it made me feel like Nancy Drew; like I’d just found an inconsequential clue. I tracked down \u003ca href=\"http://www.flickr.com/photos/theviking/7040953669/in/photostream%20\">The Viking’s Flickr\u003c/a> and learned that \u003ci>Permanent Vacation 2\u003c/i> also includes the work of some pseudonymed colleagues: “Safety First, Optimist, Morgan, Have, Aider, Spesh and others.”\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=\"//u.s.kqed.net/2012/06/20/zines1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>All Deez Femalez Crawl\u003c/i> by Amanda Verwey and \u003ci>Solid Silver\u003c/i> by Matt Runkle\u003cbr>This zine is a split mini-comic by two artists. Half of it is described as a “music video” by Amanda Verwey, and when you flip the book over, it’s a whole other story about teenage silver medal winner, Louie Jean Johnston, which was written and illustrated by Matt Runkle. It’s printed in white on black paper, and there’s a transitional page in the middle of the book where the two artists’ characters drift into each other. I was taken with Amanda’s drawings of exaggerated, toothy party girls engaged in debauchery; crawling in piles of cash and booze. I suspect this “music video” in zine form is an ironic look at celebrity culture, and I appreciated the details, like tiny photocopied twenty dollar bills, and nice renderings of Alexander McQueen’s infamous \u003ca href=\"http://www.myfashionlife.com/wp-content/uploads/2009/12/mcqueen-shoes-1.jpg\">Armadillo shoes\u003c/a>.\u003c/p>\n\u003cp>\u003ci>The Fashion Book of Early Death, Volume 2\u003c/i> by Emily Goldface\u003cbr>This zine contains eleven paintings printed in color, is bound with golden thread, and is technically only four pages long. Printed on the back is a clue about the title: “\u003ci>The Fashion Book of Early Death\u003c/i> is a magazine dedicated to the most current trends in ritualistic death masks. For authenticity, all models are nubile young virgins, ripe for sacrifice.” It seemed to be another comment on celebrity culture, and I looked up \u003ca href=\"http://emilygoldface.blogspot.com/\">Emily Goldface’s blog\u003c/a> to find that she’s staged live action fashion-death-mask photo shoots.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/20/zinesthumbnailrectangle.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ci>Pages from Books\u003c/i> and \u003ci>Creep Club Fold-Out Zine\u003c/i> by Jay Howell\u003cbr>San Francisco misses Jay Howell, who moved from here to L.A. to start work on his own Nickelodeon cartoon show. This zine is folded accordion-style and has a crowd of creeps on one side, and samples of Jay’s funny drawings on book pages on the other. If you’re a fan, this is an affordable way to add a frame-able Jay Howell print to your collection. And it’s reversible!\u003c/p>\n\u003cp>My zine adventure made for good summer reading. For those who enjoy the heady ramblings of intellectual strangers, I apologize. I was in the mood for tactile fun and pictures, which is the criteria I set for my review selection. The rest of the pile is free to the first four people who send their mailing address and a nice message or compliment to artsed@KQED.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Needles & Pens is located at 3253 16th Street, between Guerrero and Dolores Streets in San Francisco. Open every day from noon to 7pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Studio Visits, Part 1",
"headTitle": "Help Desk: Studio Visits, Part 1 | 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>As an independent curator also affiliated with the programming of a commercial space, I often find a strange tension during studio visits as to whom the visit is on behalf of. As clearly as I try to communicate that my interest is for personal projects, I frequently find myself reiterating in future correspondence that I am not in fact offering representation or an exhibition opportunity on behalf of the gallery. What is the best way to navigate this sort of conflict without being misleading to the numerous artists I have the pleasure of visiting? While it seems appropriate to communicate this before we even meet, I also feel conflicted as to how an immediate disclaimer reflects on my attitude/open-mindedness. Any advice as to timing and phrasing would be a tremendous help!\u003c/b>\u003c/p>\n\u003cp>Your position is a tricky one, and I appreciate that you want to be on the level with the artists whose studios you visit. It sounds like the message you impart about your role isn’t always being taken seriously, and I wonder if some of the artists you are visiting have clogged ears or an overdeveloped sense of optimism. Perhaps despite all the evidence to the contrary they think that you are just testing them, humbly disguising your real intentions to offer them a solo show at your employer’s gallery if the visit goes well.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-1.jpg\">\u003cbr>John Baldessari, \u003ci>Man with Blue Shape\u003c/i>, 1991.\u003c/p>\n\u003cp>In any case, it’s going to behoove you to be confident and direct with your message. I know that artists can sometimes seem misguided, but since you say you feel conflicted about making disclaimers, I wonder if you are really being as forthright as possible? You can avoid confusion or hurt feelings by stating your intentions candidly. By making sure that you convey your specific and limited role when you make the initial contact for the visit (by email, that way it will be in writing), and again in person when you begin the studio visit, you can avoid a miscommunication. You don’t need to feel conflicted about this. Personally — and I suspect I am not alone in this opinion — I would rather work with a curator who speaks plainly about her position and interest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In writing, you might try something like, “Though I do work for Gallery X, my interest in your work stems from my own curatorial practice, independent of my employment.” In person, you might want to start the conversation with, “Just so you know…” “Before we really get into it, I’d like to make it clear that…” or “Because of some confusion in the past, I want to clarify…” By reiterating your position in person, I hope you’ll drive the message home. If you think you might be uncomfortable saying something like this, rehearse it with a friend or in front of a mirror. When you deliver your lines, check to make sure that the artist is nodding or otherwise indicating comprehension before you move on. If an artist asks you about representation or other opportunities at your employer’s gallery, you can just say, “Unfortunately, I don’t have that kind of decision-making power.”\u003c/p>\n\u003cp>If you’ve outlined your position twice, in writing and again face-to-face, and yet need to reiterate your intentions to a particular artist it might be a warning sign that this person will be difficult to deal with in the future.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-3.jpg\">\u003cbr>John Baldessari, \u003ci>Two Whales (with People)\u003c/i>, 2010.\u003c/p>\n\u003cp>\u003cb>I am an emerging artist in the process of a minor transformation and I could use a little advice. For the past ten years I have made sculptures and installations that are mechanically and technologically very complex. Because of this I have always maintained a large studio/workshop filled with tools, equipment, and materials. Lately I have begun to find this approach burdensome in terms of the resources it requires and the accumulation of physical objects that is its natural result. Therefore I have begun to make work that is immaterial and doesn’t require the infrastructure of a studio, like single channel videos, web projects, etc. These projects are working out for me and I am considering ditching my studio altogether. My question is: Can a contemporary artist expect to be taken seriously if he doesn’t maintain a studio? How might I deal with studio visits with curators/gallerists etc.? Am I being hasty and reactionary?\u003c/b>\u003c/p>\n\u003cp>Many artists have gone through a sea change, abandoning one body of work in favor of something new. In 1970 John Baldessari famously burned all his early paintings and made work from the ashes before turning the bulk of his attention to appropriation and photography. Perhaps you are undergoing the same kind of transformation. \u003c/p>\n\u003cp>It’s not for me to say if you are being hasty and reactionary — that’s an issue you can puzzle out with the friends who know your practice and your work well enough to judge. In fact, it’s difficult to give you hard and fast advice without knowing exactly how you arrived at your decision to stop making sculptures and installation. You might be going through a phase, or you might be on the verge of a whole new life. How do you feel about commitment? If you like to change your style or job frequently, you might want to wait and see what happens before you dump your studio. If you’ve been rocking the same M.O. since high school and tend to follow a course for a long time, this might be an indicator that your days as a sculptor are truly over. Only you can decide if this is a long-term decision or a temporary state of mind. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-2.jpg\">\u003cbr>John Baldessari, \u003ci>The Pencil Story\u003c/i>, 1972-1973.\u003c/p>\n\u003cp>Can a contemporary artist be taken seriously without a studio? Well, it depends on what kind of artist you are. I can envision, for example, a social practitioner who claims the world as her studio, and I can see the curators of the next Documenta taking that kind of thing very seriously indeed. If your work is strong you can get away with a lot, and I think you could certainly make a case as a conceptual/non-material artist for not needing a physical studio. \u003c/p>\n\u003cp>But is there a middle ground here, even a temporary one? If you are making videos and want to show them to curators and gallerists you’ll need some sort of place to meet and talk. This could be a spare room in your house or a cleared-out corner of your apartment. You could also consider renting a small space in a large, shared studio or office where you could put a desk and chairs, a place where you could receive visitors without having to clean your bathroom and tidy up your living area. If you have an exhibition, ask the gallery if you can use the exhibition space as a meeting place during off hours. Then you can tour visitors through the exhibition as well as use your laptop or website to show them images of other work. \u003c/p>\n\u003cp>Perhaps you can put your tools and equipment into storage for a while. It’s cheaper than renting a studio and you can always go back to it if you change your mind. Like the box you never open after moving, if you haven’t gone to your storage space in, say, a year or two, you might feel comfortable letting go of what’s inside. Good luck. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>As an independent curator also affiliated with the programming of a commercial space, I often find a strange tension during studio visits as to whom the visit is on behalf of. As clearly as I try to communicate that my interest is for personal projects, I frequently find myself reiterating in future correspondence that I am not in fact offering representation or an exhibition opportunity on behalf of the gallery. What is the best way to navigate this sort of conflict without being misleading to the numerous artists I have the pleasure of visiting? While it seems appropriate to communicate this before we even meet, I also feel conflicted as to how an immediate disclaimer reflects on my attitude/open-mindedness. Any advice as to timing and phrasing would be a tremendous help!\u003c/b>\u003c/p>\n\u003cp>Your position is a tricky one, and I appreciate that you want to be on the level with the artists whose studios you visit. It sounds like the message you impart about your role isn’t always being taken seriously, and I wonder if some of the artists you are visiting have clogged ears or an overdeveloped sense of optimism. Perhaps despite all the evidence to the contrary they think that you are just testing them, humbly disguising your real intentions to offer them a solo show at your employer’s gallery if the visit goes well.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-1.jpg\">\u003cbr>John Baldessari, \u003ci>Man with Blue Shape\u003c/i>, 1991.\u003c/p>\n\u003cp>In any case, it’s going to behoove you to be confident and direct with your message. I know that artists can sometimes seem misguided, but since you say you feel conflicted about making disclaimers, I wonder if you are really being as forthright as possible? You can avoid confusion or hurt feelings by stating your intentions candidly. By making sure that you convey your specific and limited role when you make the initial contact for the visit (by email, that way it will be in writing), and again in person when you begin the studio visit, you can avoid a miscommunication. You don’t need to feel conflicted about this. Personally — and I suspect I am not alone in this opinion — I would rather work with a curator who speaks plainly about her position and interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In writing, you might try something like, “Though I do work for Gallery X, my interest in your work stems from my own curatorial practice, independent of my employment.” In person, you might want to start the conversation with, “Just so you know…” “Before we really get into it, I’d like to make it clear that…” or “Because of some confusion in the past, I want to clarify…” By reiterating your position in person, I hope you’ll drive the message home. If you think you might be uncomfortable saying something like this, rehearse it with a friend or in front of a mirror. When you deliver your lines, check to make sure that the artist is nodding or otherwise indicating comprehension before you move on. If an artist asks you about representation or other opportunities at your employer’s gallery, you can just say, “Unfortunately, I don’t have that kind of decision-making power.”\u003c/p>\n\u003cp>If you’ve outlined your position twice, in writing and again face-to-face, and yet need to reiterate your intentions to a particular artist it might be a warning sign that this person will be difficult to deal with in the future.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-3.jpg\">\u003cbr>John Baldessari, \u003ci>Two Whales (with People)\u003c/i>, 2010.\u003c/p>\n\u003cp>\u003cb>I am an emerging artist in the process of a minor transformation and I could use a little advice. For the past ten years I have made sculptures and installations that are mechanically and technologically very complex. Because of this I have always maintained a large studio/workshop filled with tools, equipment, and materials. Lately I have begun to find this approach burdensome in terms of the resources it requires and the accumulation of physical objects that is its natural result. Therefore I have begun to make work that is immaterial and doesn’t require the infrastructure of a studio, like single channel videos, web projects, etc. These projects are working out for me and I am considering ditching my studio altogether. My question is: Can a contemporary artist expect to be taken seriously if he doesn’t maintain a studio? How might I deal with studio visits with curators/gallerists etc.? Am I being hasty and reactionary?\u003c/b>\u003c/p>\n\u003cp>Many artists have gone through a sea change, abandoning one body of work in favor of something new. In 1970 John Baldessari famously burned all his early paintings and made work from the ashes before turning the bulk of his attention to appropriation and photography. Perhaps you are undergoing the same kind of transformation. \u003c/p>\n\u003cp>It’s not for me to say if you are being hasty and reactionary — that’s an issue you can puzzle out with the friends who know your practice and your work well enough to judge. In fact, it’s difficult to give you hard and fast advice without knowing exactly how you arrived at your decision to stop making sculptures and installation. You might be going through a phase, or you might be on the verge of a whole new life. How do you feel about commitment? If you like to change your style or job frequently, you might want to wait and see what happens before you dump your studio. If you’ve been rocking the same M.O. since high school and tend to follow a course for a long time, this might be an indicator that your days as a sculptor are truly over. Only you can decide if this is a long-term decision or a temporary state of mind. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bald-2.jpg\">\u003cbr>John Baldessari, \u003ci>The Pencil Story\u003c/i>, 1972-1973.\u003c/p>\n\u003cp>Can a contemporary artist be taken seriously without a studio? Well, it depends on what kind of artist you are. I can envision, for example, a social practitioner who claims the world as her studio, and I can see the curators of the next Documenta taking that kind of thing very seriously indeed. If your work is strong you can get away with a lot, and I think you could certainly make a case as a conceptual/non-material artist for not needing a physical studio. \u003c/p>\n\u003cp>But is there a middle ground here, even a temporary one? If you are making videos and want to show them to curators and gallerists you’ll need some sort of place to meet and talk. This could be a spare room in your house or a cleared-out corner of your apartment. You could also consider renting a small space in a large, shared studio or office where you could put a desk and chairs, a place where you could receive visitors without having to clean your bathroom and tidy up your living area. If you have an exhibition, ask the gallery if you can use the exhibition space as a meeting place during off hours. Then you can tour visitors through the exhibition as well as use your laptop or website to show them images of other work. \u003c/p>\n\u003cp>Perhaps you can put your tools and equipment into storage for a while. It’s cheaper than renting a studio and you can always go back to it if you change your mind. Like the box you never open after moving, if you haven’t gone to your storage space in, say, a year or two, you might feel comfortable letting go of what’s inside. Good luck. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email helpdesk@dailyserving.com with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>As a Political Science major, my choice to minor in Studio Art has taken more than a few by surprise, especially those who are familiar with my artistic skill level. My question relates to how to cope with being in a setting where others are clearly more skilled, and why you might argue that one should not lose hope and pursue their art knowing that when it is completed it will not receive the highest marks or hardly any praise. I love creating art, and I recognize that I will never have my pieces in a gallery, but sometimes I need a bit of motivation. Art gives me the escape and freedom that my other majors seem to squelch, but should I keep going when I’m simply mediocre? \u003c/b>\u003c/p>\n\u003cp>Absolutely you should go on making art if you find it enjoyable. Skill is an issue now because you’re in an academic environment, which (of necessity and long-standing tradition) emphasizes certain kinds of proficiency and maintains a hierarchy. But you won’t always be in school and you won’t always be facing these particular pressures. Eventually you’ll be on your own and it will prove vital to have a pastime that is satisfying. \u003c/p>\n\u003cp>If instead of art you discovered that you liked to bake, but usually produced cakes that were lopsided in comparison to those of your peers, would you be asking if you ought to give it up? Or would you just accept baking as a hobby and leave it at that? The increasing standardization and professionalization of the fine arts has produced a generation of people who, a hundred years ago, would have been content to be Sunday painters but today feel that if they can’t get an A+ or a solo show or the MacArthur Grant, they’ve failed. This is all wrong because it takes the \u003ci>pleasure\u003c/i> of doing completely out of the picture (pun intended). It’s the logical result of a society that prizes experts and punishes amateurs. But as all dedicated amateurs are wont to point out, the word itself comes from the Latin amator meaning “lover.” You can love what you do simply because it brings joy to your life and not because you are an ambitious professional. \u003c/p>\n\u003cp>Please don’t stop making art. Try to appreciate the skills of the other artists around you and learn from them while you are in school. When you don’t receive high marks or praise for your work, ask for detailed feedback from people you trust and see if anything they say is useful to you. Spend time with art in galleries, museums and publications — you’ll see that skill is not the only element that counts. Above all, savor the time you have to make your work because soon you’ll graduate and acquire a busy life. Art may well be your solace and comfort in the days ahead. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/12/KQEDran.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>Ran\u003c/i>, 2010.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I am an artist whose work typically requires a lot of high tech equipment to be realized. Most of my projects use computers, programming, microprocessors, media processors, digital projectors, video monitors, sound systems etc. etc. etc. Lately I’ve begun to worry that my work is being driven by the technology, rather than the other way around. I sincerely believe that just because you can do something it doesn’t follow that you should, but I have found myself coming up with project ideas that are based primarily on newfound technological capabilities. Is this putting the cart before the horse? How can I avoid the pitfall of relying on the tech spectacle of gadgetry and make sure that the conceptual basis of my work takes center stage? \u003c/b>\u003c/p>\n\u003cp>I’m happy that you wrote me with this question because I’ve seen so many exhibitions where there was an amazing spectacle of gadgetry (lights, things that moved or beeped, stuff on timers and motions sensors, videos, etc.) and while I’ve marveled at the technical know-how of the makers, I sometimes feel like there’s little beyond the wow-factor. It’s not often that I’ve found the bells and electronic whistles to be well married to the ideas behind them (exceptions include \u003ca href=\"http://www.jonkessler.com/\">Jon Kessler\u003c/a>, \u003ca href=\"http://www.arthurganson.com/\">Arthur Ganson\u003c/a>, \u003ca href=\"http://www.annhamiltonstudio.com/\">Ann Hamilton\u003c/a>). In fact, as some kinds of technologies get cheaper and easier to use, the more it seems like ideas are being replaced with \u003ca href=\"http://en.wikipedia.org/wiki/Arduino\">Arduinos\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/12/KQEDtoywin.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>Toywin\u003c/i>, 2012.\u003c/center>\n\u003cp>How to avoid this in your own work? It might be as simple as sitting down and making a list of the things you think are interesting or exciting. Are you keen on human perception or modern warfare or social relations? Do you moonlight in a job that informs your work? What kinds of books/articles/websites do you find yourself reading these days — romances and celebrity gossip, news and true crime, Cold War biographies? Do you prefer to be soothed or energized? Poke around in the corners of your mind for some thoughts on what makes you tick and write it all down in a big, messy, unedited list. It’ll take you about ten minutes. Do it today and then put the list away. \u003c/p>\n\u003cp>At the end of the week, take the list back out and look it over with fresh eyes. As you read it again you might have further thoughts you want to add — go ahead and do that as you read. Then draw some lines to connect ideas you think are related. Which idea(s) are you most excited about? Are there any that lend themselves well to visual expression? This list gives you a place to start. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/12/KQEDoneo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>One-o\u003c/i>, 2011.\u003c/center>\n\u003cp>Now, what to do with these ideas? Well, one route would be to try to work their expression into projects that use the programming and digital technology with which you are familiar. This is probably the easier way to go because you are already proficient with the tools you use. But if you’d like a challenge, you could try instead to use these ideas to create a small body of work that doesn’t utilize technology. Make at least three pieces that use other media. You don’t have to show this work to anyone if you don’t want to, and you can quit at any point, but it might be valuable in terms of clarifying your core ideas. Often, simple experimentation can resolve many dilemmas. \u003c/p>\n\u003cp>As you begin to work with your idea list, keep in mind that the medium is the message (yes, still). The format you use to express your ideas will change the character of each concept. A landscape executed in collage is different from a painting, which is different from a video projection even if the image is essentially the same. Of course you might find that the high-tech solution is the right path for some of your concepts, and that’s fine. The key is to determine the right solution for every case, and it seems unlikely that everything you’re thinking about demands the same approach. Just remember to work slowly and check in with your original list from time to time as you go. Consider it a road map for the near future, one in which your ideas take center stage and you use the skills and technologies that are appropriate to the expression of each. \u003c/p>\n\u003cp>\u003ci>This week’s column is accompanied by photographs by \u003ca href=\"http://www.bradcarlile.com/\">Brad Carlile\u003c/a>, whose work is included in the upcoming exhibition \u003cb>Fragile Boundaries\u003c/b> at the \u003ca href=\"http://www.thedcca.org/exhibit/current\">Delaware Center for the Contemporary Arts\u003c/a> from June 15 to September 16, 2012.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email helpdesk@dailyserving.com with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>As a Political Science major, my choice to minor in Studio Art has taken more than a few by surprise, especially those who are familiar with my artistic skill level. My question relates to how to cope with being in a setting where others are clearly more skilled, and why you might argue that one should not lose hope and pursue their art knowing that when it is completed it will not receive the highest marks or hardly any praise. I love creating art, and I recognize that I will never have my pieces in a gallery, but sometimes I need a bit of motivation. Art gives me the escape and freedom that my other majors seem to squelch, but should I keep going when I’m simply mediocre? \u003c/b>\u003c/p>\n\u003cp>Absolutely you should go on making art if you find it enjoyable. Skill is an issue now because you’re in an academic environment, which (of necessity and long-standing tradition) emphasizes certain kinds of proficiency and maintains a hierarchy. But you won’t always be in school and you won’t always be facing these particular pressures. Eventually you’ll be on your own and it will prove vital to have a pastime that is satisfying. \u003c/p>\n\u003cp>If instead of art you discovered that you liked to bake, but usually produced cakes that were lopsided in comparison to those of your peers, would you be asking if you ought to give it up? Or would you just accept baking as a hobby and leave it at that? The increasing standardization and professionalization of the fine arts has produced a generation of people who, a hundred years ago, would have been content to be Sunday painters but today feel that if they can’t get an A+ or a solo show or the MacArthur Grant, they’ve failed. This is all wrong because it takes the \u003ci>pleasure\u003c/i> of doing completely out of the picture (pun intended). It’s the logical result of a society that prizes experts and punishes amateurs. But as all dedicated amateurs are wont to point out, the word itself comes from the Latin amator meaning “lover.” You can love what you do simply because it brings joy to your life and not because you are an ambitious professional. \u003c/p>\n\u003cp>Please don’t stop making art. Try to appreciate the skills of the other artists around you and learn from them while you are in school. When you don’t receive high marks or praise for your work, ask for detailed feedback from people you trust and see if anything they say is useful to you. Spend time with art in galleries, museums and publications — you’ll see that skill is not the only element that counts. Above all, savor the time you have to make your work because soon you’ll graduate and acquire a busy life. Art may well be your solace and comfort in the days ahead. \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=\"//u.s.kqed.net/2012/06/12/KQEDran.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>Ran\u003c/i>, 2010.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I am an artist whose work typically requires a lot of high tech equipment to be realized. Most of my projects use computers, programming, microprocessors, media processors, digital projectors, video monitors, sound systems etc. etc. etc. Lately I’ve begun to worry that my work is being driven by the technology, rather than the other way around. I sincerely believe that just because you can do something it doesn’t follow that you should, but I have found myself coming up with project ideas that are based primarily on newfound technological capabilities. Is this putting the cart before the horse? How can I avoid the pitfall of relying on the tech spectacle of gadgetry and make sure that the conceptual basis of my work takes center stage? \u003c/b>\u003c/p>\n\u003cp>I’m happy that you wrote me with this question because I’ve seen so many exhibitions where there was an amazing spectacle of gadgetry (lights, things that moved or beeped, stuff on timers and motions sensors, videos, etc.) and while I’ve marveled at the technical know-how of the makers, I sometimes feel like there’s little beyond the wow-factor. It’s not often that I’ve found the bells and electronic whistles to be well married to the ideas behind them (exceptions include \u003ca href=\"http://www.jonkessler.com/\">Jon Kessler\u003c/a>, \u003ca href=\"http://www.arthurganson.com/\">Arthur Ganson\u003c/a>, \u003ca href=\"http://www.annhamiltonstudio.com/\">Ann Hamilton\u003c/a>). In fact, as some kinds of technologies get cheaper and easier to use, the more it seems like ideas are being replaced with \u003ca href=\"http://en.wikipedia.org/wiki/Arduino\">Arduinos\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/12/KQEDtoywin.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>Toywin\u003c/i>, 2012.\u003c/center>\n\u003cp>How to avoid this in your own work? It might be as simple as sitting down and making a list of the things you think are interesting or exciting. Are you keen on human perception or modern warfare or social relations? Do you moonlight in a job that informs your work? What kinds of books/articles/websites do you find yourself reading these days — romances and celebrity gossip, news and true crime, Cold War biographies? Do you prefer to be soothed or energized? Poke around in the corners of your mind for some thoughts on what makes you tick and write it all down in a big, messy, unedited list. It’ll take you about ten minutes. Do it today and then put the list away. \u003c/p>\n\u003cp>At the end of the week, take the list back out and look it over with fresh eyes. As you read it again you might have further thoughts you want to add — go ahead and do that as you read. Then draw some lines to connect ideas you think are related. Which idea(s) are you most excited about? Are there any that lend themselves well to visual expression? This list gives you a place to start. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/06/12/KQEDoneo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Brad Carlile, \u003ci>One-o\u003c/i>, 2011.\u003c/center>\n\u003cp>Now, what to do with these ideas? Well, one route would be to try to work their expression into projects that use the programming and digital technology with which you are familiar. This is probably the easier way to go because you are already proficient with the tools you use. But if you’d like a challenge, you could try instead to use these ideas to create a small body of work that doesn’t utilize technology. Make at least three pieces that use other media. You don’t have to show this work to anyone if you don’t want to, and you can quit at any point, but it might be valuable in terms of clarifying your core ideas. Often, simple experimentation can resolve many dilemmas. \u003c/p>\n\u003cp>As you begin to work with your idea list, keep in mind that the medium is the message (yes, still). The format you use to express your ideas will change the character of each concept. A landscape executed in collage is different from a painting, which is different from a video projection even if the image is essentially the same. Of course you might find that the high-tech solution is the right path for some of your concepts, and that’s fine. The key is to determine the right solution for every case, and it seems unlikely that everything you’re thinking about demands the same approach. Just remember to work slowly and check in with your original list from time to time as you go. Consider it a road map for the near future, one in which your ideas take center stage and you use the skills and technologies that are appropriate to the expression of each. \u003c/p>\n\u003cp>\u003ci>This week’s column is accompanied by photographs by \u003ca href=\"http://www.bradcarlile.com/\">Brad Carlile\u003c/a>, whose work is included in the upcoming exhibition \u003cb>Fragile Boundaries\u003c/b> at the \u003ca href=\"http://www.thedcca.org/exhibit/current\">Delaware Center for the Contemporary Arts\u003c/a> from June 15 to September 16, 2012.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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>Do you think that contemporary art pieces that are controversial or seem to have required little effort contribute to the opposition of government funding of the arts? \u003c/b>\u003c/p>\n\u003cp>The way your question is phrased makes me think you already had an answer in mind when you wrote, but I’m going to play the naïf and take it at face value (to begin with, at least) and simply answer no. \u003c/p>\n\u003cp>What does contribute to the opposition to government funding of the arts? Historically, it’s been individuals and groups not directly involved in the arts who, for various religious, political and ideological reasons, feel that they are entitled to dictate to us all what art is and should be. Others seem to be opposed to government funding of pretty much anything strictly on the basis of their desire to not pay any taxes. So there’s your query answered, right? \u003c/p>\n\u003cp>But underneath my innocent demeanor is a deep concern that you’re blaming the victim. “It’s controversial, so it was asking for funding cuts,” sounds to me like grossly flawed reasoning. Do you really think that poor old \u003ca href=\"http://en.wikipedia.org/wiki/Piss_Christ\">\u003ci>Piss Christ\u003c/i>\u003c/a> should take the blame for the funding cuts to the \u003ca href=\"http://en.wikipedia.org/wiki/National_Endowment_for_the_Arts\">NEA\u003c/a>? Or should we blame the politicians like \u003ca href=\"http://en.wikipedia.org/wiki/Jesse_Helms\">Jesse Helms\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Al_D%27Amato\">Al D’Amato\u003c/a> who worked tirelessly on a campaign of misinformation and propaganda to create a culture war in order to promulgate wedge issues that to this day keep an emotionally unstable populace distracted from issues like racism, sexism, the economy and war? The artworks cited in the struggle to limit funding for the arts are red herrings used to conceal what are, in fact, simple political agendas. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Further, you cite a nebulous group of works that “seem to have required little effort” and I wonder what effort has to do with any of this. How would we even begin to decide how much effort went into a work of art before it could receive government funding? Should there be a Department of Homeland Artistic Effort? Remember that Marcel Duchamp signed a name to a urinal and exhibited it as a sculpture, an act that was so pivotal that we’re still talking, writing, and arguing about it nearly a hundred years later. Sometimes the simplest ideas turn out to be the most potent. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-fountain.jpg\">\u003cbr>Marcel Duchamp, \u003ci>Fountain\u003c/i>, 1917.\u003c/p>\n\u003cp>\u003cb>Right now I am taking a course that introduces students to the images and works that artists in the “contemporary art” sphere are producing. I realize I may be alone in this opinion, but I can’t help but feel discouraged watching piece after piece flash onto the overhead screen. When I produce a painting, drawing, photograph, or even a poem, it is often a painful process and the final product is always emotionally charged. Placing something so personal and painstakingly meaningful in a gallery of chocolate Jesus sculptures, diamond skulls, dot paintings, \u003ci>Piss Christs\u003c/i>, and dead animal tanks just doesn’t seem appropriate. This class makes me regret the decision to major in studio art (a seemingly meaningless and ridiculous discipline) and has ruined all positive connotations the title “artist” used to carry. So my question is: Am I the only person who thinks pieces of the contemporary art world are demeaning and deprive art of any credibility? Where’s the challenge and talent in art if all you have to do is make use of repulsive, explicit, and/or offensive media? \u003c/b>\u003c/p>\n\u003cp>Oh, those teenage years. Here you are, driven by hormones and angst, searching your soul deeply in order to artistically express your vital emotional states, which no doubt ping-pong between the pit of despair and the mountain’s peak of elation. \u003c/p>\n\u003cp>I am sorry to hear that you find your coursework disheartening, but I’m sure we can all agree that it’s better for you to find out sooner rather than later that contemporary art is not your cup of tea. Really, that’s what the undergraduate experience is all about and you’re always free to change your major to a subject you find less painful, like kinesiology or microeconomics. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-shit.jpg\">\u003cbr>Piero Manzoni, \u003ci>Merda d’artista\u003c/i>, 1961.\u003c/p>\n\u003cp>Obviously you are not the only person to have these sad thoughts about contemporary art (c.f. Jesse Helms, above), so I’m going to assume your first actual question is hyperbolic for effect and not because you are a simpleton. However, your second and final question warrants some deliberation: if “all you have to do” indeed is make repulsive, explicit, and offensive art, why don’t you try it? Certainly art created in this manner carries an emotional charge that you might find cathartic. Also, I would love for you to explore the process of making this kind of art and attempting to have it funded and exhibited. You might find the answer to your entreaty for challenge and talent. \u003c/p>\n\u003cp>Luckily for you, you will never ever be asked to place your emotionally charged and painstakingly meaningful work in the same venue with the \u003ca href=\"http://en.wikipedia.org/wiki/For_the_Love_of_God\">diamond skulls\u003c/a>, \u003ca href=\"http://www.nytimes.com/2012/01/13/arts/design/damien-hirsts-spot-paintings-at-gagosian-in-eight-cities.html?pagewanted=all\">dot paintings\u003c/a>, or \u003ca href=\"http://www.damienhirst.com/texts1/series/nat-history\">dead animals in tanks\u003c/a> that you deplore. I guarantee it! And good luck with the rest of your adolescence. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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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>Do you think that contemporary art pieces that are controversial or seem to have required little effort contribute to the opposition of government funding of the arts? \u003c/b>\u003c/p>\n\u003cp>The way your question is phrased makes me think you already had an answer in mind when you wrote, but I’m going to play the naïf and take it at face value (to begin with, at least) and simply answer no. \u003c/p>\n\u003cp>What does contribute to the opposition to government funding of the arts? Historically, it’s been individuals and groups not directly involved in the arts who, for various religious, political and ideological reasons, feel that they are entitled to dictate to us all what art is and should be. Others seem to be opposed to government funding of pretty much anything strictly on the basis of their desire to not pay any taxes. So there’s your query answered, right? \u003c/p>\n\u003cp>But underneath my innocent demeanor is a deep concern that you’re blaming the victim. “It’s controversial, so it was asking for funding cuts,” sounds to me like grossly flawed reasoning. Do you really think that poor old \u003ca href=\"http://en.wikipedia.org/wiki/Piss_Christ\">\u003ci>Piss Christ\u003c/i>\u003c/a> should take the blame for the funding cuts to the \u003ca href=\"http://en.wikipedia.org/wiki/National_Endowment_for_the_Arts\">NEA\u003c/a>? Or should we blame the politicians like \u003ca href=\"http://en.wikipedia.org/wiki/Jesse_Helms\">Jesse Helms\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Al_D%27Amato\">Al D’Amato\u003c/a> who worked tirelessly on a campaign of misinformation and propaganda to create a culture war in order to promulgate wedge issues that to this day keep an emotionally unstable populace distracted from issues like racism, sexism, the economy and war? The artworks cited in the struggle to limit funding for the arts are red herrings used to conceal what are, in fact, simple political agendas. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Further, you cite a nebulous group of works that “seem to have required little effort” and I wonder what effort has to do with any of this. How would we even begin to decide how much effort went into a work of art before it could receive government funding? Should there be a Department of Homeland Artistic Effort? Remember that Marcel Duchamp signed a name to a urinal and exhibited it as a sculpture, an act that was so pivotal that we’re still talking, writing, and arguing about it nearly a hundred years later. Sometimes the simplest ideas turn out to be the most potent. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-fountain.jpg\">\u003cbr>Marcel Duchamp, \u003ci>Fountain\u003c/i>, 1917.\u003c/p>\n\u003cp>\u003cb>Right now I am taking a course that introduces students to the images and works that artists in the “contemporary art” sphere are producing. I realize I may be alone in this opinion, but I can’t help but feel discouraged watching piece after piece flash onto the overhead screen. When I produce a painting, drawing, photograph, or even a poem, it is often a painful process and the final product is always emotionally charged. Placing something so personal and painstakingly meaningful in a gallery of chocolate Jesus sculptures, diamond skulls, dot paintings, \u003ci>Piss Christs\u003c/i>, and dead animal tanks just doesn’t seem appropriate. This class makes me regret the decision to major in studio art (a seemingly meaningless and ridiculous discipline) and has ruined all positive connotations the title “artist” used to carry. So my question is: Am I the only person who thinks pieces of the contemporary art world are demeaning and deprive art of any credibility? Where’s the challenge and talent in art if all you have to do is make use of repulsive, explicit, and/or offensive media? \u003c/b>\u003c/p>\n\u003cp>Oh, those teenage years. Here you are, driven by hormones and angst, searching your soul deeply in order to artistically express your vital emotional states, which no doubt ping-pong between the pit of despair and the mountain’s peak of elation. \u003c/p>\n\u003cp>I am sorry to hear that you find your coursework disheartening, but I’m sure we can all agree that it’s better for you to find out sooner rather than later that contemporary art is not your cup of tea. Really, that’s what the undergraduate experience is all about and you’re always free to change your major to a subject you find less painful, like kinesiology or microeconomics. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-shit.jpg\">\u003cbr>Piero Manzoni, \u003ci>Merda d’artista\u003c/i>, 1961.\u003c/p>\n\u003cp>Obviously you are not the only person to have these sad thoughts about contemporary art (c.f. Jesse Helms, above), so I’m going to assume your first actual question is hyperbolic for effect and not because you are a simpleton. However, your second and final question warrants some deliberation: if “all you have to do” indeed is make repulsive, explicit, and offensive art, why don’t you try it? Certainly art created in this manner carries an emotional charge that you might find cathartic. Also, I would love for you to explore the process of making this kind of art and attempting to have it funded and exhibited. You might find the answer to your entreaty for challenge and talent. \u003c/p>\n\u003cp>Luckily for you, you will never ever be asked to place your emotionally charged and painstakingly meaningful work in the same venue with the \u003ca href=\"http://en.wikipedia.org/wiki/For_the_Love_of_God\">diamond skulls\u003c/a>, \u003ca href=\"http://www.nytimes.com/2012/01/13/arts/design/damien-hirsts-spot-paintings-at-gagosian-in-eight-cities.html?pagewanted=all\">dot paintings\u003c/a>, or \u003ca href=\"http://www.damienhirst.com/texts1/series/nat-history\">dead animals in tanks\u003c/a> that you deplore. I guarantee it! And good luck with the rest of your adolescence. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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>Like two other artists that wrote in\u003c/b> [see \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=89647\">Help Desk: Location, Location, Location\u003c/a>]\u003cb>, I also live in a part of the country that doesn’t have the strongest art market. I get to show locally a few times a year and the artistic community, made up of locals and university members, can be creatively stimulating, engaging and supportive. It’s a great place to make art, but a not-so-great place to sell art.\u003c/b>\u003c/p>\n\u003cp>\u003cb>My question is, what value do you see in “alternative” exhibition spaces, both digital and physical (Saatchi Online, White Columns Artist Registry, and New American Paintings as a few examples), for being legitimate avenues that lead to show opportunities at galleries in metropolitan art centers? Can having a strong online presence be enough to catch the attention of curators and galleries that already have a line of hopefuls at their street address?\u003c/b>\u003c/p>\n\u003cp>Acceptance to an artist registry or a curated publication holds the promise of getting your artwork in front of people who are interested in exhibiting, selling or buying it. But does it really work like that? Are there success stories? What are the pitfalls? I asked around to find some answers. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-heimat.jpg\">\u003cbr>Mamma Andersson, \u003ci>Heimat Land\u003c/i>, 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One artist I spoke with was initially very excited to have his work included in the \u003ca href=\"http://registry.whitecolumns.org/admin/artist/signup.php\">White Columns Artist Registry\u003c/a>. However, he told me that in the few years that have passed since his acceptance, the only result has been an increase in the amount of junk mail he receives. He does still take the time to update his page, but assumes at this point that nothing will come of it. Another artist whose work was accepted for a \u003ca href=\"http://www.newamericanpaintings.com/\">New American Paintings\u003c/a> catalog a couple of years ago told me that it “did not pan out into anything.” \u003c/p>\n\u003cp>One of the first adopters of \u003ca href=\"http://www.saatchionline.com/\">Saatchi Online\u003c/a> said of the registry, “I don’t think it hurts — but I cannot say it has helped yet. I did receive a query… and they may have found me on Saatchi, but nothing has come of that yet. Otherwise it is such a mixed bag there — most of the artists are not that developed… [but] they do find serious curators for their ‘Showdowns.'” She added, “To be frank, nothing is as good as your own website, and this goes for Blogger, Tumblr and the million other ways you can expose your work.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pigeon.jpg\">\u003cbr>Mamma Andersson, \u003ci>Pigeon House\u003c/i>, 2010.\u003c/p>\n\u003cp>Granted, these are the accounts of only three random artists among thousands, so it’s hard to say if theirs is the experience of the majority or not. I’d like to believe that the registries are helpful — readers please note that Saatchi Online was where I found the collages of Irina and Silviu Székely, featured in this column a few weeks ago — but the last part of your question acknowledges the necessity of actually being physically present, at least sometimes, in order to be on a gallerist’s or curator’s radar. \u003c/p>\n\u003cp>There are no certainties in this game we play. By all means, I think that providing one more place for gallerists and dealers to find your work could prove helpful to your objective of selling. But don’t let the energy you’re putting into an online presence take away from the time you spend connecting to people in real life. The glib phrase “it’s who you know” is not quite accurate — you could be on a first name basis with the pope and it won’t make your work any better — but it’s not entirely \u003ci>inaccurate\u003c/i> either. If you do pursue and get your work into these registries, see if you can use that as a very deliberate stepping stone to a face-to-face meeting with a gallery you’ve had your eye on.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-filly.jpg\">\u003cbr>Mamma Andersson, Filly, 2010.\u003c/p>\n\u003cp>\u003cb>I’m an artist without an art school background. I’ve made art my whole life but only for me personally, until the last few years, when I began to devote much more of my time to it and to put it out in juried shows and other exhibitions. I’ve had some serious encouragement with a few large sales and two solo shows (one in a high quality art venue, one in a public space) in the four years since I changed course. I remain self-employed in my “day job” which is tangentially related to the art I make in that I carry themes over from one realm to the other. My question is about how to portray myself to galleries as I reach out to them. I want to be honest about my background but I am realistic enough to know that there are some prejudices against those who come later and roundabout to artmaking. I want to emphasize that I am extremely serious about it and hope to make a complete switch if at all possible. \u003c/b>\u003c/p>\n\u003cp>I think you should portray yourself honestly: you have been making art your whole life and have recently produced some bodies of work that have been successful in the marketplace. In terms of gallerists and dealers, why would any other information be germane to the matter at hand? Do I need to know if my dentist has an undergraduate degree in modern dance, or do I want to know if she is experienced, licensed and insured? Capisce? No one (at least no one you’re going to care about) will give a damn about art school if your work is strong and interesting, you present yourself well and have a good statement. \u003c/p>\n\u003cp>It would be silly to pretend that there are not all sorts of prejudices in the art world. On one hand I would never suggest that anyone lie about their background, and on the other I detest those cloying self-taught/self-made/”pulled myself up by my bootstraps” stories that sometimes pass for artist statements. Your lack of an art degree should be neither a shame nor a source of pride but a simple fact, one among many. To some people it can matter if you have an MFA or not, are old or young; black or white or Hispanic; male or female, etc. But the people who might have a problem with your age, background or apparent lack of pedigree \u003ci>are not the people you want to work with.\u003c/i> Why? Because these people will not help you on your way, they will not sell your work, and they will not bolster your confidence when you are down. You will not enjoy their company or their version of what passes for wisdom. Leave these people alone because they will definitely be toxic for your studio practice and quite possibly for your career. \u003c/p>\n\u003cp>Are you reading some of the art-career books out there? I highly recommend that you peruse the shelf at your local bookstore. Many of these publications will lay out the specifics of how to talk about your work and your evolution as an artist without sounding defensive or smug. The way to emphasize your seriousness about art is to keep a regular studio practice, invest in your materials and development, and present the best work you have at all times. Good luck! \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In which our sage advice columnist explores online artist registries and more.",
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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>Like two other artists that wrote in\u003c/b> [see \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=89647\">Help Desk: Location, Location, Location\u003c/a>]\u003cb>, I also live in a part of the country that doesn’t have the strongest art market. I get to show locally a few times a year and the artistic community, made up of locals and university members, can be creatively stimulating, engaging and supportive. It’s a great place to make art, but a not-so-great place to sell art.\u003c/b>\u003c/p>\n\u003cp>\u003cb>My question is, what value do you see in “alternative” exhibition spaces, both digital and physical (Saatchi Online, White Columns Artist Registry, and New American Paintings as a few examples), for being legitimate avenues that lead to show opportunities at galleries in metropolitan art centers? Can having a strong online presence be enough to catch the attention of curators and galleries that already have a line of hopefuls at their street address?\u003c/b>\u003c/p>\n\u003cp>Acceptance to an artist registry or a curated publication holds the promise of getting your artwork in front of people who are interested in exhibiting, selling or buying it. But does it really work like that? Are there success stories? What are the pitfalls? I asked around to find some answers. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-heimat.jpg\">\u003cbr>Mamma Andersson, \u003ci>Heimat Land\u003c/i>, 2004.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One artist I spoke with was initially very excited to have his work included in the \u003ca href=\"http://registry.whitecolumns.org/admin/artist/signup.php\">White Columns Artist Registry\u003c/a>. However, he told me that in the few years that have passed since his acceptance, the only result has been an increase in the amount of junk mail he receives. He does still take the time to update his page, but assumes at this point that nothing will come of it. Another artist whose work was accepted for a \u003ca href=\"http://www.newamericanpaintings.com/\">New American Paintings\u003c/a> catalog a couple of years ago told me that it “did not pan out into anything.” \u003c/p>\n\u003cp>One of the first adopters of \u003ca href=\"http://www.saatchionline.com/\">Saatchi Online\u003c/a> said of the registry, “I don’t think it hurts — but I cannot say it has helped yet. I did receive a query… and they may have found me on Saatchi, but nothing has come of that yet. Otherwise it is such a mixed bag there — most of the artists are not that developed… [but] they do find serious curators for their ‘Showdowns.'” She added, “To be frank, nothing is as good as your own website, and this goes for Blogger, Tumblr and the million other ways you can expose your work.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pigeon.jpg\">\u003cbr>Mamma Andersson, \u003ci>Pigeon House\u003c/i>, 2010.\u003c/p>\n\u003cp>Granted, these are the accounts of only three random artists among thousands, so it’s hard to say if theirs is the experience of the majority or not. I’d like to believe that the registries are helpful — readers please note that Saatchi Online was where I found the collages of Irina and Silviu Székely, featured in this column a few weeks ago — but the last part of your question acknowledges the necessity of actually being physically present, at least sometimes, in order to be on a gallerist’s or curator’s radar. \u003c/p>\n\u003cp>There are no certainties in this game we play. By all means, I think that providing one more place for gallerists and dealers to find your work could prove helpful to your objective of selling. But don’t let the energy you’re putting into an online presence take away from the time you spend connecting to people in real life. The glib phrase “it’s who you know” is not quite accurate — you could be on a first name basis with the pope and it won’t make your work any better — but it’s not entirely \u003ci>inaccurate\u003c/i> either. If you do pursue and get your work into these registries, see if you can use that as a very deliberate stepping stone to a face-to-face meeting with a gallery you’ve had your eye on.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-filly.jpg\">\u003cbr>Mamma Andersson, Filly, 2010.\u003c/p>\n\u003cp>\u003cb>I’m an artist without an art school background. I’ve made art my whole life but only for me personally, until the last few years, when I began to devote much more of my time to it and to put it out in juried shows and other exhibitions. I’ve had some serious encouragement with a few large sales and two solo shows (one in a high quality art venue, one in a public space) in the four years since I changed course. I remain self-employed in my “day job” which is tangentially related to the art I make in that I carry themes over from one realm to the other. My question is about how to portray myself to galleries as I reach out to them. I want to be honest about my background but I am realistic enough to know that there are some prejudices against those who come later and roundabout to artmaking. I want to emphasize that I am extremely serious about it and hope to make a complete switch if at all possible. \u003c/b>\u003c/p>\n\u003cp>I think you should portray yourself honestly: you have been making art your whole life and have recently produced some bodies of work that have been successful in the marketplace. In terms of gallerists and dealers, why would any other information be germane to the matter at hand? Do I need to know if my dentist has an undergraduate degree in modern dance, or do I want to know if she is experienced, licensed and insured? Capisce? No one (at least no one you’re going to care about) will give a damn about art school if your work is strong and interesting, you present yourself well and have a good statement. \u003c/p>\n\u003cp>It would be silly to pretend that there are not all sorts of prejudices in the art world. On one hand I would never suggest that anyone lie about their background, and on the other I detest those cloying self-taught/self-made/”pulled myself up by my bootstraps” stories that sometimes pass for artist statements. Your lack of an art degree should be neither a shame nor a source of pride but a simple fact, one among many. To some people it can matter if you have an MFA or not, are old or young; black or white or Hispanic; male or female, etc. But the people who might have a problem with your age, background or apparent lack of pedigree \u003ci>are not the people you want to work with.\u003c/i> Why? Because these people will not help you on your way, they will not sell your work, and they will not bolster your confidence when you are down. You will not enjoy their company or their version of what passes for wisdom. Leave these people alone because they will definitely be toxic for your studio practice and quite possibly for your career. \u003c/p>\n\u003cp>Are you reading some of the art-career books out there? I highly recommend that you peruse the shelf at your local bookstore. Many of these publications will lay out the specifics of how to talk about your work and your evolution as an artist without sounding defensive or smug. The way to emphasize your seriousness about art is to keep a regular studio practice, invest in your materials and development, and present the best work you have at all times. Good luck! \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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