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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>If you were intrigued by last week’s Q&A regarding negative reviews, check out \u003ca href=\"http://www.artpractical.com/feature/a_quinquennial_and_two_biennials/\">this well-argued example\u003c/a> on Art Practical. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been noticing recently that there is a lot of portrait photography based off of or inspired by paintings, often times without anything changed or altered. What is accomplished by this? What new ideas can copying an existing piece of art bring to the table? I was thinking of Hendrick Kerstens’ series of his daughter based off of Flemish Dutch paintings, or perhaps Cindy Sherman’s history portraits.\u003c/b>\u003c/p>\n\u003cp>Kersten’s work is an interesting example. He uses his daughter as a model to restage 17th century Flemish paintings, but I would argue that even though there is an obvious reference, quite a lot is changed. Despite the similarities in the model, costumes, light, poses, and backgrounds to traditional Flemish painting, Kersten wraps his daughter’s hair in contemporary items such as bath towels, dinner napkins, toilet paper, and plastic shopping bags. Although these are arranged to reference the head coverings worn by Vermeer’s models, it’s clear that the works are photographs and a product of our age. The same goes for Nina Katchadourian’s recent series of photographs taken in airplane lavatories during long-haul flights. Her photographs appropriate or interpret the style of Old Master paintings without actually copying them verbatim — that’s a blow-up neck pillow she’s got on her head.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Lavatory Self-Portrait in the Flemish Style #18-19\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>But even ignoring the props that place these photographs in modern times, can we really say that little has been changed or altered in the making of these works? I don’t believe so. First, there is the change of medium from painting to photography. Photography, of course, has an implied “truth value” that painting lacks. It’s also flat and reproducible, which means that an editioned photo is quite removed from the implicit singularity and “the mark of the hand” of a painting. Each medium has its own message and charge, so to substitute one for the other alters the work substantially. \u003c/p>\n\u003cp>Second, there is the change in authorship. A simple change in the name associated with the creation of an object means a lot these days. Like it or not, the way an artwork is considered and evaluated depends a lot on the background information available. Knowing the name of the creator, the medium, and the date helps us situate the work within the trajectory of art history, popular culture, the artist’s oeuvre, and so on. \u003c/p>\n\u003cp>There is a continuum of copying and appropriation, a spectrum along which most art arguably falls. Though there is a long-standing myth that artwork is something inherently original, one could contend that there are no new forms — but there are new ideas. To take an extreme example, consider the somewhat controversial decision by Sherrie Levine in 1980 to \u003ca href=\"http://www.metmuseum.org/toah/works-of-art/1995.266.2\">re-photograph pictures from an exhibition catalogue of Walker Evans’ work\u003c/a> and present them, unaltered, as her own work. In this case, not even the medium was changed because the originals were photographs. However, in (re)photographing these pictures, Levine’s action spoke volumes about how images operate in our culture, and it is her decision and action that is the central content of the work, not necessarily the images themselves. In short, when the artist copies something, she interferes with the power held by the original. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch-2.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Installation view of Nina Katchadourian’s solo exhibition \u003cb>Seat Assignment\u003c/b> at Catharine Clark Gallery, 2012.\u003c/center>\u003c/p>\n\u003cp>The same can be said for Cindy Sherman, though the conceptual basis for her work is quite different from Levine’s. Some of Sherman’s photographs \u003ca href=\"http://portrait.pulitzerarts.org/cube-gallery/sherman/\">resemble Old Master paintings\u003c/a> but it is difficult to imagine anyone being deceived. The resemblance is not a case of plagiarism, but an art historical quotation that invokes the authoritative aura of canonical works that she incorporates as part of the content of her work. What does it bring to the table? Only the very fundamental question of how we make, adopt, receive, and value images, both historical and contemporary. \u003c/p>\n\u003cp>This is by no means a complete answer to your question because reference, quotation, excerptation, and reframing — appropriation’s main actions — are intrinsically complex. I refer you, instead, to the essays in the exhibition catalog \u003ca href=\"http://www.amazon.com/Pictures-Generation-1974-1984-Metropolitan-Museum/dp/0300148925\">\u003cem>The Pictures Generation, 1974-1984\u003c/em>\u003c/a> and an additional essay by Jan Verwoert, “\u003ca href=\"http://www.artandresearch.org.uk/v1n2/verwoert.html\">Apropos Appropriation: Why Stealing Images Today Feels Different\u003c/a>,” both of which should serve to further enlighten you if you chose to pursue this inquiry. For a last thought, I leave you with this quote by artist Ben Kinmont, recently \u003ca href=\"http://blog.sfmoma.org/2012/07/passing-on-by-ben-kinmont/\">posted on SFMOMA’s Open Space blog\u003c/a> by Joseph del Pesco:\u003c/p>\n\u003cp>“From musical compositions to recipes to instruction pieces, people have been sharing their making, meaning, and authorship with others. When a pianist follows a score, a chef cooks a dish, or a person follows an instruction piece, variations and interpretations are made and shared. In this way a sound, a taste, or an idea is passed on, appreciated, and yet also changed by this new maker, perhaps with new instruments and ingredients and within a new context. Whether the others involved are an audience, those around the table, or visitors to a museum, this experience takes on a broader meaning due to its place in a progression, an atemporal community of makers connected through their consideration of a given idea. But by acknowledging these other composers, chefs, and artists who have worked with the idea before, we can see authorship as residing in a multitude of makers and participants, and perhaps from this loosening of the idea of the single author, we can better get to the content of the work at hand. Perhaps this will make it is easier to say, sit back and enjoy the show, enjoy the meal, enjoy the idea we are passing on.” \u003c/p>\n\u003cp>\u003cb>I work at a museum space and am always unsure of the best way to advise parents that there may be potentially inappropriate work on view. I certainly don’t want to impose my opinions about what is appropriate on others, but I also am not keen to field angry comments. Any thoughts on the best way to broach this difficult subject? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>My friend Melisa, who homeschooled her three children and took them to countless museum exhibits, said, “What a great question! I think most parents would appreciate knowing beforehand about potentially challenging works. Ideally the information would be available well before the family shows up at the door (something included in the exhibit’s web page?) so parents can make an informed decision about the appropriateness of the material and museum employees aren’t put in an awkward situation.” \u003c/p>\n\u003cp>Like Melisa, I don’t understand why your employer is making this your problem. Isn’t it the job of the institution to gently remind people that culture is a rowdy, sometimes unseemly arena? While I absolutely loathe the idea of censorship, I can understand why parents would want to be informed about potential issues that might arise from, say, taking a seven-year-old to see a Paul McCarthy exhibit.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mccarthy.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Paul McCarthy, installation view of \u003ci>Pig Island\u003c/i>, Fondazione Nicola Trussardi, Milan, Italy, 2010.\u003c/center>\u003c/p>\n\u003cp>Please bring this up with your superiors, using any prior interactions you’ve had with parents as concrete examples. If they still prefer to leave this dilemma in your lap instead of crafting institution-wide guidelines, ask them exactly what they would like you to say to parents, either in advance of their viewing or when you are being shouted at later. If they still shrug and leave it entirely up to your discretion, and you feel you must say something in advance, you can avoid the pitfalls of imposing your opinions by sticking to the facts. There’s no need for you to indulge in the verbal tics that often accompany discomfort (“So, like, I think you might want to know that this show has some S-E-X stuff in it that you might not want the kids to see, like there’s a video with some, um, nuns and stuff, and this thing with a giraffe…”). Instead, “There is nudity (sexual content, profanity, etc.) in this exhibition,” said mildly with a neutral expression as you’re taking someone’s ticket, can convey all that’s necessary. Yikes. Good luck. \u003c/p>\n\u003cp>Yup, you really can ask me anything about art: helpdesk@dailyserving.com.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003ci>If you were intrigued by last week’s Q&A regarding negative reviews, check out \u003ca href=\"http://www.artpractical.com/feature/a_quinquennial_and_two_biennials/\">this well-argued example\u003c/a> on Art Practical. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been noticing recently that there is a lot of portrait photography based off of or inspired by paintings, often times without anything changed or altered. What is accomplished by this? What new ideas can copying an existing piece of art bring to the table? I was thinking of Hendrick Kerstens’ series of his daughter based off of Flemish Dutch paintings, or perhaps Cindy Sherman’s history portraits.\u003c/b>\u003c/p>\n\u003cp>Kersten’s work is an interesting example. He uses his daughter as a model to restage 17th century Flemish paintings, but I would argue that even though there is an obvious reference, quite a lot is changed. Despite the similarities in the model, costumes, light, poses, and backgrounds to traditional Flemish painting, Kersten wraps his daughter’s hair in contemporary items such as bath towels, dinner napkins, toilet paper, and plastic shopping bags. Although these are arranged to reference the head coverings worn by Vermeer’s models, it’s clear that the works are photographs and a product of our age. The same goes for Nina Katchadourian’s recent series of photographs taken in airplane lavatories during long-haul flights. Her photographs appropriate or interpret the style of Old Master paintings without actually copying them verbatim — that’s a blow-up neck pillow she’s got on her head.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Nina Katchadourian, \u003ci>Lavatory Self-Portrait in the Flemish Style #18-19\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>But even ignoring the props that place these photographs in modern times, can we really say that little has been changed or altered in the making of these works? I don’t believe so. First, there is the change of medium from painting to photography. Photography, of course, has an implied “truth value” that painting lacks. It’s also flat and reproducible, which means that an editioned photo is quite removed from the implicit singularity and “the mark of the hand” of a painting. Each medium has its own message and charge, so to substitute one for the other alters the work substantially. \u003c/p>\n\u003cp>Second, there is the change in authorship. A simple change in the name associated with the creation of an object means a lot these days. Like it or not, the way an artwork is considered and evaluated depends a lot on the background information available. Knowing the name of the creator, the medium, and the date helps us situate the work within the trajectory of art history, popular culture, the artist’s oeuvre, and so on. \u003c/p>\n\u003cp>There is a continuum of copying and appropriation, a spectrum along which most art arguably falls. Though there is a long-standing myth that artwork is something inherently original, one could contend that there are no new forms — but there are new ideas. To take an extreme example, consider the somewhat controversial decision by Sherrie Levine in 1980 to \u003ca href=\"http://www.metmuseum.org/toah/works-of-art/1995.266.2\">re-photograph pictures from an exhibition catalogue of Walker Evans’ work\u003c/a> and present them, unaltered, as her own work. In this case, not even the medium was changed because the originals were photographs. However, in (re)photographing these pictures, Levine’s action spoke volumes about how images operate in our culture, and it is her decision and action that is the central content of the work, not necessarily the images themselves. In short, when the artist copies something, she interferes with the power held by the original. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-katch-2.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Installation view of Nina Katchadourian’s solo exhibition \u003cb>Seat Assignment\u003c/b> at Catharine Clark Gallery, 2012.\u003c/center>\u003c/p>\n\u003cp>The same can be said for Cindy Sherman, though the conceptual basis for her work is quite different from Levine’s. Some of Sherman’s photographs \u003ca href=\"http://portrait.pulitzerarts.org/cube-gallery/sherman/\">resemble Old Master paintings\u003c/a> but it is difficult to imagine anyone being deceived. The resemblance is not a case of plagiarism, but an art historical quotation that invokes the authoritative aura of canonical works that she incorporates as part of the content of her work. What does it bring to the table? Only the very fundamental question of how we make, adopt, receive, and value images, both historical and contemporary. \u003c/p>\n\u003cp>This is by no means a complete answer to your question because reference, quotation, excerptation, and reframing — appropriation’s main actions — are intrinsically complex. I refer you, instead, to the essays in the exhibition catalog \u003ca href=\"http://www.amazon.com/Pictures-Generation-1974-1984-Metropolitan-Museum/dp/0300148925\">\u003cem>The Pictures Generation, 1974-1984\u003c/em>\u003c/a> and an additional essay by Jan Verwoert, “\u003ca href=\"http://www.artandresearch.org.uk/v1n2/verwoert.html\">Apropos Appropriation: Why Stealing Images Today Feels Different\u003c/a>,” both of which should serve to further enlighten you if you chose to pursue this inquiry. For a last thought, I leave you with this quote by artist Ben Kinmont, recently \u003ca href=\"http://blog.sfmoma.org/2012/07/passing-on-by-ben-kinmont/\">posted on SFMOMA’s Open Space blog\u003c/a> by Joseph del Pesco:\u003c/p>\n\u003cp>“From musical compositions to recipes to instruction pieces, people have been sharing their making, meaning, and authorship with others. When a pianist follows a score, a chef cooks a dish, or a person follows an instruction piece, variations and interpretations are made and shared. In this way a sound, a taste, or an idea is passed on, appreciated, and yet also changed by this new maker, perhaps with new instruments and ingredients and within a new context. Whether the others involved are an audience, those around the table, or visitors to a museum, this experience takes on a broader meaning due to its place in a progression, an atemporal community of makers connected through their consideration of a given idea. But by acknowledging these other composers, chefs, and artists who have worked with the idea before, we can see authorship as residing in a multitude of makers and participants, and perhaps from this loosening of the idea of the single author, we can better get to the content of the work at hand. Perhaps this will make it is easier to say, sit back and enjoy the show, enjoy the meal, enjoy the idea we are passing on.” \u003c/p>\n\u003cp>\u003cb>I work at a museum space and am always unsure of the best way to advise parents that there may be potentially inappropriate work on view. I certainly don’t want to impose my opinions about what is appropriate on others, but I also am not keen to field angry comments. Any thoughts on the best way to broach this difficult subject? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>My friend Melisa, who homeschooled her three children and took them to countless museum exhibits, said, “What a great question! I think most parents would appreciate knowing beforehand about potentially challenging works. Ideally the information would be available well before the family shows up at the door (something included in the exhibit’s web page?) so parents can make an informed decision about the appropriateness of the material and museum employees aren’t put in an awkward situation.” \u003c/p>\n\u003cp>Like Melisa, I don’t understand why your employer is making this your problem. Isn’t it the job of the institution to gently remind people that culture is a rowdy, sometimes unseemly arena? While I absolutely loathe the idea of censorship, I can understand why parents would want to be informed about potential issues that might arise from, say, taking a seven-year-old to see a Paul McCarthy exhibit.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-mccarthy.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Paul McCarthy, installation view of \u003ci>Pig Island\u003c/i>, Fondazione Nicola Trussardi, Milan, Italy, 2010.\u003c/center>\u003c/p>\n\u003cp>Please bring this up with your superiors, using any prior interactions you’ve had with parents as concrete examples. If they still prefer to leave this dilemma in your lap instead of crafting institution-wide guidelines, ask them exactly what they would like you to say to parents, either in advance of their viewing or when you are being shouted at later. If they still shrug and leave it entirely up to your discretion, and you feel you must say something in advance, you can avoid the pitfalls of imposing your opinions by sticking to the facts. There’s no need for you to indulge in the verbal tics that often accompany discomfort (“So, like, I think you might want to know that this show has some S-E-X stuff in it that you might not want the kids to see, like there’s a video with some, um, nuns and stuff, and this thing with a giraffe…”). Instead, “There is nudity (sexual content, profanity, etc.) in this exhibition,” said mildly with a neutral expression as you’re taking someone’s ticket, can convey all that’s necessary. Yikes. Good luck. \u003c/p>\n\u003cp>Yup, you really can ask me anything about art: helpdesk@dailyserving.com.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a visual arts writer, and if I don’t have anything nice to say, I don’t say it at all. I state my personal opinions about artwork I like and choose my subjects based on personal preference. I don’t claim to be a critic. I prefer to describe what I see in a lighthearted way, but I fear that I come across as a fluff writer, and I have actually been called out as an “overly saccharine cheerleader.” Is it ok to be consistently complimentary as an arts writer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Your query begs for the concision of a yes/no answer, but I’m afraid I can’t give you one. Part of the difficulty is that you don’t claim to be a critic — that is to say, an evaluator of art and culture — yet you state personal opinions based on preference. Isn’t that what a critic does? I wonder if part of the issue lies in vocabulary: \u003ci>critic, criticism,\u003c/i> and \u003ci>critique\u003c/i> all have a whiff of the negative, yet etymologically they’re all based on the Greek \u003ci>kritikos\u003c/i>, which simply indicates the ability to make judgments based on quality. So, if you’re evaluating artwork in print, then chances are your readers already consider you a critic in the traditional sense, whether you claim to be or not. Further, I think we have to separate the issue of being a critic from the manner (“lighthearted”) in which you state those opinions, and the fact that you fear fluff, but seem to limit your writing to descriptions. Based on the short question you’ve written to \u003ci>Help Desk\u003c/i>, there seem to be some contradictions at work in your practice. If the accusation of being saccharine stings (as it must have, since it compelled you to write to me), then you have to think about what you hope to accomplish.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-eyetest.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>The Innocent Eye Test\u003c/i>, 1981.\u003c/center>\n\u003cp>Let’s go all the way back to the fundamental question: why do you write about art? Probably you enjoy the process of looking and responding, and if that’s as deep as you want to go, that’s fine. You can continue on your complimentary way, but you’ll have to grow a thicker skin. After all, there’s a lot of art writing out there and the person who doesn’t like your nice-things-to-say style can easily go read something else. That’s a valid position to take and I support it. But if you decide that you want to participate more fully in a cultural dialog, or if you want to help artists advance their work, or if you want to be taken seriously by the arts establishment in your area, you should consider writing about work that you don’t find attractive or valuable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And let me qualify that by saying I would never recommend anyone write about work she already knows she hates. That is an exercise in futility, a zero-sum game that benefits no one. Instead, I’m talking about those instances in which you go to an exhibition that you expect to like, but end up disappointed by what you see. Or, you connect to parts of a group show, but not all; or some works in a solo show turn out to be stronger than others. Determining why this is so can be beneficial to both you and the artist. It’s not about slamming someone’s effort, it’s about taking the artist’s work and your own opinions seriously. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-doubting.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Doubting Thomas\u003c/i>, 1985.\u003c/center>\n\u003cp>While I can respect your position of wishing to only write about shows that fill you with joy, penning the occasional less-than-flattering review will underscore your position when you do write flattering prose, making the positive reviews all the more meaningful. One well-respected arts writer I reached out to said, “I have felt similarly, that contemporary art gets such a short shrift in contemporary culture, so being a cheerleader has its welcome role. But if the writer wants to be taken seriously… then there’s got to be some edge. The trick is when it is useful to write negatively. I recently saw a show that made me angry about its ineptitude and misguidedness. While I may or may not actually write about it, it would seem like a public service to point out the flaws and how they could/should serve as a model to work against. It seems a great opportunity to frame a dialogue about something that warrants more discussion.” \u003c/p>\n\u003cp>An \u003ci>opportunity to frame a dialogue about something that warrants more discussion\u003c/i> is a great way for a writer to think about reviews in general. If all other issues of arts writing originate with this idea and ensue from it, then in some ways it doesn’t matter whether the review is positive or negative, because what we are trying to delve into is the very core of why making and seeing art is important. And if a review is respectful and well written, it makes good use of that opportunity whether or not the author finds the work to her liking. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-victoire.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Mont Sainte-Victoire\u003c/i>, 1987.\u003c/center>\n\u003cp>Another writer friend reminded me of the responsibility you have to yourself and your own practice, encouraging you to “write to express the full range of your reactions to viewing artwork.” I think that’s a component to this puzzle that ought not to be overlooked. Just as we hope that artists continue to evolve and grow in their practices, I think we ought to hope for the same with critics. The position you once held may be changing, and I urge you to compose a review that reflects on some artwork that doesn’t thrill you. You don’t have to publish it, but at least you can practice the experience of having free rein. \u003c/p>\n\u003cp>For the benefit of our non-writer readers, I’d like to say that while a positive appraisal of a show often practically writes itself, it is infinitely more difficult and tedious to write a negative review. Indeed, our well-respected arts writer from above touched on this idea as well: “It’s difficult to write responsibly in a negative way, particularly as there are few artists who are genuinely malevolent in their intent. It’s a lot of work to make an exhibition, so the impulse to praise is understandable, and chances are this writer knows some of the artists he or she writes about. Artists may be people, but their work is something autonomous. The bottom line is both the art and the writing need to be interesting.” \u003c/p>\n\u003cp>So if you decide to try it — and I hope you will try it, because how else will you know exactly what you want? — here are some basic guidelines for writing negative reviews: \u003c/p>\n\u003cp>– Write with integrity. This is about the art, not the artist. If you’re out for blood, don’t write the review. \u003c/p>\n\u003cp>– Tell us exactly why and how it falls short of the artist’s stated intentions (see the artist statement and press release). If you don’t know what the artist’s intentions were, tell us why you think you reacted poorly to the work. You need to make a clear case for why the work fails, otherwise it will just seem like you’re being petty. \u003c/p>\n\u003cp>– Let the draft sit so you can self-edit, or have a friend look it over. For any review (positive or negative), it’s worth the extra time and effort to make sure that your critique is logical and valid. \u003c/p>\n\u003cp>– Write well, but don’t lose yourself in language. Tempting though it may be, don’t sacrifice clarity and a strong argument to a witticism or a snarky zinger. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you draft a few unfavorable reports and find it not to your taste, you can continue merrily on your way as the Pollyanna of the art set. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a visual arts writer, and if I don’t have anything nice to say, I don’t say it at all. I state my personal opinions about artwork I like and choose my subjects based on personal preference. I don’t claim to be a critic. I prefer to describe what I see in a lighthearted way, but I fear that I come across as a fluff writer, and I have actually been called out as an “overly saccharine cheerleader.” Is it ok to be consistently complimentary as an arts writer? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Your query begs for the concision of a yes/no answer, but I’m afraid I can’t give you one. Part of the difficulty is that you don’t claim to be a critic — that is to say, an evaluator of art and culture — yet you state personal opinions based on preference. Isn’t that what a critic does? I wonder if part of the issue lies in vocabulary: \u003ci>critic, criticism,\u003c/i> and \u003ci>critique\u003c/i> all have a whiff of the negative, yet etymologically they’re all based on the Greek \u003ci>kritikos\u003c/i>, which simply indicates the ability to make judgments based on quality. So, if you’re evaluating artwork in print, then chances are your readers already consider you a critic in the traditional sense, whether you claim to be or not. Further, I think we have to separate the issue of being a critic from the manner (“lighthearted”) in which you state those opinions, and the fact that you fear fluff, but seem to limit your writing to descriptions. Based on the short question you’ve written to \u003ci>Help Desk\u003c/i>, there seem to be some contradictions at work in your practice. If the accusation of being saccharine stings (as it must have, since it compelled you to write to me), then you have to think about what you hope to accomplish.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-eyetest.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>The Innocent Eye Test\u003c/i>, 1981.\u003c/center>\n\u003cp>Let’s go all the way back to the fundamental question: why do you write about art? Probably you enjoy the process of looking and responding, and if that’s as deep as you want to go, that’s fine. You can continue on your complimentary way, but you’ll have to grow a thicker skin. After all, there’s a lot of art writing out there and the person who doesn’t like your nice-things-to-say style can easily go read something else. That’s a valid position to take and I support it. But if you decide that you want to participate more fully in a cultural dialog, or if you want to help artists advance their work, or if you want to be taken seriously by the arts establishment in your area, you should consider writing about work that you don’t find attractive or valuable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me qualify that by saying I would never recommend anyone write about work she already knows she hates. That is an exercise in futility, a zero-sum game that benefits no one. Instead, I’m talking about those instances in which you go to an exhibition that you expect to like, but end up disappointed by what you see. Or, you connect to parts of a group show, but not all; or some works in a solo show turn out to be stronger than others. Determining why this is so can be beneficial to both you and the artist. It’s not about slamming someone’s effort, it’s about taking the artist’s work and your own opinions seriously. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-doubting.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Doubting Thomas\u003c/i>, 1985.\u003c/center>\n\u003cp>While I can respect your position of wishing to only write about shows that fill you with joy, penning the occasional less-than-flattering review will underscore your position when you do write flattering prose, making the positive reviews all the more meaningful. One well-respected arts writer I reached out to said, “I have felt similarly, that contemporary art gets such a short shrift in contemporary culture, so being a cheerleader has its welcome role. But if the writer wants to be taken seriously… then there’s got to be some edge. The trick is when it is useful to write negatively. I recently saw a show that made me angry about its ineptitude and misguidedness. While I may or may not actually write about it, it would seem like a public service to point out the flaws and how they could/should serve as a model to work against. It seems a great opportunity to frame a dialogue about something that warrants more discussion.” \u003c/p>\n\u003cp>An \u003ci>opportunity to frame a dialogue about something that warrants more discussion\u003c/i> is a great way for a writer to think about reviews in general. If all other issues of arts writing originate with this idea and ensue from it, then in some ways it doesn’t matter whether the review is positive or negative, because what we are trying to delve into is the very core of why making and seeing art is important. And if a review is respectful and well written, it makes good use of that opportunity whether or not the author finds the work to her liking. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-victoire.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Mark Tansey, \u003ci>Mont Sainte-Victoire\u003c/i>, 1987.\u003c/center>\n\u003cp>Another writer friend reminded me of the responsibility you have to yourself and your own practice, encouraging you to “write to express the full range of your reactions to viewing artwork.” I think that’s a component to this puzzle that ought not to be overlooked. Just as we hope that artists continue to evolve and grow in their practices, I think we ought to hope for the same with critics. The position you once held may be changing, and I urge you to compose a review that reflects on some artwork that doesn’t thrill you. You don’t have to publish it, but at least you can practice the experience of having free rein. \u003c/p>\n\u003cp>For the benefit of our non-writer readers, I’d like to say that while a positive appraisal of a show often practically writes itself, it is infinitely more difficult and tedious to write a negative review. Indeed, our well-respected arts writer from above touched on this idea as well: “It’s difficult to write responsibly in a negative way, particularly as there are few artists who are genuinely malevolent in their intent. It’s a lot of work to make an exhibition, so the impulse to praise is understandable, and chances are this writer knows some of the artists he or she writes about. Artists may be people, but their work is something autonomous. The bottom line is both the art and the writing need to be interesting.” \u003c/p>\n\u003cp>So if you decide to try it — and I hope you will try it, because how else will you know exactly what you want? — here are some basic guidelines for writing negative reviews: \u003c/p>\n\u003cp>– Write with integrity. This is about the art, not the artist. If you’re out for blood, don’t write the review. \u003c/p>\n\u003cp>– Tell us exactly why and how it falls short of the artist’s stated intentions (see the artist statement and press release). If you don’t know what the artist’s intentions were, tell us why you think you reacted poorly to the work. You need to make a clear case for why the work fails, otherwise it will just seem like you’re being petty. \u003c/p>\n\u003cp>– Let the draft sit so you can self-edit, or have a friend look it over. For any review (positive or negative), it’s worth the extra time and effort to make sure that your critique is logical and valid. \u003c/p>\n\u003cp>– Write well, but don’t lose yourself in language. Tempting though it may be, don’t sacrifice clarity and a strong argument to a witticism or a snarky zinger. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This summer, artists have taken over Oakland’s Royal NoneSuch Gallery, turning it into a research space, a studio, and a hub for gatherings of all kinds. For three weeks at a time, \u003ca href=\"http://www.georgepfau.com/\">George Pfau\u003c/a>, \u003ca href=\"http://www.veronicadejesus.com/\">Veronica De Jesus\u003c/a>, and \u003ca href=\"http://amandacurreri.com/\">Amanda Curreri\u003c/a> were, are, and will be Royal NoneSuch’s first three artists-in-residence. \u003cb>3 for 3\u003c/b> is an experiment in gallery programming, an artist residency in which the participants maintain open studio hours and organize public events, putting their entire practice — not just finished pieces of art — on display.\u003c/p>\n\u003cp>From June 15 to July 9, Pfau was in the gallery four days a week, working on an ongoing project called \u003ci>Zombies Identified\u003c/i>. Though Pfau has participated in previous residencies, this was the first one conducted alone, without an administrative buffer between him and the outside world. From the first day in the gallery he realized this was going to be a very different experience, one in which he would have a conversation with each and every person who entered the space during his open studio hours.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfaudrawings.jpg\" alt=\"\">\u003c/p>\n\u003cp>With a prime storefront on a bustling block of Telegraph between 42nd and 43rd Streets, the 260 square-foot gallery is never predictable in its offerings, but \u003cb>3 for 3\u003c/b> is an entirely new venture. Traditionally, gallery hours at Royal NoneSuch amount to a total of six hours a week, not counting one-night-only events. With \u003cb>3 for 3\u003c/b>, organizers Elizabeth Bernstein, Carrie Hott, Carey Lin, and Kathleen Quinlan were able to expand the gallery’s hours and community presence while simultaneously handing over the reigns to a group of artists. While their divergent interests guarantee a range of inventive programming, in \u003cb>3 for 3\u003c/b> they have ceded control completely.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfauscreening.jpg\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The outcomes speak for themselves. Pfau’s closing event featured repeated screenings of a short video he made completely within the span of the residency. \u003ci>Between I and Us\u003c/i> moves in and out of focus as musician and performer \u003ca href=\"http://augustaleecollins.blogspot.com/\">Augusta Lee Collins\u003c/a> sings/speaks/screams lyrics Pfau wrote. “There was a line between us,” Collins intones melodically as he faces the camera. “There is no ‘they’ now, just us.” Pfau’s zombies occupy the space between alive and dead, person and thing, human and animal, and — as seen in this video — individual and group identities.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/batman.jpg\" alt=\"\">\u003c/p>\n\u003cp>De Jesus just entered the second week of her residency and has already produced an astonishing amount of work. Wooden stands support collaged paper, foam core, and cardboard sculptures, depicting a tumble of cartoonish figures locked in what appear to be good-natured tussles between Jesus, Batman, and he-men. De Jesus appreciates the residency as a time for “honest feedback” from “people who don’t understand art culture.” “Are you connecting to this work,” she asks, “and it is connecting to you?”\u003c/p>\n\u003cp>Curreri, who begins her residency August 11, will use her time at Royal NoneSuch to continue work on a series titled \u003ci>Aunque\u003c/i>, an exploration of subjective violence. “I’m used to working with the public to complete artworks,” Curreri wrote in an email, “but usually my studio space functions as my retreat from the public. I’m curious to see if this approach can propel the work into new territory by switching up the safety zones.” For artists like Curreri who are accustomed to private studio time, making work within a storefront contains a performative aspect that is altogether new. On August 24, she will host \u003ci>Jean Genet in the Aunque\u003c/i>, a night of readings, interviews, and conversations — hoping to spark topics she wishes to broach within the context of her work.\u003c/p>\n\u003cp>While most residencies are based on the idea of distancing an artist from daily responsibilities and sequestering them in the woods somewhere outside the reach of cell phone reception, \u003cb>3 for 3\u003c/b> has no such agenda. If anything, it brings the artists out of their studios and into a public dialogue, working towards a more complete representation of what it means to be a contemporary artist. By showcasing their working processes, their influences (through guest speakers and artist talks), and ultimately the work they create, the artists in \u003cb>3 for 3\u003c/b> provide rare access to their diverse and engaging practices. Stop on by!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Veronica DeJesus will be at Royal NoneSuch Gallery through August 3. Amanda Curreri will be in residence August 11 through September 7, 2012. For \u003ca href=\"http://royalnonesuchgallery.com/\">more events and information\u003c/a>, visit royalnonesuchgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, artists have taken over Oakland’s Royal NoneSuch Gallery, turning it into a research space, a studio, and a hub for gatherings of all kinds. For three weeks at a time, \u003ca href=\"http://www.georgepfau.com/\">George Pfau\u003c/a>, \u003ca href=\"http://www.veronicadejesus.com/\">Veronica De Jesus\u003c/a>, and \u003ca href=\"http://amandacurreri.com/\">Amanda Curreri\u003c/a> were, are, and will be Royal NoneSuch’s first three artists-in-residence. \u003cb>3 for 3\u003c/b> is an experiment in gallery programming, an artist residency in which the participants maintain open studio hours and organize public events, putting their entire practice — not just finished pieces of art — on display.\u003c/p>\n\u003cp>From June 15 to July 9, Pfau was in the gallery four days a week, working on an ongoing project called \u003ci>Zombies Identified\u003c/i>. Though Pfau has participated in previous residencies, this was the first one conducted alone, without an administrative buffer between him and the outside world. From the first day in the gallery he realized this was going to be a very different experience, one in which he would have a conversation with each and every person who entered the space during his open studio hours.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfaudrawings.jpg\" alt=\"\">\u003c/p>\n\u003cp>With a prime storefront on a bustling block of Telegraph between 42nd and 43rd Streets, the 260 square-foot gallery is never predictable in its offerings, but \u003cb>3 for 3\u003c/b> is an entirely new venture. Traditionally, gallery hours at Royal NoneSuch amount to a total of six hours a week, not counting one-night-only events. With \u003cb>3 for 3\u003c/b>, organizers Elizabeth Bernstein, Carrie Hott, Carey Lin, and Kathleen Quinlan were able to expand the gallery’s hours and community presence while simultaneously handing over the reigns to a group of artists. While their divergent interests guarantee a range of inventive programming, in \u003cb>3 for 3\u003c/b> they have ceded control completely.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/pfauscreening.jpg\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The outcomes speak for themselves. Pfau’s closing event featured repeated screenings of a short video he made completely within the span of the residency. \u003ci>Between I and Us\u003c/i> moves in and out of focus as musician and performer \u003ca href=\"http://augustaleecollins.blogspot.com/\">Augusta Lee Collins\u003c/a> sings/speaks/screams lyrics Pfau wrote. “There was a line between us,” Collins intones melodically as he faces the camera. “There is no ‘they’ now, just us.” Pfau’s zombies occupy the space between alive and dead, person and thing, human and animal, and — as seen in this video — individual and group identities.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.net/2012/07/25/batman.jpg\" alt=\"\">\u003c/p>\n\u003cp>De Jesus just entered the second week of her residency and has already produced an astonishing amount of work. Wooden stands support collaged paper, foam core, and cardboard sculptures, depicting a tumble of cartoonish figures locked in what appear to be good-natured tussles between Jesus, Batman, and he-men. De Jesus appreciates the residency as a time for “honest feedback” from “people who don’t understand art culture.” “Are you connecting to this work,” she asks, “and it is connecting to you?”\u003c/p>\n\u003cp>Curreri, who begins her residency August 11, will use her time at Royal NoneSuch to continue work on a series titled \u003ci>Aunque\u003c/i>, an exploration of subjective violence. “I’m used to working with the public to complete artworks,” Curreri wrote in an email, “but usually my studio space functions as my retreat from the public. I’m curious to see if this approach can propel the work into new territory by switching up the safety zones.” For artists like Curreri who are accustomed to private studio time, making work within a storefront contains a performative aspect that is altogether new. On August 24, she will host \u003ci>Jean Genet in the Aunque\u003c/i>, a night of readings, interviews, and conversations — hoping to spark topics she wishes to broach within the context of her work.\u003c/p>\n\u003cp>While most residencies are based on the idea of distancing an artist from daily responsibilities and sequestering them in the woods somewhere outside the reach of cell phone reception, \u003cb>3 for 3\u003c/b> has no such agenda. If anything, it brings the artists out of their studios and into a public dialogue, working towards a more complete representation of what it means to be a contemporary artist. By showcasing their working processes, their influences (through guest speakers and artist talks), and ultimately the work they create, the artists in \u003cb>3 for 3\u003c/b> provide rare access to their diverse and engaging practices. Stop on by!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Veronica DeJesus will be at Royal NoneSuch Gallery through August 3. Amanda Curreri will be in residence August 11 through September 7, 2012. For \u003ca href=\"http://royalnonesuchgallery.com/\">more events and information\u003c/a>, visit royalnonesuchgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I work for a commercial gallery space and have been approached by male collectors who express an interest in taking me out. More often than not, I have no interest in these men, but I am always anxious my boss may be upset that I get a bit cold in order to put them off. What do you think is the appropriate way to handle this situation? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The easy way out is to buy a decoy engagement ring, a big eye-catching piece of sparkly glass, and wear it to work. If you’re a man, you could try the same with a traditional-looking thick gold band. It won’t stop all comers, but it might scare off the majority. \u003c/p>\n\u003cp>But it would be better if you understood your employer’s expectations so that you could stop feeling anxious, and the only way to do that is have an open and honest conversation. Then the two of you can decide together what course of action to take. There’s no need to feel awkward, just ask for a quick meeting and state the facts: collectors are asking you out and you’re not interested. Say, “How would you like me to handle this situation?” Probably your employer will direct you to act similarly to what you’re already doing, but if she tells you to do something that you’re not comfortable with, you must speak up calmly but immediately: “I don’t think that’s going to work, can we find another solution?” Both parties need to put their cards on the table; that way you will know what’s expected, and also your boss can get your back should an uninvited flirtation get out of hand. You need to know that your boundaries are respected in the workplace, if not by the clientele then at least by your colleagues. And of course, if your boss tries to pimp you out in the interest of selling some work, you’ll know that it’s time to grab your bag and run for the door. \u003c/p>\n\u003cp>Without knowing exactly what you consider “a bit cold,” it’s hard to give detailed behavioral advice. Yet as a side note, you might consider learning how to say a firm, confident “Thank you, but no” with a pleasant look on your face. It will serve you well in your current predicament, and you will find it handy in all kinds of situations. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston59.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, \u003ci>Triumphal Arch\u003c/i>, 2007.\u003c/center>\u003c/p>\n\u003cp>\u003cb>A very close friend and I are curating an exhibit in Kansas City. The entire show consists of artists under the age of 21 including us curators. We have a pretty solid plan, filled with installations, video projections, paintings, sculptures, and performance. What are some words of advice you can give to us as we embark on our first and greatest endeavor to date? I think the hardest part is the fact that we are all so young. We are definitely talented, not to be modest. I feel that it is going to be hard for people to take us seriously and also hard to make a show worthy of critique and review from the establishment. It’s also hard to perceive the future issues we might face during set up and the opening. It’s also going to be hard to combine all these talents together without it being a sensory overload. What are some issues you’ve come across that we probably wouldn’t have thought of ahead of time? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>First of all, bravo! I’m glad to hear that you are making and executing ambitious plans. I have no doubt that your work is going to be inspiring to the other artists and curators in your community. \u003c/p>\n\u003cp>With such a big show, you’re going to have to delegate, and that means that you need to communicate clearly, beginning with yourself and your own plans. I love to map these kinds of things out in pencil and paper, so grab some now. Begin with your end goal and work backward, asking yourself how you’re going to get to each step along the way. For example, you might say that your end goal is to put on a great show with excellent artwork that is well received by the press. How do you get there? Well, among other things, you’ll need an exhibition space (which you have), some great artists (check), and a well-crafted press release. Now, how do you get there? Well, you read a lot of art press releases, you write yours out and (this is very important) get it edited by someone who is a good writer, then you gather the contact information for the arts journalists you want to reach and you send the press release out. How do you get there? Maybe you know someone who works at a gallery who can show you some PR, or you can look for advice in a book on professional practices such as \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_7?s=books&ie=UTF8&qid=1343017604&sr=1-7&keywords=artist+career\">\u003cem>Taking the Leap\u003c/em>\u003c/a> by Cay Lang. Where do you find contact information? — on the internet and on the index page of print publications like \u003ca href=\"http://www.artinamericamagazine.com/\">\u003cem>Art in America\u003c/em>\u003c/a>. Etc., etc., etc. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston331.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, detail from the installation \u003ci>PLEXUS\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>This kind of mapping can also help you make a timeline. For example, if you need to send press releases out a month in advance, then you need to have a rough draft in hand two months in advance, which means that your research and example gathering should happen at least two weeks before that, which means that you need to have all the artists’ names spell-checked and into a document at least a week before that… It sounds exhausting when you write it all out this way, but I assure you, writing it all down will make it much more manageable, Having a comprehensive list will help you stay on track so that the days immediately before the opening are spent on installing the show beautifully and not on overdue administrative tasks. Your map can also function as a checklist so that nothing is forgotten. \u003c/p>\n\u003cp>In my experience, communication is always the most basic issue/problem that arises in both large and small group shows. People (artists, curators, assistants) make assumptions and then act on them — or not, as when they think that it is somebody else’s job. Your map will aid in communication, and it will help you to parcel out very specific tasks. For example, instead of saying, “Michael’s going to deal with the press,” (and then hoping that Michael is going to figure it all out by himself) you can say, “Michael’s going to research press releases from these sources, write a release, and hand it off to Claire for editing by August 15th.” See how much better it is to be specific? If you and everyone else are clear on what is required, all the necessary tasks are much more likely to be completed. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston354.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, \u003ci>All That is Solid Melts into Air\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>Another area where straightforward communication is the key to avoiding strife is in the allotment of exhibition space. Consider giving people specific, measured areas of the venue. Otherwise, you might end up having to sort out some silly squabble during installation over who gets the last eight inches of the wall near the door. The opening should be scripted likewise: if one performance is scheduled for 8pm and another for 9pm, make sure that both artists know that 8pm doesn’t mean 8:45pm. This is very much the strategy of hoping for the best and planning for the worst. By making a map of every part of this exhibition, you’ll be able to anticipate where things might go wrong. \u003c/p>\n\u003cp>You are very young, but if you pull this off your youth will work in your favor. Being taken seriously really doesn’t have to do with your age, it has to do with your professionalism. Treat this exhibition as if you are a professional and insist on the same from others. This is a self-created training ground for you all, so practice putting your very best work forward, whether that work is a painting or an email to a curator. Communications should be clear, prompt and polite; disagreements should be handled with good humor and grace. You can’t do anything about your biological age, but you can act in a way that makes people surprised when they find out how young you are. Best of luck to you all! \u003c/p>\n\u003cp>\u003ci>The work in this week’s column is by \u003ca href=\"http://www.robswainston.com/\">Rob Swainston\u003c/a>, who will have a solo show at \u003ca href=\"http://kunsthalle.neuwerk.org/Neuwerk/Kunst.nsf/DE/Swainston\">Neuwerk Kunsthalle\u003c/a> in Konstanz, Germany in September. For those of you following the discussion around artist statements, Rob’s is \u003ca href=\"http://www.robswainston.com/statement-writings-q-a\">worth checking out\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I work for a commercial gallery space and have been approached by male collectors who express an interest in taking me out. More often than not, I have no interest in these men, but I am always anxious my boss may be upset that I get a bit cold in order to put them off. What do you think is the appropriate way to handle this situation? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The easy way out is to buy a decoy engagement ring, a big eye-catching piece of sparkly glass, and wear it to work. If you’re a man, you could try the same with a traditional-looking thick gold band. It won’t stop all comers, but it might scare off the majority. \u003c/p>\n\u003cp>But it would be better if you understood your employer’s expectations so that you could stop feeling anxious, and the only way to do that is have an open and honest conversation. Then the two of you can decide together what course of action to take. There’s no need to feel awkward, just ask for a quick meeting and state the facts: collectors are asking you out and you’re not interested. Say, “How would you like me to handle this situation?” Probably your employer will direct you to act similarly to what you’re already doing, but if she tells you to do something that you’re not comfortable with, you must speak up calmly but immediately: “I don’t think that’s going to work, can we find another solution?” Both parties need to put their cards on the table; that way you will know what’s expected, and also your boss can get your back should an uninvited flirtation get out of hand. You need to know that your boundaries are respected in the workplace, if not by the clientele then at least by your colleagues. And of course, if your boss tries to pimp you out in the interest of selling some work, you’ll know that it’s time to grab your bag and run for the door. \u003c/p>\n\u003cp>Without knowing exactly what you consider “a bit cold,” it’s hard to give detailed behavioral advice. Yet as a side note, you might consider learning how to say a firm, confident “Thank you, but no” with a pleasant look on your face. It will serve you well in your current predicament, and you will find it handy in all kinds of situations. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston59.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, \u003ci>Triumphal Arch\u003c/i>, 2007.\u003c/center>\u003c/p>\n\u003cp>\u003cb>A very close friend and I are curating an exhibit in Kansas City. The entire show consists of artists under the age of 21 including us curators. We have a pretty solid plan, filled with installations, video projections, paintings, sculptures, and performance. What are some words of advice you can give to us as we embark on our first and greatest endeavor to date? I think the hardest part is the fact that we are all so young. We are definitely talented, not to be modest. I feel that it is going to be hard for people to take us seriously and also hard to make a show worthy of critique and review from the establishment. It’s also hard to perceive the future issues we might face during set up and the opening. It’s also going to be hard to combine all these talents together without it being a sensory overload. What are some issues you’ve come across that we probably wouldn’t have thought of ahead of time? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>First of all, bravo! I’m glad to hear that you are making and executing ambitious plans. I have no doubt that your work is going to be inspiring to the other artists and curators in your community. \u003c/p>\n\u003cp>With such a big show, you’re going to have to delegate, and that means that you need to communicate clearly, beginning with yourself and your own plans. I love to map these kinds of things out in pencil and paper, so grab some now. Begin with your end goal and work backward, asking yourself how you’re going to get to each step along the way. For example, you might say that your end goal is to put on a great show with excellent artwork that is well received by the press. How do you get there? Well, among other things, you’ll need an exhibition space (which you have), some great artists (check), and a well-crafted press release. Now, how do you get there? Well, you read a lot of art press releases, you write yours out and (this is very important) get it edited by someone who is a good writer, then you gather the contact information for the arts journalists you want to reach and you send the press release out. How do you get there? Maybe you know someone who works at a gallery who can show you some PR, or you can look for advice in a book on professional practices such as \u003ca href=\"http://www.amazon.com/Taking-Leap-Building-Insiders-Exhibiting/dp/0811850935/ref=sr_1_7?s=books&ie=UTF8&qid=1343017604&sr=1-7&keywords=artist+career\">\u003cem>Taking the Leap\u003c/em>\u003c/a> by Cay Lang. Where do you find contact information? — on the internet and on the index page of print publications like \u003ca href=\"http://www.artinamericamagazine.com/\">\u003cem>Art in America\u003c/em>\u003c/a>. Etc., etc., etc. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston331.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, detail from the installation \u003ci>PLEXUS\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>This kind of mapping can also help you make a timeline. For example, if you need to send press releases out a month in advance, then you need to have a rough draft in hand two months in advance, which means that your research and example gathering should happen at least two weeks before that, which means that you need to have all the artists’ names spell-checked and into a document at least a week before that… It sounds exhausting when you write it all out this way, but I assure you, writing it all down will make it much more manageable, Having a comprehensive list will help you stay on track so that the days immediately before the opening are spent on installing the show beautifully and not on overdue administrative tasks. Your map can also function as a checklist so that nothing is forgotten. \u003c/p>\n\u003cp>In my experience, communication is always the most basic issue/problem that arises in both large and small group shows. People (artists, curators, assistants) make assumptions and then act on them — or not, as when they think that it is somebody else’s job. Your map will aid in communication, and it will help you to parcel out very specific tasks. For example, instead of saying, “Michael’s going to deal with the press,” (and then hoping that Michael is going to figure it all out by himself) you can say, “Michael’s going to research press releases from these sources, write a release, and hand it off to Claire for editing by August 15th.” See how much better it is to be specific? If you and everyone else are clear on what is required, all the necessary tasks are much more likely to be completed. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/23/RobSwainston354.jpg\" style=\"margin-bottom: 10px;\"alt=\"\" />\u003cbr />Rob Swainston, \u003ci>All That is Solid Melts into Air\u003c/i>, 2011.\u003c/center>\u003c/p>\n\u003cp>Another area where straightforward communication is the key to avoiding strife is in the allotment of exhibition space. Consider giving people specific, measured areas of the venue. Otherwise, you might end up having to sort out some silly squabble during installation over who gets the last eight inches of the wall near the door. The opening should be scripted likewise: if one performance is scheduled for 8pm and another for 9pm, make sure that both artists know that 8pm doesn’t mean 8:45pm. This is very much the strategy of hoping for the best and planning for the worst. By making a map of every part of this exhibition, you’ll be able to anticipate where things might go wrong. \u003c/p>\n\u003cp>You are very young, but if you pull this off your youth will work in your favor. Being taken seriously really doesn’t have to do with your age, it has to do with your professionalism. Treat this exhibition as if you are a professional and insist on the same from others. This is a self-created training ground for you all, so practice putting your very best work forward, whether that work is a painting or an email to a curator. Communications should be clear, prompt and polite; disagreements should be handled with good humor and grace. You can’t do anything about your biological age, but you can act in a way that makes people surprised when they find out how young you are. Best of luck to you all! \u003c/p>\n\u003cp>\u003ci>The work in this week’s column is by \u003ca href=\"http://www.robswainston.com/\">Rob Swainston\u003c/a>, who will have a solo show at \u003ca href=\"http://kunsthalle.neuwerk.org/Neuwerk/Kunst.nsf/DE/Swainston\">Neuwerk Kunsthalle\u003c/a> in Konstanz, Germany in September. For those of you following the discussion around artist statements, Rob’s is \u003ca href=\"http://www.robswainston.com/statement-writings-q-a\">worth checking out\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\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>\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>\u003c/p>\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>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>\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>\u003c/p>\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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I have 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>\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>\u003c/p>\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>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>\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>\u003c/p>\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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>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/p>\n\u003cp>\u003c/b>\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>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>Congratulations on your new gallery! Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\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/p>\n\u003cp>\u003c/b>\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>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>Congratulations on your new gallery! Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"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",
"headTitle": "Animated Gifs: The Art of the Present Moment | KQED",
"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>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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"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>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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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/p>\n\u003cp>\u003c/b>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\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>\u003c/p>\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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I 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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\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>\u003c/p>\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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>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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"id": "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": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"order": 9
},
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"id": "freakonomics-radio",
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"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/",
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},
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"id": "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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"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
},
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"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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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"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"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"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/",
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"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/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"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": {
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"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",
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