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"content": "\u003cp>In April 1964, a nomadic, twenty-three-year-old Arthur Tress moved to San Francisco, after previous travels in Mexico, to visit his sister and continue his art practice in photography and painting. Shortly after his arrival, he wrote to his father and brother — his sources of income at the time — with this observation: “The city itself and especially Oakland is very clean and monotonous.”\u003csup>1\u003c/sup> Despite the turbulent political and cultural climate of San Francisco at this time — civil rights activists protesting on Auto Row in April, and the Beatles and the Republican National Convention coming to town in July and August, respectively — similar sentiments were separately conveyed by Hunter S. Thompson who, when bemoaning the flight of the beatniks to New York City, wrote, “Life is more peaceful in San Francisco, but infinitely duller.”\u003csup>2\u003c/sup>\u003c/p>\n\u003cp>During the short time Tress spent photographing San Francisco in the spring and summer of 1964, he amassed more than nine hundred negatives, from which curator James A. Ganz has selected seventy-one for the exhibition \u003cem>Arthur Tress: San Francisco 1964\u003c/em>. The selection focuses on San Franciscans in an environment dominated by political rallies, signage (both commercial and political), and architecture. As emphasized by the exhibit’s title, these images present San Francisco and its people in a specific time and place: a baby sits in a stroller in Union Square with a “Goldwater For President” button pinned to her bonnet; a business man at City Hall clutches a daily paper with the headline, “Murder in the Park”; a woman rests in a self-service laundromat, the walls of which are emblazoned with classic ’60s typefaces. But the ways in which Tress plays off of and pairs these details make these photographs historically insightful while uniquely his own.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.11_Tress_Ringo.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Untitled (Union Square)\u003c/em>, 1964; Courtesy of de Young Museum, San Francisco.\u003c/p>\n\u003cp>Tress’s and Thompson’s observations about a tedious San Francisco resonate most in the faces and postures of the people in these photographs, the vast majority of which either look devastatingly bored or severely pensive. The aforementioned lady in the laundromat, for example, appears not to be waiting for her wash but for initiative; the businessman at City Hall and the Goldwater baby share the same look of deep contemplation, a distant beyond-the-frame stare that is disturbing in its severity. Indeed, very few of Tress’s subjects — aside from clowns with painted smiles and politicians’ grinning heads on campaign posters — are smiling. Ennui seems to be a constant. As a respite, Tress injects humor into many of his compositions, using repetition, perspective shifts, and juxtapositions to help lighten the mood. In one hilarious photo, two teenage girls at a Beatles fan club rally stand beneath their homemade “Ringo for President” sign, their faces ecstatically wrenched in contrast to the hand-drawn image of Ringo, who looks hopelessly depressed.\u003c/p>\n\u003cp>Such contextual playfulness — a quality of Tress’s work throughout his career — pushes these otherwise mundane scenes into a new light through combinatorial shifts of subtle details. In one photo, due to a flattened perspective, a young girl sitting on a window ledge appears to be resting her dangling feet on a businessman’s pompadour. In another, Tress captures the lovely repetition of the word \u003cem>Cadillac\u003c/em> on a sun-glared storefront window, in front of which stands an African American man in a suit, casting a glare of his own. Tress’s attention to what the surrounding environment suggests helps elide any overwrought socio-political interpretations that these images’ historic context might imply. There’s also the pairing and juxtaposition of people with various objects (mannequin head, gas pump, tricycle) and commercial signage that pushes one’s attention to the surface, so that the shared stoic stares of a mannequin and a woman lose their emotive weight in the face of the formal features that surround them. Children provide another reprieve from the tension found in these scenes. Tress’s photos break the monotony and provide a fuller view into the lives of everyday San Franciscans: a panorama that takes in the banal with the beautiful and the dull with the remarkable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Arthur Tress: San Francisco 1964\u003c/em> is on view at the \u003ca href=\"http://deyoung.famsf.org/deyoung/exhibitions/arthur-tress-san-francisco-1964%5D\" target=\"_blank\" rel=\"noopener\">de Young Museum\u003c/a>, in San Francisco, through June 3, 2012.\u003c/p>\n\u003cp>________\u003cbr>NOTES:\u003c/p>\n\u003cp>1. From a letter from Arthur Tress to his father and brother, in James A. Ganz, \u003cem>Arthur Tress: San Francisco 1964\u003c/em> (London: Prestel, 2012), 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2. Hunter S. Thompson, “When the Beatniks Were Social Lions,” \u003cem>National Observer\u003c/em>, April 20, 1964.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Arthur Tress: San Francisco 1964\u003c/em> is on view at the \u003ca href=\"http://deyoung.famsf.org/deyoung/exhibitions/arthur-tress-san-francisco-1964%5D\" target=\"_blank\" rel=\"noopener\">de Young Museum\u003c/a>, in San Francisco, through June 3, 2012.\u003c/p>\n\u003cp>________\u003cbr>NOTES:\u003c/p>\n\u003cp>1. From a letter from Arthur Tress to his father and brother, in James A. Ganz, \u003cem>Arthur Tress: San Francisco 1964\u003c/em> (London: Prestel, 2012), 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>2. Hunter S. Thompson, “When the Beatniks Were Social Lions,” \u003cem>National Observer\u003c/em>, April 20, 1964.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In his current exhibition at the Rena Bransten Gallery, Fred Wilson explores the idea that Black is not only beautiful but also philosophical. Wilson is an expert at producing conjunctions of historical objects that expose the racist undertones in the history of art and in material culture. It could be said that no artist has done more than he to bring the dynamics of identity politics into art and history museums throughout the United States and abroad. Wilson’s installations earned him a powerful reputation in the art world during the 1990s and a MacArthur “genius” award in 1999. After twenty years, one might wonder whether his conceptual language has evolved in the ensuing decades. This exhibition presents an artist comfortable with his métier but also one whose approach has expanded beyond the disruption of institutional cultures to include signaling the limits of representing blackness through material culture.\u003c/p>\n\u003cp>Wilson’s work has been something of a sensation since his project, \u003cem>Mining the Museum, \u003c/em>co-organized by The Contemporary Museum in Baltimore, opened at the Maryland Historical Society in 1992. Combining objects from the society’s collection that normally were not seen together into the same vitrine, such as silver coffee-service sets and slave manacles, Wilson launched an understated and irreverent attack upon the racial blind spots of American history. In the Whitney Museum’s \u003cem>Black Male\u003c/em> exhibition in 1994, Wilson’s \u003cem>Guarded View \u003c/em>(1991) — a group of four headless black mannequins wearing the guard uniforms of various New York City museums — greeted visitors to the exhibition. The work seemed to say: “If you are looking for the representation of African Americans at a canonical museum of American art, look no further than the security staff.”\u003csup>1\u003c/sup> More exhibitions followed at art museums around the country, and by the beginning of the twenty-first century, Wilson was given a mid-career retrospective and selected to represent the United States at the 2003 Venice Biennale.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.11_Wilson_MeandIt.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Me and It\u003c/em>, 1995; Courtesy of the Artist and Rena Bransten Gallery, San Francisco.\u003c/p>\n\u003cp>While in Venice, Wilson began working with Murano glassmakers to produce original works in glass; one of these, \u003cem>Goin’ Places\u003c/em> (2003), is on view at the Rena Bransten Gallery. This two-part work is composed of a candlestick in the form of a headless figure with black arms and a separate black head with golden hair. The prototype for this work can be found in eighteenth-century blackamoor figures, but Wilson removed the head from the figure and enlarged it, as if the head had expanded beyond its prior confines. Moorish figures such as these are a staple among decorative arts boutiques in Europe just as black jockey figures have long been a common sight in the American South. These days, Wilson is still in the business of repurposing discovered objects in order to set up his classic juxtapositions but with somewhat different aims. \u003cem>Untitled (Zadib, Sokoto, Samori, Veneto, Zanzibar, Dhaka, Macao)\u003c/em> (2011), for example, features a plaster blackamoor figure holding aloft an illuminated globe that Wilson has painted black and given black tassels. This chintzy decorative object has been altered to reveal its underlying ugliness. The title gives a clue to the meaning of the tassels; each one marks a location of the Muslim slave trade during the Moorish domination of the Mediterranean basin. The historical object in this case is transformed so that the stylized Moorish servant reveals a history of black dominion and the subordination of others.\u003c/p>\n\u003cp>One can perceive a new turn in Wilson’s work by comparing two tabletop works on view: \u003cem>Me and It \u003c/em>(1995), which Rena Bransten originally presented in 1995, and a more recent work, \u003cem>Love and Loss in the Milky Way\u003c/em> (2005). \u003cem>Me and It\u003c/em> consists of two video monitors placed on a wide table, on either side of a selection of ceramic vessels depicting stereotyped black figures (think Aunt Jemima) in various poses. In the video, Wilson attempts to replicate the poses of each of these figures while dressed in a similar manner. This presentation of the power of racial imagery and typology that circulates in popular culture demonstrates not only the absurdity of black stereotypes but also the violence they enact upon black individuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, \u003cem>Love and Loss in the Milky Way\u003c/em> is a subtle and moving assemblage that reflects on the fragility of human relations. Here, seventy-five pieces of milk glass — one of which belonged to Wilson’s late mother — are displayed on a tabletop. Among these vessels are four sculptural elements: a standing Greek figure, the bust of a black woman with an elongated neck, a mammy-type figurative cookie jar, and a broken plaster bust of a white male, modeled on a classical Roman prototype. The work suggests an encounter between various cultures and alludes to the relationship between fine art and material culture. Yet the figures here are not just true to type. The way in which they face one another, with the white male figure lying broken among them, suggests a more philosophical response than one expects from Wilson. No longer does the artist attempt to embody one of these representations. Instead, he approaches his subject from a distance; viewers may sense that the real story lies among these pieces, in the gaps between races, ideas about race, and the way those are fixed in objects.\u003c/p>\n\u003cp>\u003cem>Fred Wilson\u003c/em> will be on view at \u003ca href=\"http://www.renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a>, in San Francisco, through March 31, 2012.\u003c/p>\n\u003cp>________\u003cbr>NOTES:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. Signaling the correction of this condition, Wilson has served as a member of the Whitney’s Board of Trustees since 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his current exhibition at the Rena Bransten Gallery, Fred Wilson explores the idea that Black is not only beautiful but also philosophical. Wilson is an expert at producing conjunctions of historical objects that expose the racist undertones in the history of art and in material culture. It could be said that no artist has done more than he to bring the dynamics of identity politics into art and history museums throughout the United States and abroad. Wilson’s installations earned him a powerful reputation in the art world during the 1990s and a MacArthur “genius” award in 1999. After twenty years, one might wonder whether his conceptual language has evolved in the ensuing decades. This exhibition presents an artist comfortable with his métier but also one whose approach has expanded beyond the disruption of institutional cultures to include signaling the limits of representing blackness through material culture.\u003c/p>\n\u003cp>Wilson’s work has been something of a sensation since his project, \u003cem>Mining the Museum, \u003c/em>co-organized by The Contemporary Museum in Baltimore, opened at the Maryland Historical Society in 1992. Combining objects from the society’s collection that normally were not seen together into the same vitrine, such as silver coffee-service sets and slave manacles, Wilson launched an understated and irreverent attack upon the racial blind spots of American history. In the Whitney Museum’s \u003cem>Black Male\u003c/em> exhibition in 1994, Wilson’s \u003cem>Guarded View \u003c/em>(1991) — a group of four headless black mannequins wearing the guard uniforms of various New York City museums — greeted visitors to the exhibition. The work seemed to say: “If you are looking for the representation of African Americans at a canonical museum of American art, look no further than the security staff.”\u003csup>1\u003c/sup> More exhibitions followed at art museums around the country, and by the beginning of the twenty-first century, Wilson was given a mid-career retrospective and selected to represent the United States at the 2003 Venice Biennale.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.11_Wilson_MeandIt.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Me and It\u003c/em>, 1995; Courtesy of the Artist and Rena Bransten Gallery, San Francisco.\u003c/p>\n\u003cp>While in Venice, Wilson began working with Murano glassmakers to produce original works in glass; one of these, \u003cem>Goin’ Places\u003c/em> (2003), is on view at the Rena Bransten Gallery. This two-part work is composed of a candlestick in the form of a headless figure with black arms and a separate black head with golden hair. The prototype for this work can be found in eighteenth-century blackamoor figures, but Wilson removed the head from the figure and enlarged it, as if the head had expanded beyond its prior confines. Moorish figures such as these are a staple among decorative arts boutiques in Europe just as black jockey figures have long been a common sight in the American South. These days, Wilson is still in the business of repurposing discovered objects in order to set up his classic juxtapositions but with somewhat different aims. \u003cem>Untitled (Zadib, Sokoto, Samori, Veneto, Zanzibar, Dhaka, Macao)\u003c/em> (2011), for example, features a plaster blackamoor figure holding aloft an illuminated globe that Wilson has painted black and given black tassels. This chintzy decorative object has been altered to reveal its underlying ugliness. The title gives a clue to the meaning of the tassels; each one marks a location of the Muslim slave trade during the Moorish domination of the Mediterranean basin. The historical object in this case is transformed so that the stylized Moorish servant reveals a history of black dominion and the subordination of others.\u003c/p>\n\u003cp>One can perceive a new turn in Wilson’s work by comparing two tabletop works on view: \u003cem>Me and It \u003c/em>(1995), which Rena Bransten originally presented in 1995, and a more recent work, \u003cem>Love and Loss in the Milky Way\u003c/em> (2005). \u003cem>Me and It\u003c/em> consists of two video monitors placed on a wide table, on either side of a selection of ceramic vessels depicting stereotyped black figures (think Aunt Jemima) in various poses. In the video, Wilson attempts to replicate the poses of each of these figures while dressed in a similar manner. This presentation of the power of racial imagery and typology that circulates in popular culture demonstrates not only the absurdity of black stereotypes but also the violence they enact upon black individuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, \u003cem>Love and Loss in the Milky Way\u003c/em> is a subtle and moving assemblage that reflects on the fragility of human relations. Here, seventy-five pieces of milk glass — one of which belonged to Wilson’s late mother — are displayed on a tabletop. Among these vessels are four sculptural elements: a standing Greek figure, the bust of a black woman with an elongated neck, a mammy-type figurative cookie jar, and a broken plaster bust of a white male, modeled on a classical Roman prototype. The work suggests an encounter between various cultures and alludes to the relationship between fine art and material culture. Yet the figures here are not just true to type. The way in which they face one another, with the white male figure lying broken among them, suggests a more philosophical response than one expects from Wilson. No longer does the artist attempt to embody one of these representations. Instead, he approaches his subject from a distance; viewers may sense that the real story lies among these pieces, in the gaps between races, ideas about race, and the way those are fixed in objects.\u003c/p>\n\u003cp>\u003cem>Fred Wilson\u003c/em> will be on view at \u003ca href=\"http://www.renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a>, in San Francisco, through March 31, 2012.\u003c/p>\n\u003cp>________\u003cbr>NOTES:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. Signaling the correction of this condition, Wilson has served as a member of the Whitney’s Board of Trustees since 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: On the Web and In Your Head",
"headTitle": "Help Desk: On the Web and In Your Head | KQED",
"content": "\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question centers around income: does an artist truly need their own website to be successful? Do prospective buyers really look up your name and view your work? I’m a financially struggling student — I do not have an official website (only a Facebook dedicated to art). Is this a serious drawback in the sense that others will not take me seriously as an artist even if my work is of good quality?\u003c/b>\u003c/p>\n\u003cp>Worrying about being taken seriously is putting your cart before the horse, because how will these hypothetical people even find you in order to evaluate your work? I asked around about websites and this is what I heard:\u003c/p>\n\u003cp>One New York gallerist said, “One doesn’t NEED a website, but it helps curators and galleries find your work… I doubt that ‘buyers’ really come via the web, but I think it is advantageous so have some web presence if you want to be found.”\u003c/p>\n\u003cp>Likewise, the gallerist I contacted in Berlin said, “Yes of course people (collectors, curators, gallerists) are researching artists they are interested in — who doesn’t use Google? If an artist does not have a gallery representing them with a comprehensive overview of what they’ve done on their site, it’s probably good to have some information available that allows interested persons to see the work without contacting the artist directly. I don’t know if it will make anyone successful though! Most “buyers” are going to buy from galleries I think, and really it’s gallerists and curators who are going to reference the site, so it would be bad form to set up a website that was geared towards selling work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-marketing.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Make it easy for people to find your work. Image Source: \u003ca href=\"http://affiliatemarketerscollege.com/\">Affiliate Marketers College\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The most comprehensive answer came from a San Francisco gallerist (it must be that famous “California abundance” at work): “This is an interesting question. Ultimately, a website is one piece to the puzzle and the need is probably in relation to what an artist’s gallery (or galleries) is providing for them. Having one’s own website of course provides the greatest control of presentation so long as the artist is capable and willing to do the work. Most people do not realize the extent to which a website is an on-going project and an out-of-date website can easily give the impression that an artist has given up their practice. One needs to keep the images (individual works and exhibitions), biography and press updated and the photography should be as professional as possible. The design and photography on any given website has evolved so much in the past five years, and with it our sophistication as visual consumers on the web.”\u003c/p>\n\u003cp>“Those caveats aside, an artist’s website generally provides a much broader scope of the work than most gallery sites. In some cases, commercial sites often skew towards displaying available works over possibly better works that have sold. An artist’s website will often have their name as a domain (www.artistname.com), which is a tremendous boost in the organic search engine results. I would highly recommend this type of domain over something clever. It’s also important to remember that a website is not just used by potential buyers. Other audiences include curators, other galleries, artists, students, writers and the list goes on.”\u003c/p>\n\u003cp>“Contact information on a website is an issue worth discussing as well. There are generally two options for an artist who is working with galleries: list the gallery’s contact info and personal info or just the gallery’s. This again depends on the working relationship with the gallery. If there is a close, collaborative and trusting relationship, let the gallery do their job of fielding inquiries while the artist focuses on making work. If opportunities are slipping through the cracks, the artist should think about taking a more active role. Through contact information, we get to the question of sales. The occasional buyer will attempt to purchase a work directly from an artist through their website, and always at a hefty discount. It’s slippery behavior and the person who does this is probably not a collector that is going to make a long-term positive impact on an artist’s career. Sales inquiries should always be referred back to a gallery.”\u003c/p>\n\u003cp>“There is also the question of the artist’s blog. I have found this to be a great way for artists to share their work, while building context and community around their practice. I suspect that more and more of these blogs will be used as research tools for curators and galleries, especially in compiling group shows. I suppose to sum things up, a website, if done right, can certainly only be helpful.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-website.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>This is just one of the amazing images you can find if you search Google Images for “making a website.” Oh, how I love the internet. Image Source: \u003ca href=\"http://www.steps-to-make-your-own-website.com/\">Steps to Make Your Own Website\u003c/a>\u003cbr> \u003c/center>\n\u003cp>There you have it folks, right from the mouths of people in the know. Though they are all anonymous this week, I’d like to thank the dealers who provided clear and thoughtful guidance for this column! Please, don’t anyone whine to me about galleries taking fifty percent and blah blah blah because so far I’ve only encountered people who were not only doing \u003ci>their\u003c/i> job but also willing to help me with \u003ci>mine\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-critique1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>The voices of art school stay with you after graduation. Image Source: \u003ca href=\"http://artsedge.kennedy-center.org/educators.aspx\">ArtsEdge\u003c/a>\u003cbr>\u003c/center>\n\u003cp>\u003cb>I have been out of grad school for about two years now. I feel like I am stuck in a post-MFA funk where I can’t return to a place of pure art making. I seem to have a mental block where I self-critique any new idea I have before I even execute it. Any thoughts on how to get out of this mode of overly critiquing every idea?\u003c/b>\u003c/p>\n\u003cp>This is a problem faced, on and off, by the majority of artists I know. Even if you haven’t gone to grad school you can end up with some choice phrases of negativity rattling around in your brain, and if you \u003ci>have\u003c/i> gone through the blast furnace of an MFA program it takes quite a while before the voices in your head are shushed enough for you to get back to work. \u003c/p>\n\u003cp>That’s not to say that \u003ci>all\u003c/i> critique should be silenced. It’s good to be honest with yourself when you’re evaluating your work, but that process should happen mostly after you’ve done one piece and before you begin another. If self-criticism is keeping you from moving forward with your work then you have a problem, and if it keeps you from making anything at all then you have a three-alarm fire to put out, because if you’re not making work, what’s there to evaluate? You’ve crashed before you’ve started, and that’s a waste. \u003c/p>\n\u003cp>Try to identify where the critique is coming from, because it has an origin somewhere. Was there a particular person in school whose criticism stung the most? Or was there someone that you were trying (and maybe failed) to impress? A snide studio mate with some unsolicited “advice” for your practice? This might be one source of emotional-intellectual discontent. Or maybe when you start to really examine what the voice is saying you’ll discover that it’s actually your uptight banker uncle, asking when you’re going to get a \u003ci>real\u003c/i> job. Or maybe it’s that parsimonious version of yourself who is inevitably (even if you’re a guy) the bitchiest Mean Girl that ever walked the earth. Whatever, no matter. The point is to try to put a face on this funk. Think of every nagging, petty, ridiculous thing these people are saying: \u003ci>that’s stupid, I don’t get it, it’s been done before by people smarter than you, you don’t have anything to say, your ideas are so boring, you think anyone cares about that? Man, that shit is ugly\u003c/i>. And so on. Write it down if you can. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-critique.jpg\" style=\"margin-bottom: 10px;\">Image Source: \u003ca href=\"http://www.learntoart.com/\">Learn to… Art!\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Now accept that these people aren’t actually in the studio. That’s \u003ci>you\u003c/i> in there, saying those scary things and playing head games with yourself. By acknowledging that, you take it out of the damaging realm of assumption. It can be difficult to acknowledge all this nasty stuff, but it’s important to bring it out into the open—demons don’t like the light. \u003c/p>\n\u003cp>You’re creative, so if identifying the basis of this problem doesn’t solve it, try a little mental exercise every time the voices in your head start to get the better of you. Picture these people standing behind you and saying all these smarmy things. Imagine turning up a volume knob so that they are shouting at you, yelling and waving their hands to get your attention. Feel what that feels like for a moment. Does it make you sweat with fear? Do you get angry? Does your stomach knot? That’s okay. Just feel it. Now put your fingers back on the volume knob and slowly start to turn it down. Take a deep breath and keep turning, all the way down until you can barely hear them. Then turn the knob all the way down until it clicks and these people are moving their mouths but no sound is coming out. Do they look ridiculous? How does that feel? \u003c/p>\n\u003cp>This “place of pure art making” is inside you. It was and always will be inside you, but it was silted up by layers of criticism that you are hanging onto. It’s still there, but you’re going to have to do a bit of work to excavate it. Acknowledge the part that you are responsible for and then do a brave thing: continue to work in spite of it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question centers around income: does an artist truly need their own website to be successful? Do prospective buyers really look up your name and view your work? I’m a financially struggling student — I do not have an official website (only a Facebook dedicated to art). Is this a serious drawback in the sense that others will not take me seriously as an artist even if my work is of good quality?\u003c/b>\u003c/p>\n\u003cp>Worrying about being taken seriously is putting your cart before the horse, because how will these hypothetical people even find you in order to evaluate your work? I asked around about websites and this is what I heard:\u003c/p>\n\u003cp>One New York gallerist said, “One doesn’t NEED a website, but it helps curators and galleries find your work… I doubt that ‘buyers’ really come via the web, but I think it is advantageous so have some web presence if you want to be found.”\u003c/p>\n\u003cp>Likewise, the gallerist I contacted in Berlin said, “Yes of course people (collectors, curators, gallerists) are researching artists they are interested in — who doesn’t use Google? If an artist does not have a gallery representing them with a comprehensive overview of what they’ve done on their site, it’s probably good to have some information available that allows interested persons to see the work without contacting the artist directly. I don’t know if it will make anyone successful though! Most “buyers” are going to buy from galleries I think, and really it’s gallerists and curators who are going to reference the site, so it would be bad form to set up a website that was geared towards selling work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-marketing.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Make it easy for people to find your work. Image Source: \u003ca href=\"http://affiliatemarketerscollege.com/\">Affiliate Marketers College\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The most comprehensive answer came from a San Francisco gallerist (it must be that famous “California abundance” at work): “This is an interesting question. Ultimately, a website is one piece to the puzzle and the need is probably in relation to what an artist’s gallery (or galleries) is providing for them. Having one’s own website of course provides the greatest control of presentation so long as the artist is capable and willing to do the work. Most people do not realize the extent to which a website is an on-going project and an out-of-date website can easily give the impression that an artist has given up their practice. One needs to keep the images (individual works and exhibitions), biography and press updated and the photography should be as professional as possible. The design and photography on any given website has evolved so much in the past five years, and with it our sophistication as visual consumers on the web.”\u003c/p>\n\u003cp>“Those caveats aside, an artist’s website generally provides a much broader scope of the work than most gallery sites. In some cases, commercial sites often skew towards displaying available works over possibly better works that have sold. An artist’s website will often have their name as a domain (www.artistname.com), which is a tremendous boost in the organic search engine results. I would highly recommend this type of domain over something clever. It’s also important to remember that a website is not just used by potential buyers. Other audiences include curators, other galleries, artists, students, writers and the list goes on.”\u003c/p>\n\u003cp>“Contact information on a website is an issue worth discussing as well. There are generally two options for an artist who is working with galleries: list the gallery’s contact info and personal info or just the gallery’s. This again depends on the working relationship with the gallery. If there is a close, collaborative and trusting relationship, let the gallery do their job of fielding inquiries while the artist focuses on making work. If opportunities are slipping through the cracks, the artist should think about taking a more active role. Through contact information, we get to the question of sales. The occasional buyer will attempt to purchase a work directly from an artist through their website, and always at a hefty discount. It’s slippery behavior and the person who does this is probably not a collector that is going to make a long-term positive impact on an artist’s career. Sales inquiries should always be referred back to a gallery.”\u003c/p>\n\u003cp>“There is also the question of the artist’s blog. I have found this to be a great way for artists to share their work, while building context and community around their practice. I suspect that more and more of these blogs will be used as research tools for curators and galleries, especially in compiling group shows. I suppose to sum things up, a website, if done right, can certainly only be helpful.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-website.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>This is just one of the amazing images you can find if you search Google Images for “making a website.” Oh, how I love the internet. Image Source: \u003ca href=\"http://www.steps-to-make-your-own-website.com/\">Steps to Make Your Own Website\u003c/a>\u003cbr> \u003c/center>\n\u003cp>There you have it folks, right from the mouths of people in the know. Though they are all anonymous this week, I’d like to thank the dealers who provided clear and thoughtful guidance for this column! Please, don’t anyone whine to me about galleries taking fifty percent and blah blah blah because so far I’ve only encountered people who were not only doing \u003ci>their\u003c/i> job but also willing to help me with \u003ci>mine\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-critique1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>The voices of art school stay with you after graduation. Image Source: \u003ca href=\"http://artsedge.kennedy-center.org/educators.aspx\">ArtsEdge\u003c/a>\u003cbr>\u003c/center>\n\u003cp>\u003cb>I have been out of grad school for about two years now. I feel like I am stuck in a post-MFA funk where I can’t return to a place of pure art making. I seem to have a mental block where I self-critique any new idea I have before I even execute it. Any thoughts on how to get out of this mode of overly critiquing every idea?\u003c/b>\u003c/p>\n\u003cp>This is a problem faced, on and off, by the majority of artists I know. Even if you haven’t gone to grad school you can end up with some choice phrases of negativity rattling around in your brain, and if you \u003ci>have\u003c/i> gone through the blast furnace of an MFA program it takes quite a while before the voices in your head are shushed enough for you to get back to work. \u003c/p>\n\u003cp>That’s not to say that \u003ci>all\u003c/i> critique should be silenced. It’s good to be honest with yourself when you’re evaluating your work, but that process should happen mostly after you’ve done one piece and before you begin another. If self-criticism is keeping you from moving forward with your work then you have a problem, and if it keeps you from making anything at all then you have a three-alarm fire to put out, because if you’re not making work, what’s there to evaluate? You’ve crashed before you’ve started, and that’s a waste. \u003c/p>\n\u003cp>Try to identify where the critique is coming from, because it has an origin somewhere. Was there a particular person in school whose criticism stung the most? Or was there someone that you were trying (and maybe failed) to impress? A snide studio mate with some unsolicited “advice” for your practice? This might be one source of emotional-intellectual discontent. Or maybe when you start to really examine what the voice is saying you’ll discover that it’s actually your uptight banker uncle, asking when you’re going to get a \u003ci>real\u003c/i> job. Or maybe it’s that parsimonious version of yourself who is inevitably (even if you’re a guy) the bitchiest Mean Girl that ever walked the earth. Whatever, no matter. The point is to try to put a face on this funk. Think of every nagging, petty, ridiculous thing these people are saying: \u003ci>that’s stupid, I don’t get it, it’s been done before by people smarter than you, you don’t have anything to say, your ideas are so boring, you think anyone cares about that? Man, that shit is ugly\u003c/i>. And so on. Write it down if you can. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-critique.jpg\" style=\"margin-bottom: 10px;\">Image Source: \u003ca href=\"http://www.learntoart.com/\">Learn to… Art!\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Now accept that these people aren’t actually in the studio. That’s \u003ci>you\u003c/i> in there, saying those scary things and playing head games with yourself. By acknowledging that, you take it out of the damaging realm of assumption. It can be difficult to acknowledge all this nasty stuff, but it’s important to bring it out into the open—demons don’t like the light. \u003c/p>\n\u003cp>You’re creative, so if identifying the basis of this problem doesn’t solve it, try a little mental exercise every time the voices in your head start to get the better of you. Picture these people standing behind you and saying all these smarmy things. Imagine turning up a volume knob so that they are shouting at you, yelling and waving their hands to get your attention. Feel what that feels like for a moment. Does it make you sweat with fear? Do you get angry? Does your stomach knot? That’s okay. Just feel it. Now put your fingers back on the volume knob and slowly start to turn it down. Take a deep breath and keep turning, all the way down until you can barely hear them. Then turn the knob all the way down until it clicks and these people are moving their mouths but no sound is coming out. Do they look ridiculous? How does that feel? \u003c/p>\n\u003cp>This “place of pure art making” is inside you. It was and always will be inside you, but it was silted up by layers of criticism that you are hanging onto. It’s still there, but you’re going to have to do a bit of work to excavate it. Acknowledge the part that you are responsible for and then do a brave thing: continue to work in spite of it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last month, I encouraged you to throw caution to the wind and make some \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=85052\">\u003cb>You Are Beautiful\u003c/b>\u003c/a> artworks to display out in the world. Did you do it? No? Oh, you’re not an artist? You’re too busy? Well, it’s time to put those excuses in a bag and toss them out the window. Better yet, write them down on a piece of paper, then rip that paper to shreds and rearrange it into a collage. Everyone has a creative bone somewhere in his or her body, and ignoring it is a crime. And let’s be honest, you have at least five minutes to spare in the name of art.\u003c/p>\n\u003cp>This month, the good folks at \u003ci>GOOD Magazine\u003c/i> have posed a 30-day Challenge: \u003ca href=\"http://www.good.is/post/the-good-30-day-challenge-art-every-day/\">Art Every Day\u003c/a> offers a list of creative tasks that will help light a fire under your artsy ass. The ideas are simple and non-restrictive. Some of the easiest suggestions are “Take a photo” (Hello, phone camera), “Break something” (I just completed that one by accident!) and “Finger Paint” (No paint? Use up all those crusty condiments in your fridge and make “edible” art).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cscript src=\"http://player.ooyala.com/player.js?width=450&deepLinkEmbedCode=sybHVtMzoctd8pAt2E-4l6sHrgDjEJVl&height=360&embedCode=sybHVtMzoctd8pAt2E-4l6sHrgDjEJVl\">\u003c/script>\u003cbr>\u003c/center>\n\u003cp>\u003ci>GOOD\u003c/i> is also putting its money where its mouth is by hosting a contest for art ideas with a $500 prize. And, believe it or not, this is not the only March-specific art challenge calling for your participation. Visit \u003ca href=\"http://www.marchphotochallenge.com/\">March Photo Challenge 2012\u003c/a> for daily picture-making prompts this month.\u003c/p>\n\u003cp>As \u003ci>GOOD\u003c/i> points out, “studies show that art has the potential to make people better citizens of the planet,” just one of the important effects of dedicating time to creative practices. If you’re comfortable with your citizen-of-the-planet status, fine. Don’t make anything. But for the rest of you, get busy! You have a few weeks left. Are you up for the challenge? Document your projects and Pin/Tweet/Facebook/Tumblr/Instagram them. We want to see what you’re made of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, I encouraged you to throw caution to the wind and make some \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=85052\">\u003cb>You Are Beautiful\u003c/b>\u003c/a> artworks to display out in the world. Did you do it? No? Oh, you’re not an artist? You’re too busy? Well, it’s time to put those excuses in a bag and toss them out the window. Better yet, write them down on a piece of paper, then rip that paper to shreds and rearrange it into a collage. Everyone has a creative bone somewhere in his or her body, and ignoring it is a crime. And let’s be honest, you have at least five minutes to spare in the name of art.\u003c/p>\n\u003cp>This month, the good folks at \u003ci>GOOD Magazine\u003c/i> have posed a 30-day Challenge: \u003ca href=\"http://www.good.is/post/the-good-30-day-challenge-art-every-day/\">Art Every Day\u003c/a> offers a list of creative tasks that will help light a fire under your artsy ass. The ideas are simple and non-restrictive. Some of the easiest suggestions are “Take a photo” (Hello, phone camera), “Break something” (I just completed that one by accident!) and “Finger Paint” (No paint? Use up all those crusty condiments in your fridge and make “edible” art).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cscript src=\"http://player.ooyala.com/player.js?width=450&deepLinkEmbedCode=sybHVtMzoctd8pAt2E-4l6sHrgDjEJVl&height=360&embedCode=sybHVtMzoctd8pAt2E-4l6sHrgDjEJVl\">\u003c/script>\u003cbr>\u003c/center>\n\u003cp>\u003ci>GOOD\u003c/i> is also putting its money where its mouth is by hosting a contest for art ideas with a $500 prize. And, believe it or not, this is not the only March-specific art challenge calling for your participation. Visit \u003ca href=\"http://www.marchphotochallenge.com/\">March Photo Challenge 2012\u003c/a> for daily picture-making prompts this month.\u003c/p>\n\u003cp>As \u003ci>GOOD\u003c/i> points out, “studies show that art has the potential to make people better citizens of the planet,” just one of the important effects of dedicating time to creative practices. If you’re comfortable with your citizen-of-the-planet status, fine. Don’t make anything. But for the rest of you, get busy! You have a few weeks left. Are you up for the challenge? Document your projects and Pin/Tweet/Facebook/Tumblr/Instagram them. We want to see what you’re made of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m currently a photography student. As I try to figure out how I will make a living after graduation, like many photographers, I’m leaning towards a combination of fine art and commercial work. All that said, I want to make an online portfolio showcasing my work, and I’m stuck on the thorny issues of image size and watermarks. I want to minimize the chances of someone stealing the work from my site, but I also want my images to be displayed in an appealing way. What should I do? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since I’m not a photographer and don’t have any experience with this subject, I contacted Laura Miller, the co-director of \u003ca href=\"http://www.sfphotocenter1.com/index.html\">ImageWork SF\u003c/a> in San Francisco. Here’s what she said: \u003c/p>\n\u003cp>“For the record, there are inexpensive website programs/add-ons which can secure images on websites so they cannot be dragged off the site. That program, grouped with a watermark program (also readily available) secures the photos. Even if a watermarked image could be dragged off the website, it would require some Photoshopping to remove the watermark. But if the images also can’t be dragged off, the only way to duplicate would be to take a screen shot, further degrading the image and making watermark removal more difficult. So most definitely, the best way to go is to make the photos unmovable and watermarked.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ilse Bing, Self-Portrait in Mirrors, 1931.\u003c/p>\n\u003cp>Ms. Miller also very generously took the time to check in with some of the Photoshop instructors who work at ImageWork SF, and continued, “The word is: there is really nothing you can do to prevent image theft from websites. If someone wants an image badly enough they’ll take it. But you can make it much harder and a big deterrent by installing watermark and safety programs. If someone can’t easily drag the image off, and/or has a complicated watermark to Photoshop out, they may just prefer to steal from an easier source. There are many programs available to secure the photos and do watermarks, just do a search and many varieties come up. One program turns the image to a blank white rectangle when dragged off the site; others simply lock the image in place.”\u003c/p>\n\u003cp>“Also, it’s very important to keep web images as low resolution as possible (without affecting the view on the website) so that even if a photo is grabbed, it is would be way too low res to make clear enlargements or prints from it.” \u003c/p>\n\u003cp>Don’t forget to add a copyright statement to your website. It’s probably not much of a deterrent to the serious, but at least it broadcasts your intent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-arbus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Garry Winogrand, \u003ci>Diane Arbus, Love-In, Central Park, New York City, 1969\u003c/i>. c. The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\u003c/p>\n\u003cp>On the other hand, let’s all note the irony of me giving advice about preventing image theft while using illustrative images found on the internet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-artists-studio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jacob van Oost the Elder, The Artist’s Studio, 1666.\u003c/p>\n\u003cp>\u003cb>As a young artist (4 years out from a BFA) maintaining a disciplined and consistent studio practice is of great importance to me and probably where I direct most of my ‘artistic energy.’ What is your idea of a healthy balance between production (of art) and thinking/reading/writing/looking at art? Is constantly producing work a bad thing? Can this harm me?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wording of your query reminds me of the little tracts on the \u003ca href=\"http://en.wikipedia.org/wiki/Onan\">Sin Of Onanism\u003c/a> that the priest would give us in Catholic school. These were always illustrated with pictures of earnest-looking young white kids in sweater sets (no doubt drawn in the mid-sixties), so that’s how I’m imagining you now: sweetly innocent in tennis whites, sitting in front of your easel with brush in hand. And like the illustrated naifs of yesteryear, I suspect that deep down inside you know the answer to your own question. \u003c/p>\n\u003cp>I’m glad to hear you are disciplined. It’s one of the hardest things to master, so if you’ve got control of your studio habits and schedule you’re already doing well for yourself. And as a young artist it’s important to be in the studio, thinking, working, and experimenting, trying out new ideas and refining older ones. It’s only through the act of making that we are able to hone our ideas, processes and artwork. \u003c/p>\n\u003cp>So while constantly producing work is not a bad thing (provided you are following \u003ca href=\"www.units.muohio.edu/ehso/.../Art%20Safety%20Brochure.pdf\">reasonable safety guidelines\u003c/a>), it’s also not \u003ci>all\u003c/i> there is to being a contemporary artist. Being a teacher, of course I think you should read, though I recognize that it’s not for everyone. Some people just don’t enjoy it. But if you do, one way to really get into your reading is to find a book or article that you liked, and then track down and read the references cited in the bibliography. It will lead you deeper into the things that already excite you, and reading — whether it’s theory and criticism or poetry and science fiction — will inspire you, fuelling more thinking and working in the studio. \u003c/p>\n\u003cp>Likewise, you do need to be getting out of the studio as well. If you’re serious about your practice you should be making friends in your community, because these people will sustain you in your studio work. Conversations can be invaluable, friendship is absolutely necessary for your emotional well-being, and hanging out is fun. So go to gallery openings and parties when you can find them, and take a pal to the free day at the art museum. Studio time often means isolation, and you need to balance that with some human interaction.\u003c/p>\n\u003cp>Above all, you do need to be looking at art, in person, as often as possible. Beyond just soothing or stimulating your emotions and intellect, looking at art gives you an understanding of ideas and techniques that are currently in play. Looking at work will inform your sense of color, scale, materials, and concept. Looking at the work in person and then reading any accompanying texts will give you ideas about how the work is framed with language and how that may or may not inform your understanding of it.\u003c/p>\n\u003cp>Your answer is embedded in your question: balance is the key. Only you can determine what works for you, and what activities contribute to your practice of being an artist. Don’t be afraid to experiment, and don’t forget that your situation will change and you can and will adapt your actions to suit. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In which our vigilant advice columnists imparts helpful tips on protecting online images from theft and tries to find out how much is too much.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m currently a photography student. As I try to figure out how I will make a living after graduation, like many photographers, I’m leaning towards a combination of fine art and commercial work. All that said, I want to make an online portfolio showcasing my work, and I’m stuck on the thorny issues of image size and watermarks. I want to minimize the chances of someone stealing the work from my site, but I also want my images to be displayed in an appealing way. What should I do? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since I’m not a photographer and don’t have any experience with this subject, I contacted Laura Miller, the co-director of \u003ca href=\"http://www.sfphotocenter1.com/index.html\">ImageWork SF\u003c/a> in San Francisco. Here’s what she said: \u003c/p>\n\u003cp>“For the record, there are inexpensive website programs/add-ons which can secure images on websites so they cannot be dragged off the site. That program, grouped with a watermark program (also readily available) secures the photos. Even if a watermarked image could be dragged off the website, it would require some Photoshopping to remove the watermark. But if the images also can’t be dragged off, the only way to duplicate would be to take a screen shot, further degrading the image and making watermark removal more difficult. So most definitely, the best way to go is to make the photos unmovable and watermarked.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bing.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ilse Bing, Self-Portrait in Mirrors, 1931.\u003c/p>\n\u003cp>Ms. Miller also very generously took the time to check in with some of the Photoshop instructors who work at ImageWork SF, and continued, “The word is: there is really nothing you can do to prevent image theft from websites. If someone wants an image badly enough they’ll take it. But you can make it much harder and a big deterrent by installing watermark and safety programs. If someone can’t easily drag the image off, and/or has a complicated watermark to Photoshop out, they may just prefer to steal from an easier source. There are many programs available to secure the photos and do watermarks, just do a search and many varieties come up. One program turns the image to a blank white rectangle when dragged off the site; others simply lock the image in place.”\u003c/p>\n\u003cp>“Also, it’s very important to keep web images as low resolution as possible (without affecting the view on the website) so that even if a photo is grabbed, it is would be way too low res to make clear enlargements or prints from it.” \u003c/p>\n\u003cp>Don’t forget to add a copyright statement to your website. It’s probably not much of a deterrent to the serious, but at least it broadcasts your intent.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-arbus.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Garry Winogrand, \u003ci>Diane Arbus, Love-In, Central Park, New York City, 1969\u003c/i>. c. The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.\u003c/p>\n\u003cp>On the other hand, let’s all note the irony of me giving advice about preventing image theft while using illustrative images found on the internet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-artists-studio.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Jacob van Oost the Elder, The Artist’s Studio, 1666.\u003c/p>\n\u003cp>\u003cb>As a young artist (4 years out from a BFA) maintaining a disciplined and consistent studio practice is of great importance to me and probably where I direct most of my ‘artistic energy.’ What is your idea of a healthy balance between production (of art) and thinking/reading/writing/looking at art? Is constantly producing work a bad thing? Can this harm me?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wording of your query reminds me of the little tracts on the \u003ca href=\"http://en.wikipedia.org/wiki/Onan\">Sin Of Onanism\u003c/a> that the priest would give us in Catholic school. These were always illustrated with pictures of earnest-looking young white kids in sweater sets (no doubt drawn in the mid-sixties), so that’s how I’m imagining you now: sweetly innocent in tennis whites, sitting in front of your easel with brush in hand. And like the illustrated naifs of yesteryear, I suspect that deep down inside you know the answer to your own question. \u003c/p>\n\u003cp>I’m glad to hear you are disciplined. It’s one of the hardest things to master, so if you’ve got control of your studio habits and schedule you’re already doing well for yourself. And as a young artist it’s important to be in the studio, thinking, working, and experimenting, trying out new ideas and refining older ones. It’s only through the act of making that we are able to hone our ideas, processes and artwork. \u003c/p>\n\u003cp>So while constantly producing work is not a bad thing (provided you are following \u003ca href=\"www.units.muohio.edu/ehso/.../Art%20Safety%20Brochure.pdf\">reasonable safety guidelines\u003c/a>), it’s also not \u003ci>all\u003c/i> there is to being a contemporary artist. Being a teacher, of course I think you should read, though I recognize that it’s not for everyone. Some people just don’t enjoy it. But if you do, one way to really get into your reading is to find a book or article that you liked, and then track down and read the references cited in the bibliography. It will lead you deeper into the things that already excite you, and reading — whether it’s theory and criticism or poetry and science fiction — will inspire you, fuelling more thinking and working in the studio. \u003c/p>\n\u003cp>Likewise, you do need to be getting out of the studio as well. If you’re serious about your practice you should be making friends in your community, because these people will sustain you in your studio work. Conversations can be invaluable, friendship is absolutely necessary for your emotional well-being, and hanging out is fun. So go to gallery openings and parties when you can find them, and take a pal to the free day at the art museum. Studio time often means isolation, and you need to balance that with some human interaction.\u003c/p>\n\u003cp>Above all, you do need to be looking at art, in person, as often as possible. Beyond just soothing or stimulating your emotions and intellect, looking at art gives you an understanding of ideas and techniques that are currently in play. Looking at work will inform your sense of color, scale, materials, and concept. Looking at the work in person and then reading any accompanying texts will give you ideas about how the work is framed with language and how that may or may not inform your understanding of it.\u003c/p>\n\u003cp>Your answer is embedded in your question: balance is the key. Only you can determine what works for you, and what activities contribute to your practice of being an artist. Don’t be afraid to experiment, and don’t forget that your situation will change and you can and will adapt your actions to suit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve always had a problem titling my artwork. My question is how much should an artist “give away” through the title of an artwork? And when viewing a piece of art, how much should the title alter your overall perception?\u003c/b>\u003c/p>\n\u003cp>Down with shoulds! There’s no one-size-fits-all way to go about making titles (or anything else) in art. What you might do, instead, is think about what questions your work sets out to answer, or what the work explores or implies, and then title it accordingly. If you work in series, you can go the #1, #2, #3 route to give the viewer a clue to your methodology. Likewise, if the collected works of \u003ca href=\"http://en.wikipedia.org/wiki/Lewis_Carroll\">Lewis Carroll \u003c/a> inspire you, you could name your pieces after characters in his stories. If your work is about the rejection of systems, refuse to title it. Artist \u003ca href=\"http://www.ybca.org/nina-beier\">Nina Beier\u003c/a> reserves the right to change the title of her work long after it has left her studio, proving that it’s possible to think outside the white box of tradition.\u003c/p>\n\u003cp>Yes, a title can alter the viewer’s perception of the work. Done skillfully, a title will enhance the comprehension of a work because it will shine a light on the artist’s thinking or working process. It can be used to add a kind of value, to denote homage, or — if you’re really good with words — as the punch line to a joke. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/BeierModifyKQED.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>Modify, as needed\u003c/i>, Nina Beier, 2011; Installation view, MoCA Miami SONB/IV 2011, Photographer: Steven Brooke\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>I know I am not that talented. But I am driven to be an artist. Money is not a problem. I’ve queried my friends and it seems as though nobody else has a dirty secret like this. They all seem very confident in their abilities. What would your advice be for me? Changing careers is not an option.\u003c/b>\u003c/p>\n\u003cp>What a horrifying and complicated dilemma. Here you are, financially secure but artistically faltering, asking your friends if they’ve ever felt anxious about their talent in order to commiserate, and none of them will own up to a moment of fear. How sad. \u003c/p>\n\u003cp>It’s not really a dirty secret to feel like an imposter sometimes (or to admit to it) unless you are an insecure and competitive bastard who feels that a bit of emotional honesty somehow places you at a disadvantage in the imaginary Great Race to the Top. I was talking with \u003ca href=\"http://www.pinocchioisonfire.org/\">Mark Bradford\u003c/a> at a press event the other morning and he confessed that right after winning the \u003ca href=\"http://en.wikipedia.org/wiki/MacArthur_Fellows_Program\">Macarthur “Genius” Fellowship\u003c/a> he would swagger into the studio thinking, \u003ci>I just won the Macarthur, I know exactly what I’m doing\u003c/i>…and then he would spend the rest of the day stymied, locked in the mental and emotional struggle that is required to produce a great work of art. If Mark Bradford — you know, the guy who won $500,000 because he’s just that damned good — can feel troubled and unsure in the studio then you can, too. So let’s set your friends aside for the moment. I’m more concerned with the Donald Trump-alike you have in your head, the one with the bad comb-over who keeps telling you that you’re fired.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/MARKBRADFORD1KQED.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The artist Mark Bradford in front of his work.\u003c/p>\n\u003cp>Your query points to quite a few of the murky areas of contemporary art production: What is talent? How do we measure it? Who decides? And also: Is a person who is not talented any less deserving of the title of artist? Can a person who has little talent grow into an artist of serious consideration? All of these questions are excruciatingly subjective, but that doesn’t mean they’re not worthy of our time.\u003c/p>\n\u003cp>I think if you pick apart these issues you might find a way out of your dilemma, at least as far as it stops you from making your work. Grab a pencil and paper and let’s start with the first question: What is talent? Is it the ability to paint an exact likeness, or the skill with which to elicit a particular emotion from an audience? Is it the aptitude and willingness to provoke or shock a viewer? Make a list of your favorite artists, and then try to pin down what makes them talented. What particular qualities does their work evince? And how have they gotten from start to finish? Jot down your notes. \u003c/p>\n\u003cp>How are you measuring talent? There’s a general assumption that talent is directly correlated with the number of shows you’ve had or the grants you’ve received, but to propose that is to claim that art is a meritocracy. We’ve all met talented people who are overlooked for one reason or another, so obviously that’s not the case. Yet the implication is that a slim CV indicates an untalented artist even while we acknowledge that there are no universals in art. Furthermore, let’s all try to remember that exhibitions and awards are outside validations that, though they may feel good at the time, make for a shaky intellectual and emotional foundation on which to build a life as an artist. It’s worthwhile to really dig into your assumptions here and figure out where you stand on this issue, because it’s going to guide your feelings and your career decisions alike.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/americanidolKQED.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Now let’s look at who decides what talent is, because it seems to me that you may have given your power away prematurely, allowing curators, writers, and exhibition coordinators to dictate the terms of the game. Yes, the gallery/biennial/museum route is one path that many artists strive for, but is it the only one available? Further, are all the artists in this most traditional pool talented? A half-day in Chelsea will teach you otherwise; there are many exhibiting artists whose work is boring, derivative and/or ill-considered. So who decides, what is their decision worth, and do you want to let them decide for you?\u003c/p>\n\u003cp>And now for the last of our questions: is a person of little talent any less deserving of the title of artist? Can a person who has little talent grow into an artist of serious consideration? Let me say that I wholeheartedly believe that to call yourself an artist is to be an artist. You may not be an artist in the same way that I am an artist, and I maintain that this diversity of practice enriches the field. Practitioners like to talk about “the art world” as though there were only one, but to paraphrase John 14:2, this house contains many mansions. And since every artist changes over time, growth is possible, especially if you’re putting in the time and effort. \u003c/p>\n\u003cp>You were brave enough to open up to your friends, and brave enough to contact me. “Changing careers is not an option,” you wrote, leading me to believe that you are stubborn and focused. Why not use these traits to your advantage? Such characteristics will serve you well in a career in the arts, and might well fuel some interesting work if you let them guide you. Your honesty is exhilarating. Stop looking for outside validation. Let your command of candor strengthen your voice in the studio, and you might decide that you are not as talentless as you once believed. \u003c/p>\n\u003cp>And if money is really not a problem, please send some to me. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve always had a problem titling my artwork. My question is how much should an artist “give away” through the title of an artwork? And when viewing a piece of art, how much should the title alter your overall perception?\u003c/b>\u003c/p>\n\u003cp>Down with shoulds! There’s no one-size-fits-all way to go about making titles (or anything else) in art. What you might do, instead, is think about what questions your work sets out to answer, or what the work explores or implies, and then title it accordingly. If you work in series, you can go the #1, #2, #3 route to give the viewer a clue to your methodology. Likewise, if the collected works of \u003ca href=\"http://en.wikipedia.org/wiki/Lewis_Carroll\">Lewis Carroll \u003c/a> inspire you, you could name your pieces after characters in his stories. If your work is about the rejection of systems, refuse to title it. Artist \u003ca href=\"http://www.ybca.org/nina-beier\">Nina Beier\u003c/a> reserves the right to change the title of her work long after it has left her studio, proving that it’s possible to think outside the white box of tradition.\u003c/p>\n\u003cp>Yes, a title can alter the viewer’s perception of the work. Done skillfully, a title will enhance the comprehension of a work because it will shine a light on the artist’s thinking or working process. It can be used to add a kind of value, to denote homage, or — if you’re really good with words — as the punch line to a joke. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/BeierModifyKQED.jpg\" style=\"margin-bottom: 10px\">\u003cbr>\u003ci>Modify, as needed\u003c/i>, Nina Beier, 2011; Installation view, MoCA Miami SONB/IV 2011, Photographer: Steven Brooke\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>I know I am not that talented. But I am driven to be an artist. Money is not a problem. I’ve queried my friends and it seems as though nobody else has a dirty secret like this. They all seem very confident in their abilities. What would your advice be for me? Changing careers is not an option.\u003c/b>\u003c/p>\n\u003cp>What a horrifying and complicated dilemma. Here you are, financially secure but artistically faltering, asking your friends if they’ve ever felt anxious about their talent in order to commiserate, and none of them will own up to a moment of fear. How sad. \u003c/p>\n\u003cp>It’s not really a dirty secret to feel like an imposter sometimes (or to admit to it) unless you are an insecure and competitive bastard who feels that a bit of emotional honesty somehow places you at a disadvantage in the imaginary Great Race to the Top. I was talking with \u003ca href=\"http://www.pinocchioisonfire.org/\">Mark Bradford\u003c/a> at a press event the other morning and he confessed that right after winning the \u003ca href=\"http://en.wikipedia.org/wiki/MacArthur_Fellows_Program\">Macarthur “Genius” Fellowship\u003c/a> he would swagger into the studio thinking, \u003ci>I just won the Macarthur, I know exactly what I’m doing\u003c/i>…and then he would spend the rest of the day stymied, locked in the mental and emotional struggle that is required to produce a great work of art. If Mark Bradford — you know, the guy who won $500,000 because he’s just that damned good — can feel troubled and unsure in the studio then you can, too. So let’s set your friends aside for the moment. I’m more concerned with the Donald Trump-alike you have in your head, the one with the bad comb-over who keeps telling you that you’re fired.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/MARKBRADFORD1KQED.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The artist Mark Bradford in front of his work.\u003c/p>\n\u003cp>Your query points to quite a few of the murky areas of contemporary art production: What is talent? How do we measure it? Who decides? And also: Is a person who is not talented any less deserving of the title of artist? Can a person who has little talent grow into an artist of serious consideration? All of these questions are excruciatingly subjective, but that doesn’t mean they’re not worthy of our time.\u003c/p>\n\u003cp>I think if you pick apart these issues you might find a way out of your dilemma, at least as far as it stops you from making your work. Grab a pencil and paper and let’s start with the first question: What is talent? Is it the ability to paint an exact likeness, or the skill with which to elicit a particular emotion from an audience? Is it the aptitude and willingness to provoke or shock a viewer? Make a list of your favorite artists, and then try to pin down what makes them talented. What particular qualities does their work evince? And how have they gotten from start to finish? Jot down your notes. \u003c/p>\n\u003cp>How are you measuring talent? There’s a general assumption that talent is directly correlated with the number of shows you’ve had or the grants you’ve received, but to propose that is to claim that art is a meritocracy. We’ve all met talented people who are overlooked for one reason or another, so obviously that’s not the case. Yet the implication is that a slim CV indicates an untalented artist even while we acknowledge that there are no universals in art. Furthermore, let’s all try to remember that exhibitions and awards are outside validations that, though they may feel good at the time, make for a shaky intellectual and emotional foundation on which to build a life as an artist. It’s worthwhile to really dig into your assumptions here and figure out where you stand on this issue, because it’s going to guide your feelings and your career decisions alike.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/02/26/americanidolKQED.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Now let’s look at who decides what talent is, because it seems to me that you may have given your power away prematurely, allowing curators, writers, and exhibition coordinators to dictate the terms of the game. Yes, the gallery/biennial/museum route is one path that many artists strive for, but is it the only one available? Further, are all the artists in this most traditional pool talented? A half-day in Chelsea will teach you otherwise; there are many exhibiting artists whose work is boring, derivative and/or ill-considered. So who decides, what is their decision worth, and do you want to let them decide for you?\u003c/p>\n\u003cp>And now for the last of our questions: is a person of little talent any less deserving of the title of artist? Can a person who has little talent grow into an artist of serious consideration? Let me say that I wholeheartedly believe that to call yourself an artist is to be an artist. You may not be an artist in the same way that I am an artist, and I maintain that this diversity of practice enriches the field. Practitioners like to talk about “the art world” as though there were only one, but to paraphrase John 14:2, this house contains many mansions. And since every artist changes over time, growth is possible, especially if you’re putting in the time and effort. \u003c/p>\n\u003cp>You were brave enough to open up to your friends, and brave enough to contact me. “Changing careers is not an option,” you wrote, leading me to believe that you are stubborn and focused. Why not use these traits to your advantage? Such characteristics will serve you well in a career in the arts, and might well fuel some interesting work if you let them guide you. Your honesty is exhilarating. Stop looking for outside validation. Let your command of candor strengthen your voice in the studio, and you might decide that you are not as talentless as you once believed. \u003c/p>\n\u003cp>And if money is really not a problem, please send some to me. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>What is the most effective way to build a relationship with galleries and eventually have your work shown? Do you simply walk in with a portfolio of works/images and try to convince them of how great you are? Do you go to show openings and schmooze with gallery owners?\u003c/b>\u003c/p>\n\u003cp>Sneak attack! Imagine that you are a kindly gallerist, minding your own business (literally) and making a few phone calls to chat up some nice collectors, when suddenly there is an eager artist at your desk with a portfolio. He wants your attention RIGHT NOW, though he does not have an appointment, though it is obvious that you are busy working. Put yourself in the dealer’s shoes: even if this kid is the next \u003ca href=\"http://en.wikipedia.org/wiki/Jean-Michel_Basquiat\">Jean-Michel Basquiat\u003c/a>, are you likely to give him a solo show, let alone a second glance? No, what you are going to give this guy is a swift boot to the rear end.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-catsquirrel.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>You won’t get a gallery by pouncing on an unsuspecting dealer.\u003cbr>\u003c/center>\n\u003cp>The most effective way to build a relationship is to build a relationship. Go to openings, yes, but do not \u003ca href=\"http://www.urbandictionary.com/define.php?term=schmooze\">schmooze\u003c/a> because schmoozing is yucky and gallerists can see right through you. Instead, look at the art, and then think about it until you find something intelligent to say, and then go say it to the gallerist (and also to the artist, please, who is standing awkwardly to one side hoping that someone will say something — anything — intelligent to her this evening). Is there a question you have about the work? Did it make you think of something you saw, or read, or experienced? Go have a conversation, because conversations are the best way to build relationships.\u003c/p>\n\u003cp>To convince someone you’re great, be great. Give a damn about art that’s not your own. Do your research and know a little something about the gallery and its artists. Show up to the openings and be a friendly face. Be kind to others, and work with integrity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-deranged.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Do you see how utterly deranged this cat looks while on the hunt? An artist on the desperate schmooze looks about the same.\u003cbr>\u003c/center>\n\u003cp>Notice that I haven’t said anything yet about how to get your work shown. Well, that’s because Edward Winkleman (of \u003ca href=\"http://winkleman.com/\">Winkleman Gallery\u003c/a>, godblessum) has already answered your question. He very generously takes everything that goes into finding a gallery and sums it up into five steps, which I quote below:\u003c/p>\n\u003cp>1.) Do some honest and serious thinking about where your artwork belongs in the art market.\u003c/p>\n\u003cp>2.) Do some serious research to find the program that best fits your artwork within that market.\u003c/p>\n\u003cp>3.) Don’t make mistakes that will discourage you.\u003c/p>\n\u003cp>4.) Work toward a short list.\u003c/p>\n\u003cp>5.) Once you have an “in,” so to speak, then let the gallery know you’re interested in having them consider your work.\u003c/p>\n\u003cp>This is the short version. The longer version, the one you’re going to go read right now, all the way down through the bottom of the comments thread, is here on \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">edwardwinkleman.com\u003c/a>.\u003c/p>\n\u003cp>And don’t forget that good manners never hurt anyone. When you get your gallery, be sure to send Edward a thank-you note.\u003c/p>\n\u003cp>\u003cb>I am a painter. I have had what I consider two successful solo shows in the region where I live. Some of this success is due to the highly saleable quality of my work. I’d like to do something different. My dealer is open, however I’m nervous about interrupting my momentum. How can I try out something new without alienating my supporters?\u003c/b>\u003c/p>\n\u003cp>I don’t blame you for being nervous. You’ve taken the time to produce a body of work that has received attention and support, yet you want to create work that is different from your oeuvre. The question looms: if you take this left turn, will you undermine the hard work that you’ve already done?\u003c/p>\n\u003cp>Let’s turn this question around. What do you stand to lose if you don’t follow your lights? What opportunity might you miss? What artwork might the world never see? Do you think you will be satisfied in five, ten, or twenty years to look back on work that played it safe? All good art has been produced by taking some risks, whether they be emotional, physical, or financial. I think you owe it to yourself as an artist to explore the notions that are kicking around in your mind. There’s also the potential payoff elicited by the chain reaction that change puts into motion: risks require bravery, bravery builds character, and character makes good artwork. My friend \u003ca href=\"http://www.stephenslappe.com/\">Stephen\u003c/a> always says, “If it doesn’t feel risky, you’re not doing it right.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-innocenteye.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>The Innocent Eye Test\u003c/i>, Mark Tansey, 1981.\u003cbr>\u003c/center>\n\u003cp>And while I’m quoting, I’d also like to share the words of a former boss, who once said to me “All change is difficult.” This is absolutely true whether the change is for the better or the worse. The difference here is that you already know what has worked for you in the past, so you have the ability to mitigate some of the risk and awkwardness that comes with change. You can be brave and still be pragmatic. Consider your options: could you continue your current body of work while making some of the new pieces on the side? Or perhaps you could \u003ca href=\"http://www.resartis.org/en/\">go to a residency\u003c/a> and immerse yourself in the new experiments for a month. If you don’t have access to such a program, can you create a week or two of uninterrupted studio time for yourself? It’s possible to try out the new work from where you are in your career and not suffer any adverse effects.\u003c/p>\n\u003cp>The fact that your dealer is open to the idea is a very good sign. If she has been in the biz for a while you should trust her instincts. While these new ideas may seem very different to you, I’m willing to bet that they are connected to your prior work in some way, either materially, formally, or conceptually. If the new body of work is good, your dealer can help you to frame your narrative and market the work in a way that emphasizes the natural progression from old to new. Let your dealer handle the public’s expectations and make the work that is calling out to you.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>What is the most effective way to build a relationship with galleries and eventually have your work shown? Do you simply walk in with a portfolio of works/images and try to convince them of how great you are? Do you go to show openings and schmooze with gallery owners?\u003c/b>\u003c/p>\n\u003cp>Sneak attack! Imagine that you are a kindly gallerist, minding your own business (literally) and making a few phone calls to chat up some nice collectors, when suddenly there is an eager artist at your desk with a portfolio. He wants your attention RIGHT NOW, though he does not have an appointment, though it is obvious that you are busy working. Put yourself in the dealer’s shoes: even if this kid is the next \u003ca href=\"http://en.wikipedia.org/wiki/Jean-Michel_Basquiat\">Jean-Michel Basquiat\u003c/a>, are you likely to give him a solo show, let alone a second glance? No, what you are going to give this guy is a swift boot to the rear end.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-catsquirrel.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>You won’t get a gallery by pouncing on an unsuspecting dealer.\u003cbr>\u003c/center>\n\u003cp>The most effective way to build a relationship is to build a relationship. Go to openings, yes, but do not \u003ca href=\"http://www.urbandictionary.com/define.php?term=schmooze\">schmooze\u003c/a> because schmoozing is yucky and gallerists can see right through you. Instead, look at the art, and then think about it until you find something intelligent to say, and then go say it to the gallerist (and also to the artist, please, who is standing awkwardly to one side hoping that someone will say something — anything — intelligent to her this evening). Is there a question you have about the work? Did it make you think of something you saw, or read, or experienced? Go have a conversation, because conversations are the best way to build relationships.\u003c/p>\n\u003cp>To convince someone you’re great, be great. Give a damn about art that’s not your own. Do your research and know a little something about the gallery and its artists. Show up to the openings and be a friendly face. Be kind to others, and work with integrity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-deranged.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Do you see how utterly deranged this cat looks while on the hunt? An artist on the desperate schmooze looks about the same.\u003cbr>\u003c/center>\n\u003cp>Notice that I haven’t said anything yet about how to get your work shown. Well, that’s because Edward Winkleman (of \u003ca href=\"http://winkleman.com/\">Winkleman Gallery\u003c/a>, godblessum) has already answered your question. He very generously takes everything that goes into finding a gallery and sums it up into five steps, which I quote below:\u003c/p>\n\u003cp>1.) Do some honest and serious thinking about where your artwork belongs in the art market.\u003c/p>\n\u003cp>2.) Do some serious research to find the program that best fits your artwork within that market.\u003c/p>\n\u003cp>3.) Don’t make mistakes that will discourage you.\u003c/p>\n\u003cp>4.) Work toward a short list.\u003c/p>\n\u003cp>5.) Once you have an “in,” so to speak, then let the gallery know you’re interested in having them consider your work.\u003c/p>\n\u003cp>This is the short version. The longer version, the one you’re going to go read right now, all the way down through the bottom of the comments thread, is here on \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">edwardwinkleman.com\u003c/a>.\u003c/p>\n\u003cp>And don’t forget that good manners never hurt anyone. When you get your gallery, be sure to send Edward a thank-you note.\u003c/p>\n\u003cp>\u003cb>I am a painter. I have had what I consider two successful solo shows in the region where I live. Some of this success is due to the highly saleable quality of my work. I’d like to do something different. My dealer is open, however I’m nervous about interrupting my momentum. How can I try out something new without alienating my supporters?\u003c/b>\u003c/p>\n\u003cp>I don’t blame you for being nervous. You’ve taken the time to produce a body of work that has received attention and support, yet you want to create work that is different from your oeuvre. The question looms: if you take this left turn, will you undermine the hard work that you’ve already done?\u003c/p>\n\u003cp>Let’s turn this question around. What do you stand to lose if you don’t follow your lights? What opportunity might you miss? What artwork might the world never see? Do you think you will be satisfied in five, ten, or twenty years to look back on work that played it safe? All good art has been produced by taking some risks, whether they be emotional, physical, or financial. I think you owe it to yourself as an artist to explore the notions that are kicking around in your mind. There’s also the potential payoff elicited by the chain reaction that change puts into motion: risks require bravery, bravery builds character, and character makes good artwork. My friend \u003ca href=\"http://www.stephenslappe.com/\">Stephen\u003c/a> always says, “If it doesn’t feel risky, you’re not doing it right.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-innocenteye.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>The Innocent Eye Test\u003c/i>, Mark Tansey, 1981.\u003cbr>\u003c/center>\n\u003cp>And while I’m quoting, I’d also like to share the words of a former boss, who once said to me “All change is difficult.” This is absolutely true whether the change is for the better or the worse. The difference here is that you already know what has worked for you in the past, so you have the ability to mitigate some of the risk and awkwardness that comes with change. You can be brave and still be pragmatic. Consider your options: could you continue your current body of work while making some of the new pieces on the side? Or perhaps you could \u003ca href=\"http://www.resartis.org/en/\">go to a residency\u003c/a> and immerse yourself in the new experiments for a month. If you don’t have access to such a program, can you create a week or two of uninterrupted studio time for yourself? It’s possible to try out the new work from where you are in your career and not suffer any adverse effects.\u003c/p>\n\u003cp>The fact that your dealer is open to the idea is a very good sign. If she has been in the biz for a while you should trust her instincts. While these new ideas may seem very different to you, I’m willing to bet that they are connected to your prior work in some way, either materially, formally, or conceptually. If the new body of work is good, your dealer can help you to frame your narrative and market the work in a way that emphasizes the natural progression from old to new. Let your dealer handle the public’s expectations and make the work that is calling out to you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I recently participated in \u003cb>You Are Beautiful\u003c/b>, an open call exhibition at Mission Cultural Center for Latino Arts. Artists were invited to create an artwork to contribute to the universal affirmation that “each individual is intriguing, complex and beautiful.” The You Are Beautiful collective has organized similar shows in other locations, and plastered the world with stickers that make people feel positively good. Don’t be surprised if you see one stuck to a bike rack near you.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ur-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The artwork felt cozy in MCCLA’s roomy gallery space at the opening where a roving cameraman wandered around asking everyone to utter those three little words, “You are beautiful.” The exhibit included giant scrabble tiles, tiny works on paper, murals, and little notebooks requesting your doodles. You could peruse books of work from past exhibitions, and people were just hanging out, soaking up the love, and feeling flattered. It was really easy to take the art personally.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"http://www.youtube.com/embed/V6A4QqU8JBo\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Workshops related to the exhibit took place at Mission Cultural Center, which has a long history of making the creation of art more accessible for the community. There was a screen printing session a few weeks ago. And my pal, Jimmy DiMarcellis, better known as the artist Porous Walker, did a special installation for the show, filling a large gallery with picket signs for the opening. Last Saturday he hit the streets with an army of You Are Beautiful demonstrators.\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/ur-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>We don’t often write about exhibits that are nearly over, but contributing art to the San Francisco edition of \u003cb>You Are Beautiful\u003c/b> included a unique opportunity to have your work installed on the streets when the show is over. So, keep your eyes peeled. Details on the renegade street installation are understandably under wraps, but feel free to contribute in your own way. Make your own You Are Beautiful artwork and put it out in the world. If you don’t make art (you should), you can \u003ca href=\"http://you-are-beautiful.com/NEWS.htm\">make a donation to the YAB organization\u003c/a>, and receive your own stickers to paste up. C’mon, make somebody’s day. Get in on this. You are beautiful and you know it.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I recently participated in \u003cb>You Are Beautiful\u003c/b>, an open call exhibition at Mission Cultural Center for Latino Arts. Artists were invited to create an artwork to contribute to the universal affirmation that “each individual is intriguing, complex and beautiful.” The You Are Beautiful collective has organized similar shows in other locations, and plastered the world with stickers that make people feel positively good. Don’t be surprised if you see one stuck to a bike rack near you.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ur-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The artwork felt cozy in MCCLA’s roomy gallery space at the opening where a roving cameraman wandered around asking everyone to utter those three little words, “You are beautiful.” The exhibit included giant scrabble tiles, tiny works on paper, murals, and little notebooks requesting your doodles. You could peruse books of work from past exhibitions, and people were just hanging out, soaking up the love, and feeling flattered. It was really easy to take the art personally.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"http://www.youtube.com/embed/V6A4QqU8JBo\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Workshops related to the exhibit took place at Mission Cultural Center, which has a long history of making the creation of art more accessible for the community. There was a screen printing session a few weeks ago. And my pal, Jimmy DiMarcellis, better known as the artist Porous Walker, did a special installation for the show, filling a large gallery with picket signs for the opening. Last Saturday he hit the streets with an army of You Are Beautiful demonstrators.\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/ur-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>We don’t often write about exhibits that are nearly over, but contributing art to the San Francisco edition of \u003cb>You Are Beautiful\u003c/b> included a unique opportunity to have your work installed on the streets when the show is over. So, keep your eyes peeled. Details on the renegade street installation are understandably under wraps, but feel free to contribute in your own way. Make your own You Are Beautiful artwork and put it out in the world. If you don’t make art (you should), you can \u003ca href=\"http://you-are-beautiful.com/NEWS.htm\">make a donation to the YAB organization\u003c/a>, and receive your own stickers to paste up. C’mon, make somebody’s day. Get in on this. You are beautiful and you know it.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Warhol's Polaroids and Warner and Johnson's Tables of Content at BAM",
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"content": "\u003cp>Between 1970 and 1987, Andy Warhol took thousands of pictures using his Polaroid Big Shot — a camera designed specifically for portraits, with a fixed focal distance of about four feet — capturing a variety of subjects, including intimate, closely cropped portraits. Many of these images were subsequently used in Warhol’s silkscreened paintings and prints. Eight years earlier, in 1962, the artist Ray Johnson, a lesser-known contemporary of Warhol who has been called the initiator of mail art, started his network of art-by-post, the New York Correspondance School (deliberately misspelled by the artist). Johnson’s “school” and correspondence-based art projects continued until his death in 1995.\u003c/p>\n\u003cp>Two new MATRIX exhibitions, \u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em>, present these artists side by side, in a single gallery space separated by a sheer black screen. The arrangement invites the viewer to compare the work of these contemporaries, and there are interesting parallels between them despite the obvious material and formal differences of their respective practices. Most noticeable in the work on view at UC Berkeley Art Museum (BAM/PFA) is Warhol’s and Johnson’s shared preoccupation with wealth and celebrity, subjects they each treat with fascination and unease.\u003c/p>\n\u003cp>Drawing on the more than one hundred Polaroids and gelatin-silver prints that comprise a gift to BAM/PFA from the Andy Warhol Foundation, curators Stephanie Cannizzo and Fabian Leyva-Barragan selected forty Polaroids, representing an array of Warhol’s “beautiful people,” a mix of famous faces and virtual unknowns who met Warhol’s loose criteria (he maintained that every person he met was a beauty).\u003csup>1\u003c/sup> Warhol would take up to hundreds of shots to get just the right image, and each portrait is a document of the intimate exchange between sitter and photographer.\u003c/p>\n\u003cp>That Warhol would consider subjects who were slightly defeated and fragile is exemplified in an ambiguous portrait, \u003cem>Frau Buch\u003c/em> (1980). Frau Buch’s painted red lips yield a slight, apprehensive smile. Her curly black hair echoes the fur of the poodle she clutches. Warhol has captured the vulnerability of a sitter who appears uncomfortable in front of a camera but wants to be seen nonetheless. In contrast are the Polaroids of an arts patron, \u003cem>Daryl Lillie\u003c/em> (1978), who wears the thick white stage makeup that Warhol consistently used for female sitters to soften the flash and conceal wrinkles. The makeup’s effect flattens the image and acts like a mask, a barrier between Lillie and the camera. Despite Lillie’s awkward, caked makeup, with splotches of it visible on her chest, her gaze remains open and confident. She appears comfortable in front of the camera and in Warhol’s presence.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.9_Ray-Johnson-ManOWar.jpg\" title=\"Ray-Johnson-ManOWar\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003cem>Man O’War\u003c/em>, Ray Johnson, 1971, 1988, 1994; Museum purchase, bequest of Phoebe Apperson Hearst, by exchange.\u003cbr>\u003c/center>\n\u003cp>Like Warhol’s oeuvre, Johnson’s work is filled with references to art world and Hollywood celebrities, but his approach is distinctly iconoclastic. In keeping with Johnson’s offhand aesthetic, the display of his \u003cem>Bob Box Archive\u003c/em> is quite casual. Hundreds of offbeat items (letters, beach toys, garbage, and everyday objects) are arranged, stacked, and piled on an assortment of tables in the center of the gallery. On one table, discarded items — including an old pair of sunglasses, pieces of rope, a dirty glove, and rocks — are piled high atop a tattered fragment of an American flag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson pokes fun at major art world figures and movements, eschewing allegiance to any of them. On the right wall of the gallery, a row of letters between Johnson and the optician Robert Warner includes images of movie stars or artists such as James Dean or Jackson Pollock that are photocopied, scribbled over, and written on. A drawing of a bunny sporting a large hoop earring is assigned the name Max Ernst. It hangs between a drawing of Philip Guston’s upside-down bathtub and a collage that combines a newspaper clipping of a chimpanzee sitting in a restaurant with an image of a bicycle seat.\u003c/p>\n\u003cp>Bunny motifs are an ongoing theme for Johnson. One letter to Warner is composed of a grid of cute bunnies with the names of famous and unknown people assigned to each one. Cartoon speech bubbles along the top announce the “Locust Valley Biennale 1990” (after he was mugged in New York in 1968, Johnson retreated to the quiet suburb of Locust Valley). Johnson and Warner are included in the cast of bunnies, along with a mix of names from high and low culture, including Christo, Gary Larson, John Tesh, Betsey Johnson, Louise Bourgeois, and Sean Penn.\u003c/p>\n\u003cp>Warhol’s and Johnson’s artworks reveal their complicated and conflicted relationships to the elite, powerful, and influential figures who frequently appear as subjects of their admiration and derision. The intimate quality of Warhol’s Polaroid portraits relies heavily on the relationship he cultivated with each subject, and it is this intimacy that makes them unique within his body of work. Meanwhile, Johnson’s commentary on New York’s art and social scenes is so readily transparent because of the distance he kept from those worlds.\u003c/p>\n\u003cp>\u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em> are on view at UC Berkeley Art Museum through May 20, 2012. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-size: 80%\">_______\u003cbr>NOTES:\u003cbr>1. Andy Warhol, \u003cem>The Philosophy of Andy Warhol\u003c/em>: \u003cem>(From A to B and Back Again)\u003c/em> (San Diego: Harcourt Brace Jovanovich, 1975), 61.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Between 1970 and 1987, Andy Warhol took thousands of pictures using his Polaroid Big Shot — a camera designed specifically for portraits, with a fixed focal distance of about four feet — capturing a variety of subjects, including intimate, closely cropped portraits. Many of these images were subsequently used in Warhol’s silkscreened paintings and prints. Eight years earlier, in 1962, the artist Ray Johnson, a lesser-known contemporary of Warhol who has been called the initiator of mail art, started his network of art-by-post, the New York Correspondance School (deliberately misspelled by the artist). Johnson’s “school” and correspondence-based art projects continued until his death in 1995.\u003c/p>\n\u003cp>Two new MATRIX exhibitions, \u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em>, present these artists side by side, in a single gallery space separated by a sheer black screen. The arrangement invites the viewer to compare the work of these contemporaries, and there are interesting parallels between them despite the obvious material and formal differences of their respective practices. Most noticeable in the work on view at UC Berkeley Art Museum (BAM/PFA) is Warhol’s and Johnson’s shared preoccupation with wealth and celebrity, subjects they each treat with fascination and unease.\u003c/p>\n\u003cp>Drawing on the more than one hundred Polaroids and gelatin-silver prints that comprise a gift to BAM/PFA from the Andy Warhol Foundation, curators Stephanie Cannizzo and Fabian Leyva-Barragan selected forty Polaroids, representing an array of Warhol’s “beautiful people,” a mix of famous faces and virtual unknowns who met Warhol’s loose criteria (he maintained that every person he met was a beauty).\u003csup>1\u003c/sup> Warhol would take up to hundreds of shots to get just the right image, and each portrait is a document of the intimate exchange between sitter and photographer.\u003c/p>\n\u003cp>That Warhol would consider subjects who were slightly defeated and fragile is exemplified in an ambiguous portrait, \u003cem>Frau Buch\u003c/em> (1980). Frau Buch’s painted red lips yield a slight, apprehensive smile. Her curly black hair echoes the fur of the poodle she clutches. Warhol has captured the vulnerability of a sitter who appears uncomfortable in front of a camera but wants to be seen nonetheless. In contrast are the Polaroids of an arts patron, \u003cem>Daryl Lillie\u003c/em> (1978), who wears the thick white stage makeup that Warhol consistently used for female sitters to soften the flash and conceal wrinkles. The makeup’s effect flattens the image and acts like a mask, a barrier between Lillie and the camera. Despite Lillie’s awkward, caked makeup, with splotches of it visible on her chest, her gaze remains open and confident. She appears comfortable in front of the camera and in Warhol’s presence.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.9_Ray-Johnson-ManOWar.jpg\" title=\"Ray-Johnson-ManOWar\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003cem>Man O’War\u003c/em>, Ray Johnson, 1971, 1988, 1994; Museum purchase, bequest of Phoebe Apperson Hearst, by exchange.\u003cbr>\u003c/center>\n\u003cp>Like Warhol’s oeuvre, Johnson’s work is filled with references to art world and Hollywood celebrities, but his approach is distinctly iconoclastic. In keeping with Johnson’s offhand aesthetic, the display of his \u003cem>Bob Box Archive\u003c/em> is quite casual. Hundreds of offbeat items (letters, beach toys, garbage, and everyday objects) are arranged, stacked, and piled on an assortment of tables in the center of the gallery. On one table, discarded items — including an old pair of sunglasses, pieces of rope, a dirty glove, and rocks — are piled high atop a tattered fragment of an American flag.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johnson pokes fun at major art world figures and movements, eschewing allegiance to any of them. On the right wall of the gallery, a row of letters between Johnson and the optician Robert Warner includes images of movie stars or artists such as James Dean or Jackson Pollock that are photocopied, scribbled over, and written on. A drawing of a bunny sporting a large hoop earring is assigned the name Max Ernst. It hangs between a drawing of Philip Guston’s upside-down bathtub and a collage that combines a newspaper clipping of a chimpanzee sitting in a restaurant with an image of a bicycle seat.\u003c/p>\n\u003cp>Bunny motifs are an ongoing theme for Johnson. One letter to Warner is composed of a grid of cute bunnies with the names of famous and unknown people assigned to each one. Cartoon speech bubbles along the top announce the “Locust Valley Biennale 1990” (after he was mugged in New York in 1968, Johnson retreated to the quiet suburb of Locust Valley). Johnson and Warner are included in the cast of bunnies, along with a mix of names from high and low culture, including Christo, Gary Larson, John Tesh, Betsey Johnson, Louise Bourgeois, and Sean Penn.\u003c/p>\n\u003cp>Warhol’s and Johnson’s artworks reveal their complicated and conflicted relationships to the elite, powerful, and influential figures who frequently appear as subjects of their admiration and derision. The intimate quality of Warhol’s Polaroid portraits relies heavily on the relationship he cultivated with each subject, and it is this intimacy that makes them unique within his body of work. Meanwhile, Johnson’s commentary on New York’s art and social scenes is so readily transparent because of the distance he kept from those worlds.\u003c/p>\n\u003cp>\u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em> are on view at UC Berkeley Art Museum through May 20, 2012. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-size: 80%\">_______\u003cbr>NOTES:\u003cbr>1. Andy Warhol, \u003cem>The Philosophy of Andy Warhol\u003c/em>: \u003cem>(From A to B and Back Again)\u003c/em> (San Diego: Harcourt Brace Jovanovich, 1975), 61.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Starting Again",
"headTitle": "Help Desk: Starting Again | KQED",
"content": "\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/\">anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question has to do with getting back into the swing. I am a painter/installation artist who showed frequently for a few years after grad school with a small amount of critical notice whose opportunities dried up quickly. My work changes form frequently, and I have really been out of the loop for about five years now. I have been making work with regularity but have not attempted to “get back out there.” My show opportunities had always followed a this-begets-that path and now I have little idea of how/who to approach in order to try and show again. Any advice?\u003c/b>\u003c/p>\n\u003cp>This is a good question, one that in many ways gets to the heart of what it means to choose art as a profession. The reason that art is not for the timid is because your work can be put on hold for any number of reasons and your general career trajectory is not likely to be an ever-increasing incline but a squiggle of ups and downs. It’s like a board game played out over the duration of your life: good review? Go forward one square. Studio building for sale? Pick a card. Sold out show? Advance to an institutional-gallery catalog. Had a baby? Wait two turns. It’s important to remember that the winner is the one who keeps plugging along, believing in what she does.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/CarlJungKQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>This week’s patron saint is Carl Jung, who claimed that certain images can have psychological effects.\u003cbr>\u003c/center>\n\u003cp>But back to the advice part: the first thing I want you to do is to go through your old CV and make a list of anyone who you’ve met who has been supportive. This includes old teachers or mentors, dealers who’ve sold your work and gallerists who put your paintings in group shows, critics that included you in favorable reviews, etc. Write down absolutely everyone you can think of, line by line, and then go back over the list and put a star next to anyone who was friendly and approachable. Next, write a nice email to the first ten of these starred people. Be honest. Say you’re getting back in touch because you’ve been out of the loop for a while and you’re ready to dive back in. Explain that you’ve been working the whole time, but not showing your work, and you’d like to get some feedback. If it’s an old mentor you’re writing to, express how valuable their help has been in the past. If it’s a gallerist you’re writing to, remind them of the date and title of the show you were in at their gallery and thank them again for their prior support. Include a link to your newest work on your website. Ask them to come for studio visits. In the studio, if they seem engaged and receptive, ask if they can think of a place that might be interested in showing the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you don’t have a good list of prior contacts, start researching the local galleries, nonprofits and alternative spaces. You can look online at their past and current shows and/or the work of the artists they represent to see if your work might be a good fit. Take a trip to the gallery in person, look at the work and the prices and see if your work is a match. Call to see if they accept submissions if that information isn’t on their website. Most galleries don’t look at unsolicited submissions anymore, so perhaps this isn’t your best way back into the fray, but you will find some that are open to new artists and your research on the others will put you in a good position when you do start getting your work out there again.\u003c/p>\n\u003cp>Another option is to start browsing the call-for-entries listings, like the ones that \u003ca href=\"http://www.collegeart.org/opportunities/\">College Art Association\u003c/a> and \u003ca href=\"http://re-title.typepad.com/\">re-title.com\u003c/a> post. A note of caution here: juried shows fall under the “caveat emptor” part of life. Look at websites, google the juror(s), and set a budget for entry fees and then stick to it. Only apply to juried shows that really fit your work. Obviously, if the title of the show is “The Art of the Teapot” don’t bet that they’ll take one of your paintings — but they will take your $35, so due diligence applies here.\u003c/p>\n\u003cp>All of these strategies in concert should give you a bit of a psychological lift, and sometimes it’s just a matter of pushing the ball to get it rolling again. Good luck!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>I am a mid-career artist that needs a jump start. What suggestions might you have for me?\u003c/b>\u003c/p>\n\u003cp>Unless you’re Glenn Ligon, mid-career can be like the mid-winter of the mind: you made it through summer and fall, but will it ever be spring again? Our recent unseasonable weather notwithstanding, robins and willow buds seem a long way off.\u003c/p>\n\u003cp>You might feel like you need an epiphany, a ray of sunshine like a column of creative energy beaming straight from heaven into your hypothalamus. And you are poised to have one, but first you have to bear with my purple metaphors and hippie advice.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorblack.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Start by priming your subconscious. You can take the long walks/hot baths/bottle-of-wine approach, or you can do what I do and watch a lot of British crime dramas on Netflix for three days. Either way, give yourself three days to do whatever it is you’re going to do and don’t do anything else. Why three? Because everything good comes in threes. If you’re going to start mucking around in your subconscious then everything you do must support the idea that you are moving toward an end result that you will find satisfying.\u003c/p>\n\u003cp>Next, get out the old pencil and paper, and make a list of everything you love in art. I mean really love, not just “like” on Facebook. This list can be embarrassing or grandiose or fairly inarticulate and muddy, but it doesn’t matter because you don’t have to show it to anyone. Then make a list of your goals. What do you want to happen next in your career? From the banal (revamp website) to the ambitious (a retrospective at LACMA), write it down, and then write down the steps that it will take for you to accomplish each one.\u003c/p>\n\u003cp>At mid-career, you’ve built yourself an imaginative empire, a Disneyland of the mind. To you it might feel like another boring trip around the ‘hood, but to the rest of us it’s a wonderland. Try to see your ideas with fresh eyes. Dig out and dust off your old sketchbooks going back at least three years, make yourself a cup of coffee, and read through them. Think about the work that you made as a result of these notes, and also the work that you didn’t make. What were you thinking about at the time, and where did that thinking lead? Are there themes that came up over and over? What did you jot down and then abandon, and why? Were there materials that you wanted to experiment with but never had the time? You might want to dog-ear some pages, or copy some old writings into your new sketchbook for safekeeping. Make a note of anything that still resonates.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorclipartKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now for the hard part: don’t force it, but for heaven’s sake don’t go back to the television, either. If your “what’s next” epiphany hasn’t come yet, or if it’s the kind that starts quietly before building to a crescendo, go back into the studio and at least tidy up. You need to put your hands on your tools, and you need to be ready to work. If there’s something off your list of goals that you can put in motion, then pick up the phone or send that email. Then start dealing with some of those ideas from the old sketchbooks. Look at the list of things you love in art and see where the two overlap. It may not feel like it right now, but to quote from \u003ci>Raising Arizona\u003c/i>, you’re in the “fabled catbird seat.” You have a developed body of work behind you, a lot of hard-earned wisdom, and probably some very useful contacts. Go in the studio and hit the steel with the flint. Before you know it the whole place will be on fire.\u003c/p>\n\n",
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"excerpt": "In which our sage advice columnist takes on the issue of re-starting an art career.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, 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 (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/\">anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question has to do with getting back into the swing. I am a painter/installation artist who showed frequently for a few years after grad school with a small amount of critical notice whose opportunities dried up quickly. My work changes form frequently, and I have really been out of the loop for about five years now. I have been making work with regularity but have not attempted to “get back out there.” My show opportunities had always followed a this-begets-that path and now I have little idea of how/who to approach in order to try and show again. Any advice?\u003c/b>\u003c/p>\n\u003cp>This is a good question, one that in many ways gets to the heart of what it means to choose art as a profession. The reason that art is not for the timid is because your work can be put on hold for any number of reasons and your general career trajectory is not likely to be an ever-increasing incline but a squiggle of ups and downs. It’s like a board game played out over the duration of your life: good review? Go forward one square. Studio building for sale? Pick a card. Sold out show? Advance to an institutional-gallery catalog. Had a baby? Wait two turns. It’s important to remember that the winner is the one who keeps plugging along, believing in what she does.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/CarlJungKQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>This week’s patron saint is Carl Jung, who claimed that certain images can have psychological effects.\u003cbr>\u003c/center>\n\u003cp>But back to the advice part: the first thing I want you to do is to go through your old CV and make a list of anyone who you’ve met who has been supportive. This includes old teachers or mentors, dealers who’ve sold your work and gallerists who put your paintings in group shows, critics that included you in favorable reviews, etc. Write down absolutely everyone you can think of, line by line, and then go back over the list and put a star next to anyone who was friendly and approachable. Next, write a nice email to the first ten of these starred people. Be honest. Say you’re getting back in touch because you’ve been out of the loop for a while and you’re ready to dive back in. Explain that you’ve been working the whole time, but not showing your work, and you’d like to get some feedback. If it’s an old mentor you’re writing to, express how valuable their help has been in the past. If it’s a gallerist you’re writing to, remind them of the date and title of the show you were in at their gallery and thank them again for their prior support. Include a link to your newest work on your website. Ask them to come for studio visits. In the studio, if they seem engaged and receptive, ask if they can think of a place that might be interested in showing the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you don’t have a good list of prior contacts, start researching the local galleries, nonprofits and alternative spaces. You can look online at their past and current shows and/or the work of the artists they represent to see if your work might be a good fit. Take a trip to the gallery in person, look at the work and the prices and see if your work is a match. Call to see if they accept submissions if that information isn’t on their website. Most galleries don’t look at unsolicited submissions anymore, so perhaps this isn’t your best way back into the fray, but you will find some that are open to new artists and your research on the others will put you in a good position when you do start getting your work out there again.\u003c/p>\n\u003cp>Another option is to start browsing the call-for-entries listings, like the ones that \u003ca href=\"http://www.collegeart.org/opportunities/\">College Art Association\u003c/a> and \u003ca href=\"http://re-title.typepad.com/\">re-title.com\u003c/a> post. A note of caution here: juried shows fall under the “caveat emptor” part of life. Look at websites, google the juror(s), and set a budget for entry fees and then stick to it. Only apply to juried shows that really fit your work. Obviously, if the title of the show is “The Art of the Teapot” don’t bet that they’ll take one of your paintings — but they will take your $35, so due diligence applies here.\u003c/p>\n\u003cp>All of these strategies in concert should give you a bit of a psychological lift, and sometimes it’s just a matter of pushing the ball to get it rolling again. Good luck!\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>I am a mid-career artist that needs a jump start. What suggestions might you have for me?\u003c/b>\u003c/p>\n\u003cp>Unless you’re Glenn Ligon, mid-career can be like the mid-winter of the mind: you made it through summer and fall, but will it ever be spring again? Our recent unseasonable weather notwithstanding, robins and willow buds seem a long way off.\u003c/p>\n\u003cp>You might feel like you need an epiphany, a ray of sunshine like a column of creative energy beaming straight from heaven into your hypothalamus. And you are poised to have one, but first you have to bear with my purple metaphors and hippie advice.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorblack.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Start by priming your subconscious. You can take the long walks/hot baths/bottle-of-wine approach, or you can do what I do and watch a lot of British crime dramas on Netflix for three days. Either way, give yourself three days to do whatever it is you’re going to do and don’t do anything else. Why three? Because everything good comes in threes. If you’re going to start mucking around in your subconscious then everything you do must support the idea that you are moving toward an end result that you will find satisfying.\u003c/p>\n\u003cp>Next, get out the old pencil and paper, and make a list of everything you love in art. I mean really love, not just “like” on Facebook. This list can be embarrassing or grandiose or fairly inarticulate and muddy, but it doesn’t matter because you don’t have to show it to anyone. Then make a list of your goals. What do you want to happen next in your career? From the banal (revamp website) to the ambitious (a retrospective at LACMA), write it down, and then write down the steps that it will take for you to accomplish each one.\u003c/p>\n\u003cp>At mid-career, you’ve built yourself an imaginative empire, a Disneyland of the mind. To you it might feel like another boring trip around the ‘hood, but to the rest of us it’s a wonderland. Try to see your ideas with fresh eyes. Dig out and dust off your old sketchbooks going back at least three years, make yourself a cup of coffee, and read through them. Think about the work that you made as a result of these notes, and also the work that you didn’t make. What were you thinking about at the time, and where did that thinking lead? Are there themes that came up over and over? What did you jot down and then abandon, and why? Were there materials that you wanted to experiment with but never had the time? You might want to dog-ear some pages, or copy some old writings into your new sketchbook for safekeeping. Make a note of anything that still resonates.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorclipartKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now for the hard part: don’t force it, but for heaven’s sake don’t go back to the television, either. If your “what’s next” epiphany hasn’t come yet, or if it’s the kind that starts quietly before building to a crescendo, go back into the studio and at least tidy up. You need to put your hands on your tools, and you need to be ready to work. If there’s something off your list of goals that you can put in motion, then pick up the phone or send that email. Then start dealing with some of those ideas from the old sketchbooks. Look at the list of things you love in art and see where the two overlap. It may not feel like it right now, but to quote from \u003ci>Raising Arizona\u003c/i>, you’re in the “fabled catbird seat.” You have a developed body of work behind you, a lot of hard-earned wisdom, and probably some very useful contacts. Go in the studio and hit the steel with the flint. Before you know it the whole place will be on fire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Help Desk: School Daze | KQED",
"content": "\u003cp>\u003cb>I have about completed my BA in Studio Art with a concentration in photography, but at my school there is really only one digital photo class so I feel ill prepared both for grad school and the “real world.” Ultimately I prefer working in film but I am wrestling with myself over the eternal dilemma of being true to your work vs. selling out. I am definitely interested in going to grad school and earning an MFA in photography but I am afraid I will be “behind” the other students who went to schools with more developed programs. What are your thoughts?\u003c/b>\u003c/p>\n\u003cp>Let’s break your question into its constituent parts: first, you feel ill prepared for grad school (I’m not sure I know which “real” world you’re talking about, so we’ll set that part aside). Second, you feel that working with digital (since you prefer film) is selling out. Third, you’re worried that your skill set will leave you at a disadvantage in regards to your classmates in the hypothetical grad school in your mind.\u003c/p>\n\u003cp>I’m going to begin by answering your digital dilemma. Here it is: if you feel you need to build skills in digital photography, you can easily find classes (usually cheap ones) at the local community college, photo center, or camera store. You may not love digital, but if your aim is to support yourself as a photojournalist/sports or wedding photographer then you’ll have little choice but to get on board with the prevailing technology. Really, it’s that simple.\u003c/p>\n\u003cp>As for your art practice, if it is truly the case that your work must be in film to be fully realized then go ahead and shoot it with film. You should use whatever medium best suits the work and your practice — to quote McLuhan, the medium is the message and the fact that your work is in film will actually be part of the content. However, in terms of grad school (and hopefully the long life you lead afterward), your work is going to change; knowing as much as possible about the various tools available will allow you to experiment with clarity and confidence. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-camera.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true that most grad programs don’t teach technical skills. The MFA is more about your willingness to engage fully with your work on an intellectual level. However, that doesn’t mean that technical knowledge can’t be gained as part of your studio practice if you are diligent and motivated. Graduate school in the arts is largely self-directed, and it’s up to you to pursue your interests and be guided mainly by your own lights. This also applies for any “real world” you might encounter after you leave grad school. The learning cannot stop when you toss your mortarboard up in the air. \u003c/p>\n\u003cp>Acquiring a new skill set is not “selling out.” In an MFA program you’ll be too busy figuring who the hell you are and what the hell that person makes. You can worry about selling out when you have a buyer, but until that moment comes I wouldn’t give it a second thought.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bruce.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Bruce High Quality Foundation wants you to skip school and hang out with Chris Burden instead.\u003c/p>\n\u003cp>\u003cb>I am considering getting an MFA in sculpture/new media, but it is very difficult for me to get a complete sense of the different MFA programs both in the U.S. and abroad. Unfortunately my best resources have been asking friends and old teachers. From them I get a mix of old information, rumors and myth. Can you tell me the top three MFA sculpture programs in the U.S. and the top three abroad? If not, can you tell me about some resources that can help me learn about these schools beyond their, nearly useless, websites?\u003c/b>\u003c/p>\n\u003cp>To begin, let me tell you how glad I am that you’ve already figured out how useless a school’s website can be. From the un-navigable layouts to the endless paragraphs of self-aggrandizing prose, a school’s website can be really ineffective if you’re looking to understand the culture of the institution or the kinds of students who attend. I have first-hand experience with this dilemma myself: when I was applying to grad school, I did a lot of preliminary online research; but when I visited the schools in person, my experience on campus often contradicted my initial impressions. One website made me fall deeply in love, until I interviewed the school’s students and they all were so sad and burned out and disinterested. Another institution seemed very scholarly — important to me because I like art theory — but the second-year students who toured me around were dippy and uninformed. You’re right to be suspicious of websites, and also prudent to ask your colleagues and old professors. But mostly I’m glad you wrote in, because I’m going to share some hard-earned wisdom with you. Come lean a little closer to the screen because I’m going to tell you a secret about the top three art schools:\u003c/p>\n\u003cp>They don’t exist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-smith.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The good old days: an easel, a model, some charcoal and a tightly-laced corset.\u003c/p>\n\u003cp>Oh, yes, websites can extol the virtues of the mega-famous faculty and the students who win awards, or the number of curators who troll the MFA show every year, and you can try to impress me with studio size, or student-to-teacher ratios, or just plain old Ivy-League-ness, but I insist—”best” is a racket.\u003c/p>\n\u003cp>Now before everybody tries to shout me down about how important it is to make “contacts” at Yarvard University/StanArts/School of the Art School of L.A., I want you to consider this: the Best School Ever is the school that is best \u003ci>for you\u003c/i>, which is to say that it matters much less how supposedly awesome the school is by some supposedly objective measure, and much more how it fits you and your goals and your learning style. Is it of great consequence to have art-star faculty if they are crappy teachers, or always flying off to biennials and don’t have time for you? Do you need a first-class media lab if you’re a studio potter? Does it matter that representatives of commercial galleries roam the halls if you’re a performance artist? If you don’t care about research, do you want to go to a school that requires a lengthy written thesis? Probably not. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bush.jpg\" style=\"margin-bottom: 10px\">\u003cbr>See? Any jerk can go to Andover and Yale. It’s not the school, it’s what you make of your time in academia — and beyond.\u003c/p>\n\u003cp>So the Top School is the school that will best suit your needs, and I’m going to help you find it. Start by making a list of your goals. What do you expect to accomplish in an MFA program? What would the most awesome dream program have? Be honest, and write it all down because it’s going to help you find the right place. Now, based on that list, check out the websites. Are there faculty who are doing what you want to do? Does a school have the right kind of facilities to produce your work? Is it in an area you want to live? Take a look at the courses they offer. Which are required? Do any sound interesting? Most schools also post photos of student work. Is any of it good or does it suck? You can do this basic research online without too much trouble, and you should be able to come up with a list of about five or ten schools that interest you.\u003c/p>\n\u003cp>Now contact the schools. Email admissions and tell them you want to come for a visit. Ask them if you can meet with some faculty members, the ones you dug up online. Make appointments with two or three instructors, the dean or director if possible, and at least two students. Meeting students is important because you want to know what kind of student goes to that school. This goes double for small programs! If there are only six artists admitted every year, you should find out if the year ahead of yours is a bunch of pretentious dickheads, because you will have to see these people every day. Check out the studios, too. Yes, it’s nice to go and admire the facilities, but what you want to discern here is whether or not the students are encouraged to be active. Are the studios empty? Or is the hive buzzing? What are they working on? Is it any good?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-potter.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The right school can be magic. (Sorry, I just couldn’t resist.)\u003c/p>\n\u003cp>I promise that meeting people face to face will help you find the best school. It also signals to the school that you are an enthusiastic student, and as an added bonus, faculty and administration will remember you when they see your application. Yes, it’s expensive to fly around and do this kind of research, but look at it this way: you can pay $1000 to find the right fit, or you can waste $60,000 on two years of being completely miserable. If you really can’t afford to travel extensively, at least make it to one of the three national \u003ca href=\"http://www.portfolioday.net/content/view/98/50/\">Graduate Portfolio Days\u003c/a>, where many schools have representatives to meet with you and answer your questions.\u003c/p>\n\u003cp>And as a final word of advice, I’d like to add that after you’ve been out of school for two or three years, no one but your mother cares where you went anyway. It’s more about what you make and where you’ve shown it that counts. So grad school should be a time to focus on making your work better, and there’s a great institution out there that will meet you where you’re at and then help you advance. Good luck!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In which our obliging advice columnist considers the ins and outs, ups and downs of art school.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>I have about completed my BA in Studio Art with a concentration in photography, but at my school there is really only one digital photo class so I feel ill prepared both for grad school and the “real world.” Ultimately I prefer working in film but I am wrestling with myself over the eternal dilemma of being true to your work vs. selling out. I am definitely interested in going to grad school and earning an MFA in photography but I am afraid I will be “behind” the other students who went to schools with more developed programs. What are your thoughts?\u003c/b>\u003c/p>\n\u003cp>Let’s break your question into its constituent parts: first, you feel ill prepared for grad school (I’m not sure I know which “real” world you’re talking about, so we’ll set that part aside). Second, you feel that working with digital (since you prefer film) is selling out. Third, you’re worried that your skill set will leave you at a disadvantage in regards to your classmates in the hypothetical grad school in your mind.\u003c/p>\n\u003cp>I’m going to begin by answering your digital dilemma. Here it is: if you feel you need to build skills in digital photography, you can easily find classes (usually cheap ones) at the local community college, photo center, or camera store. You may not love digital, but if your aim is to support yourself as a photojournalist/sports or wedding photographer then you’ll have little choice but to get on board with the prevailing technology. Really, it’s that simple.\u003c/p>\n\u003cp>As for your art practice, if it is truly the case that your work must be in film to be fully realized then go ahead and shoot it with film. You should use whatever medium best suits the work and your practice — to quote McLuhan, the medium is the message and the fact that your work is in film will actually be part of the content. However, in terms of grad school (and hopefully the long life you lead afterward), your work is going to change; knowing as much as possible about the various tools available will allow you to experiment with clarity and confidence. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-camera.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true that most grad programs don’t teach technical skills. The MFA is more about your willingness to engage fully with your work on an intellectual level. However, that doesn’t mean that technical knowledge can’t be gained as part of your studio practice if you are diligent and motivated. Graduate school in the arts is largely self-directed, and it’s up to you to pursue your interests and be guided mainly by your own lights. This also applies for any “real world” you might encounter after you leave grad school. The learning cannot stop when you toss your mortarboard up in the air. \u003c/p>\n\u003cp>Acquiring a new skill set is not “selling out.” In an MFA program you’ll be too busy figuring who the hell you are and what the hell that person makes. You can worry about selling out when you have a buyer, but until that moment comes I wouldn’t give it a second thought.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bruce.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Bruce High Quality Foundation wants you to skip school and hang out with Chris Burden instead.\u003c/p>\n\u003cp>\u003cb>I am considering getting an MFA in sculpture/new media, but it is very difficult for me to get a complete sense of the different MFA programs both in the U.S. and abroad. Unfortunately my best resources have been asking friends and old teachers. From them I get a mix of old information, rumors and myth. Can you tell me the top three MFA sculpture programs in the U.S. and the top three abroad? If not, can you tell me about some resources that can help me learn about these schools beyond their, nearly useless, websites?\u003c/b>\u003c/p>\n\u003cp>To begin, let me tell you how glad I am that you’ve already figured out how useless a school’s website can be. From the un-navigable layouts to the endless paragraphs of self-aggrandizing prose, a school’s website can be really ineffective if you’re looking to understand the culture of the institution or the kinds of students who attend. I have first-hand experience with this dilemma myself: when I was applying to grad school, I did a lot of preliminary online research; but when I visited the schools in person, my experience on campus often contradicted my initial impressions. One website made me fall deeply in love, until I interviewed the school’s students and they all were so sad and burned out and disinterested. Another institution seemed very scholarly — important to me because I like art theory — but the second-year students who toured me around were dippy and uninformed. You’re right to be suspicious of websites, and also prudent to ask your colleagues and old professors. But mostly I’m glad you wrote in, because I’m going to share some hard-earned wisdom with you. Come lean a little closer to the screen because I’m going to tell you a secret about the top three art schools:\u003c/p>\n\u003cp>They don’t exist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-smith.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The good old days: an easel, a model, some charcoal and a tightly-laced corset.\u003c/p>\n\u003cp>Oh, yes, websites can extol the virtues of the mega-famous faculty and the students who win awards, or the number of curators who troll the MFA show every year, and you can try to impress me with studio size, or student-to-teacher ratios, or just plain old Ivy-League-ness, but I insist—”best” is a racket.\u003c/p>\n\u003cp>Now before everybody tries to shout me down about how important it is to make “contacts” at Yarvard University/StanArts/School of the Art School of L.A., I want you to consider this: the Best School Ever is the school that is best \u003ci>for you\u003c/i>, which is to say that it matters much less how supposedly awesome the school is by some supposedly objective measure, and much more how it fits you and your goals and your learning style. Is it of great consequence to have art-star faculty if they are crappy teachers, or always flying off to biennials and don’t have time for you? Do you need a first-class media lab if you’re a studio potter? Does it matter that representatives of commercial galleries roam the halls if you’re a performance artist? If you don’t care about research, do you want to go to a school that requires a lengthy written thesis? Probably not. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bush.jpg\" style=\"margin-bottom: 10px\">\u003cbr>See? Any jerk can go to Andover and Yale. It’s not the school, it’s what you make of your time in academia — and beyond.\u003c/p>\n\u003cp>So the Top School is the school that will best suit your needs, and I’m going to help you find it. Start by making a list of your goals. What do you expect to accomplish in an MFA program? What would the most awesome dream program have? Be honest, and write it all down because it’s going to help you find the right place. Now, based on that list, check out the websites. Are there faculty who are doing what you want to do? Does a school have the right kind of facilities to produce your work? Is it in an area you want to live? Take a look at the courses they offer. Which are required? Do any sound interesting? Most schools also post photos of student work. Is any of it good or does it suck? You can do this basic research online without too much trouble, and you should be able to come up with a list of about five or ten schools that interest you.\u003c/p>\n\u003cp>Now contact the schools. Email admissions and tell them you want to come for a visit. Ask them if you can meet with some faculty members, the ones you dug up online. Make appointments with two or three instructors, the dean or director if possible, and at least two students. Meeting students is important because you want to know what kind of student goes to that school. This goes double for small programs! If there are only six artists admitted every year, you should find out if the year ahead of yours is a bunch of pretentious dickheads, because you will have to see these people every day. Check out the studios, too. Yes, it’s nice to go and admire the facilities, but what you want to discern here is whether or not the students are encouraged to be active. Are the studios empty? Or is the hive buzzing? What are they working on? Is it any good?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-potter.jpg\" style=\"margin-bottom: 10px\">\u003cbr>The right school can be magic. (Sorry, I just couldn’t resist.)\u003c/p>\n\u003cp>I promise that meeting people face to face will help you find the best school. It also signals to the school that you are an enthusiastic student, and as an added bonus, faculty and administration will remember you when they see your application. Yes, it’s expensive to fly around and do this kind of research, but look at it this way: you can pay $1000 to find the right fit, or you can waste $60,000 on two years of being completely miserable. If you really can’t afford to travel extensively, at least make it to one of the three national \u003ca href=\"http://www.portfolioday.net/content/view/98/50/\">Graduate Portfolio Days\u003c/a>, where many schools have representatives to meet with you and answer your questions.\u003c/p>\n\u003cp>And as a final word of advice, I’d like to add that after you’ve been out of school for two or three years, no one but your mother cares where you went anyway. It’s more about what you make and where you’ve shown it that counts. So grad school should be a time to focus on making your work better, and there’s a great institution out there that will meet you where you’re at and then help you advance. Good luck!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Flannel and Fur\u003c/em>, Danny Keith’s solo show of recent paintings at Ratio 3, includes fifteen portraits of bearded young men and one study of a classical bust. All but three of the portraits are made of oil on wood panel, and the others are watercolors on paper. The works are academic in the traditional sense, with particular attention paid to naturalistic lighting and figure proportions. The works’ scale and intense study of a single posed subject, combined with the artist’s layered modulation of color and tonality — mixing paint on the palette and the canvas as if negotiating between the two — suggest that they were made from observation.\u003c/p>\n\u003cp>By engaging with traditional modes of representation in a highly personal way, Keith’s paintings propose alternatives to gendered clichés of beauty by presenting male images that are both masculine and pretty. \u003cem>Fox Fur\u003c/em>, \u003cem>Fox Fur No.2\u003c/em>, \u003cem>Fox Fur No.3,\u003c/em> and \u003cem>Fox Fur No. 4\u003c/em> (all 2011), for example, depict the same model from the waist up, nude save for a tanned-fox fur either draped around his shoulders or propped on his head. In each painting, Keith returns to the same subject from different angles, repeating the same lighting source and background colors. His brushwork both strives for an honest realism and meticulously records every freckle, tuft of fur, and chest hair.\u003c/p>\n\u003cp>\u003cem>Flannel Shirt No. 1\u003c/em>, \u003cem>Flannel Shirt No. 2\u003c/em>, and \u003cem>Hunter’s Plaid\u003c/em> (all 2011) depict the same model wearing a plaid textile wrapped around his head or draped over one shoulder. \u003cem>Repose No. 2\u003c/em> (2011), the smallest work in the show, measuring 12 by 18 inches, is the only piece to depict the model’s entire body: he’s nude, lying face down on a bed, possibly sleeping. The image is both erotically charged and intimate, with looser brushwork, but Keith still carefully captures the play of light and shadows across the room and the model, depicting every toe, a tattoo, and even the translucency of an earlobe.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Danny_Keith-Fox_Fur_No_3\" height=\"477\" src=\"http://www.artpractical.com/images/uploads/3.8_Danny_Keith-Fox_Fur_No_3.jpeg\" width=\"380\">\u003cbr>\u003cem>Fox Fur No. 3\u003c/em>, 2011; oil on panel; 20 x 16 inches. Courtesy of the Artist and Ratio 3, San Francisco.\u003cbr>\u003c/center>\n\u003cp>Keith’s use of the same subject, repeated visual patterns, and consistently detailed brushwork throughout this body of work recalls Félix González-Torres’s tender, minimalist installations. Unlike Keith’s overt figures, González-Torres created metaphorical portraits of intimate same-sex relationships (sometimes his own) that explored and transcended identity politics by using simple objects as stand-ins for human subjects. \u003cem>Untitled (Perfect Lovers)\u003c/em> (1987–1990), which features two synchronized wall clocks hung side by side, uses formal repetition to evoke the effortless sensation of a good interpersonal match and the constancy of real intimacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keith’s repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection. But while González-Torres’s later works invite direct audience interaction, offering candies or prints to the viewer, Keith’s traditional paintings remain passive. This apparent difference between the two artists’ approaches masks a common theme in their subject matter: neither style of representation, pictorial or metaphorical, can bring forth a human presence, no matter how many people participate with a work or how accurate the representation appears.\u003c/p>\n\u003cp>The paintings occasionally flirt with metaphorical content, using symbols such as flowers (in \u003cem>Spanish Rose\u003c/em> and \u003cem>I Hope All My Days Will Be Lit By Your Face\u003c/em>, both 2011) and the fox fur, which evokes a vivid sensation of fur onbare skin and plays on the material flexibility of a feminine fox stole or masculine fox hood. More pointedly, Keith’s sincere renderings and complex, vibrant colors convey a longing for his subjects and create an emphatic sense of each model’s individual physicality. Additionally, in all but three of the works, Keith’s delicate depiction of his subject’s dreamy, inward gaze deepens the intimacy of each portrait.\u003c/p>\n\u003cp>Keith’s images of male beauty and the palpable vulnerability of his desire complicate the idea that the power involved in every erotic depiction only functions in one direction. His tender attention to every freckle and hair displays a sense of responsibility as opposed to a license to idealize or objectify. The ambiguity of Keith’s relationships with his subjects leads to narrative speculation, and his presentation of beautiful but heteronormatively masculine men makes such fantasies available. By working so intimately and personally, Keith offers viewers a broad and fluid range of identification and interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flannel and Fur\u003c/em> is on view at \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> in San Francisco through February 18, 2012.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keith’s repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection. But while González-Torres’s later works invite direct audience interaction, offering candies or prints to the viewer, Keith’s traditional paintings remain passive. This apparent difference between the two artists’ approaches masks a common theme in their subject matter: neither style of representation, pictorial or metaphorical, can bring forth a human presence, no matter how many people participate with a work or how accurate the representation appears.\u003c/p>\n\u003cp>The paintings occasionally flirt with metaphorical content, using symbols such as flowers (in \u003cem>Spanish Rose\u003c/em> and \u003cem>I Hope All My Days Will Be Lit By Your Face\u003c/em>, both 2011) and the fox fur, which evokes a vivid sensation of fur onbare skin and plays on the material flexibility of a feminine fox stole or masculine fox hood. More pointedly, Keith’s sincere renderings and complex, vibrant colors convey a longing for his subjects and create an emphatic sense of each model’s individual physicality. Additionally, in all but three of the works, Keith’s delicate depiction of his subject’s dreamy, inward gaze deepens the intimacy of each portrait.\u003c/p>\n\u003cp>Keith’s images of male beauty and the palpable vulnerability of his desire complicate the idea that the power involved in every erotic depiction only functions in one direction. His tender attention to every freckle and hair displays a sense of responsibility as opposed to a license to idealize or objectify. The ambiguity of Keith’s relationships with his subjects leads to narrative speculation, and his presentation of beautiful but heteronormatively masculine men makes such fantasies available. By working so intimately and personally, Keith offers viewers a broad and fluid range of identification and interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flannel and Fur\u003c/em> is on view at \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> in San Francisco through February 18, 2012.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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