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Monday, May 30th
Exposure - a never ending visit to the dentist...
 You are an artist.
You want your works to be seen by everybody.
Every artist has his or her own unique style and we want to let people know about this.
At the same time you want to stay anonymous.
You want to have peace in your mind.
You love to do your work in quietness.
This is the artist's dilemma.
You need exposure but you hate it.
You need to earn a living but you disgust the exposure of yourself.
But.
If you want to be in contact with "the real world" you must give up some of your
needs for living and working anonymously, in peace and in quietness.
Asbjorn Lonvig on 05.30.05 @ 03:58 AM EST [more..]
Friday, May 27th
Charming, Edgy, Profound
Let's face it. Most of us are not art historians. Nor are we art critics.
However, many of us are aware of the major movements in art history that
have brought us to this moment. Impressionism, Abstract Expressionism, The
Hudson River School, etc. From a collecting standpoint, these movements help when it comes to classifying, keeping track of inventory and mounting exhibitions, but
despite their historical significance, art movements shouldn't be
overwhelming. No disrespect, but do they serve us or do we serve them?
Michael Corbin on 05.27.05 @ 08:47 AM EST [more..]
Monday, May 23rd
The Exhibition is Over
 My exhibition is over and I'm delighted. Now I am free to paint. My latest interest has been the painting of water. I am relatively new to art - just trying my wings for the last three years and still learning to use the airways economically and smoothly. Why did I exhibit? Not to get known, but to dare myself. To create a new identity - ..the only way you become an artist is by declaring yourself to be one. A funny thing, the notion of 'artist'. What does it mean? It's as elusive as the meaning of art itself. The artist exists because he or she is acknowledged as such by the community. And how do they acknowledge you? By your exhibiting. Ay! There's the rub!
Nita Tiffaha Jawary on 05.23.05 @ 02:19 PM EST [more..]
Friday, May 20th
NYC BLOGS: Bringing It All Back Home
 I went New York, specifically Greenpoint in Brooklyn, 3 and a half months ago as a sabbatical project. I had a semester off from teaching and academic duties to explore and research the galleries and museums of New York and to paint. I often find myself falling in love with the places I visit and the people I meet there. But this time I was specifically looking into the possibility of exhibiting and possibly living in New York for an extended period of time somewhere down the road. When my wife came to visit for a week we looked at the prices of apartments and even the buying price of apartment buildings so we would have an idea of what it might cost to come to New York for a few years. So this is no tourists daydream. There is a good possibility we will come back for a few years.
Walter King on 05.20.05 @ 09:18 AM EST [more..]
Monday, May 16th
Bastard Paintings
As an art collector, I'm fortunate enough to own many paintings. Oftentimes, I look at them and wonder what the artist was thinking while it was being created. This is especially the case for paintings that don't have names or titles. Why on earth would an artist go through all of the trouble to create something and then upon completion, decline to give it a name? Untitled? Why? Can you imagine having a baby and not giving it a name or calling it, "Untitled"?
Michael Corbin on 05.16.05 @ 07:53 AM EST [more..]
Friday, May 13th
Drawing one’s art
Van Gogh’s first sketch of a potato picker at the fields at Borinage was exactly just that – a drawing of the person as the artist saw at that given instant. After the sketch got some work done on it by an academically trained artist, the image turned into a perfectly drafted anonymous human figure bending down to reach an object on the ground. It was nice but is was not any longer a drawing by Van Gogh of the person that he knew well and spent much time with. This was the story in my very first book I read about the famous artist. It is probably a true story and definitely very educational.
Ausra Larbey on 05.13.05 @ 07:34 AM EST [more..]
Wednesday, May 11th
Artblogs, so what are they, anyway?
 Looks like journals from trips to me, one from places around Florida, another from Green Point by a non-New Yorker…my turn now. A trip is a trip from somewhere to somewhere else, so why not start this one off from my house in the foothills of Mont Altissimo? We jump into my orange 1972 VW bus and we’re off. It’s packed full of small marble sculptures, stone saw blades for sculptor friends along the way, and a lot of spare parts. Plus some chisels and saws for me in case I get inspired. The refrigerator is full, the water tank too, we have money, passports and enough baby formula for about three weeks.
Andrew Wielawski on 05.11.05 @ 08:19 AM EST [more..]
Monday, May 9th
War doesn’t have its own colour.
 Late at night, in a room sheltered from the wind and rain, a man and a woman lie in a tender embrace. In another part of the world, while the sun rises over a calm and transparent sea, a jet bursts suddenly and noisily through the sky, peppering the sand on the beach with rounds of ammunition: two soldiers lie still, their escape halted in dust and blood.
Alberto Sughi on 05.09.05 @ 07:32 AM EST [more..]
Friday, May 6th
Opening Nights
 Recently I staged a solo show in the Bank of Ireland Arts Centre, Dublin, Ireland. It was a great honour to exhibit at such an historical and prestigious venue and a pleasure to work with the staff.
Aside from the actual process of creating a body of work for a solo show, which in itself is a daunting task, after many years of exhibitng in solo and group exhibitions, why does it not become any easier, I ask myself ?
Allow me to expand. Opening night I find is the most stressful experience - for me as an artist, it comes top of the stress table. Spending months, weeks and hours locked away in the studio preparing for the show always seems to pale into insignificance when faced with the prospect of the opening night!
It is a strange feeling, in the sense that , the artist almost becomes one of the exhibits. Why do I feel uncomfortable when surrounded by my work and by genuinely interested people who have taken the time to attend the opening?
John Nolan on 05.06.05 @ 07:35 AM EST [more..]
Wednesday, May 4th
A Museum for Virtual Hope
 ("Pixelism," oil/canvas, 72"x48", 1989) For me the time in life has come to get aboard or orbit in cyberspace forever. I have always dreamed of establishing a museum for internet art. I think the stepchild art medium needs one. Besides my own work is homeless when it comes to residency within museum collections.
After months of research, I finally singled out where this "field of dreams" might be. Not New York, not Seattle, nor L.A. As an individual I cannot afford such a grand dream in such exorbitant real estate markets. I live in remote Hawaii and desire to commute back and forth to a Pacific west coast museum location (ah, the price of living in paradise). At this juncture in the overheated U.S. housing market, even small Eugene city's downtown commercial property is beyond my means. That's if you can even find anything of quality for sale; and if so, snapped up instantly by in-the-know investors.
Pygoya on 05.04.05 @ 09:13 AM EST [more..]
Monday, May 2nd
Texas, New York, Philadelphia
Between a fecund spring, bizarrely book-ended by two spontaneous snowstorms, and a plethora of amazing art exhibitions, April has been one of the most glorious months ever. I managed to visit museums in Texas, Pennsylvania and New York City. Maybe this would be better as T.V.!
Houston-
I arrived six hours later than scheduled, so I was lucky that the MFA is open late Saturday nights and my parents were eager to check out some exhibitions! Our first stop was CAM, whose “Double Consciousness: Black Conceptual Art Since 1970” expanded our conception of conceptual art to include intuitive works like Chakaia Booker’s tire strip sculptures, Senga Ngudi’s sand installation and Bert Long’s compelling frozen installation, which was surprisingly colorful. Another great surprise was Beth Coleman and Howard Goldkrand’s Mobile Stealth Unit (Pink Noise #2) (1999), a giant motor cycle geared to go.
Sue Spaid on 05.02.05 @ 02:22 PM EST [more..]
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