Art as Authority

by Kevin Freitas

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by Richard Gleaves

New paintings by Maura Vazakas

Bread & Cie

Through September 30

Reception: September 5, 5:30-7:00 PM

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by Kevin Freitas and Patricia Frischer


The following is an overview of 40 Movers and Shakers answers to, and our commentary on, the following question: "What is your vision for the visual arts in San Diego?" We've broken down the most popular responses under eight general headings. It should be noted that this isn't an exhaustive list of the Movers and Shakers who live and work in San Diego, and you'll certainly know of someone who was left out, though not intentionally. There was a certain amount of serendipity involved in the publication of this survey, as Patricia and I later discovered, we we're both concocting our own private versions secretly. Patricia, as one of the Movers and Shakers committee members, along with Patricia Smith - Debbie Linn - Denise Bonaimo - Mireille Des Rosiers - Dennis Paul Batt - Rosemary KimBal - Kaarin Vaughn, is represented in this exhibit of portraiture along with myself. I have over the past year or so, been involved in other projects organized by Patricia, and hope to continue to do so.

Thus, in the spirit of collaboration, and as something San Diegans wanted to see more of, we decided to put our collective minds where are collective hearts are and make those visions a reality. Acknowledging that they exist, helps us obtain them that much quicker. Kevin Freitas

It turns out we got more than we bargained for when we asked forty Movers and Shakers, “What is your vision for the visual arts in San Diego?” They gave a pretty precise view of their particular aspirations, seen by us as a larger reflection on what exists here already and what is ultimately needed.

This included more public art, increased exposure for local artists and sales, more galleries and cultural art centers. Is it worth taking a closer look at what direction we want to take? Which of the following topics below needs to occur first, to break the log jam leading to a healthier art scene? We decided to find out by commenting on these flashes of the future.

Collaborations between art activists and exhibition venues are needed to travel some of our best curated shows within the county and across the border into Tijuana. Ultimately these shows could be seen statewide, nationwide even worldwide. In turn, exhibitions from other contemporary art institutions from across the land, should be scheduled into the programming here. We understand that there are many potential constraints to this type of collaboration working efficiently. Some are budgetary; some are the contrasting visions and agendas for each institution, lead times, manpower, interest, and let’s face it, a bit of apathy. Meaning the proverbial art pie, speaking of only San Diego, has been cut up and there is no more to go around. Why share? Given that everyone has their slice now and is trying to promote it as the best tasting pie in town, to the public who is doing the tasting, it all just sort of tastes the same. If we are limited by the current resources we have, why not cater to the strengths of each institution, letting them specialize in their own field of expertise, which would allow them to work closer and share resources with like minded parties. Each city has there own arts council or commission but they are constantly re-inventing the wheel to get projects done. Couldn’t there at least be a local association of city art councils or an association of art galleries like the association of art museums? This would also help the general public know where to go to get the flavor they desire.

Artists have been adapting to the spirit of collaboration with one another for decades now, certainly online social networking and image reproduction in all formats has helped. Galleries are starting to come around but their financial capabilities are often limited –traveling shows are expensive – but their biggest problem might be the illusion that they have what everyone wants, their artists and mailing list. Collaborations are only as good as a participant’s willingness to achieve the same goal in the spirit of healthy compromise with her collaborator. Collaborations also work well for press promotions showing the strength of the visual arts to the community at large. Isn’t this what we want to ultimately portray, strength in numbers? One for all, all for one.

“I would like to see…. a synergy between arts organizations, groups, artists…. There should be a general willingness to take risks.” - Catherine Sass (Port Of San Diego)


Galleries and Museums are only viable with support from artists, the public, and a strong collecting population. Major collectors are the back bone of our museum boards, but what we also need is fields of grass roots buyers who learn that owning original art adds a tremendous value to the quality of their lives. As for galleries, more of them mean larger amounts of artwork shown. With encouragement and a little competitive spirit, artists are pushed to do their best work and we benefit from a higher level of quality as the bar is raised.

We often take for granted, the role of the artist in society – portrayed somewhat as an outcast, or a bit farfelu if you will – but they are the sole entity responsible for art’s production and economic viability. They are the producer of goods that allow all of us who work in this field to keep on doing what we love so much. How those goods are then distributed, is of course dependent on galleries and museums. While it is not often clear as to who benefits more from this “marriage” of convenience and necessity, the fact remains, if one of them fails, they both fail. Be careful what you wish for Mr. Davies, your first two wishes could also be within your command.

“I would wish to see San Diego become home to a greater number of significant artists due to having more exhibition opportunities, more collectors, and more commercial galleries.” - Hugh Davies (Museum of Contemporary Art San Diego)


Collectors and Community dialogue supply that vital commodity: feedback. For example, collectors buy, giving reinforcement to artists. And emerging artists can be mentored by established artists. An active community arts voice insures success by dissemination of information in the form of printed media and Internet resources such as SDVAN. SDVAN is founded on the principal of encouraging these exchanges and is starting a new feature, Picked RAW Peeled which will reveal artistic events in more detail. Too, the mushrooming of Collector clubs all over San Diego can build a larger social network with peer education in the arts at the same time support artists monetarily and proudly.

We like to think that everyone is a collector of something, whether it is stories or art. We also believe that there is a difference between the notion that individuals with “money” are also the same individuals “with money who buy art” or somehow, that they should be the same. There’s no accounting for taste obviously and if you stand in a gallery long enough, something will get sold. But that isn’t the point. The goal is to provide access to many types of art, in all different price ranges, that allow the connoisseurs as well as the amateurs, to pick and choose freely. The objective, for those of us whose job it is to provide this access, is as the critic Arthur C. Danto points out, “That is what education is in art. Helping people find their way. It is [rather] explaining why each work is good in its own way.” Collectors are educated in the art of looking and are only motivated to buy, when the artist has done her job of making work that is good.

Finally, feedback is vital, it is crucial, so is showing support for each other’s endeavors. Recognize the past, but move forward. Talk to everyone, “introduce yourself as Delacroix and hand them your wet brushes” as Larry Rivers use to jokingly say, don’t be afraid to let people in on the artistic process, your fears, your joys, and your art. Dialoguing is for life.

“Influential people need to be educated in the process of purchasing art, actively.” - Gustav Rooth (Planet Rooth)

“…a future with….card carrying collectors with ID that states "I belong, I buy art, do you?" - Kevin Freitas (ArtasAuthority)

“If I could make two changes favorable to the visual arts in San Diego, one would be to have more venues, commercial and otherwise, so the numerous talented artists in the region would have ample opportunities to exhibit; the other, to have more intelligent writing about these artists and their work.” - Robert Pincus (The San Diego Union-Tribune and Sign-On San Diego)


Art Fairs like the one in Miami/Basel could become a standard feature on our events calendar. Ann Berchtold wants to work with our neighbors north and south and hopes especially to promote emerging artists in the first years of the fair. Most major cities have their own annual art fairs, the closest to us, is our friendly neighbor to the north L.A. Why not here in San Diego? We’re afraid that the answer to this is a varied as the logistics and investment it would take to create it. Is it possible we think so; perhaps a look at the success of Comic-Con might give us some clues? Is it for tomorrow or on next year’s cultural agenda, probably not, but efforts are in the works as witnessed by Berchtold’s commitment. It will certainly take more than a strong commitment as one of the first goals would be to establish an infrastructure, capable of supporting such an event. This would of course entail some major political and financial decisions. Many European countries have “sister” cities that enable them to exchange talent and culture on many different platforms from music to the arts to theater. Perhaps San Diego can “host” and vice versa be “guests” in collaboration with another country or for logistical sake, another State here in the U.S. Sending some of our talented artists to the many Biennials would also encourage an outside appreciation of our artistic production, proving that we have the depth to hang with the big boys.

“Launch a successful contemporary art fair in San Diego that becomes a catalyst to encourage collecting art, showcases this cities art institutions and artists, and promotes international cultural tourism.” - Ann Berchtold (Beyond the Borders Art Fair)


Youth and Education are fundamental. Teaching art as parents and volunteers, in most public schools, makes it obvious that we need a consistent and comprehensive arts education curriculum for every institution. Go talk to your son or daughter's Principal now or write a letter to your school's Superintendent, asking for more art. It seems the real issues we’re all facing, is the simple question of who’s going to pay, and if it’s going to be you and us as taxpayers, what are we willing to pay for? And do we have a choice? It is a debate that our attempts even to address it here in a few paragraphs, is much too ineffective. We as a country for the most part, universally accept the idea that the basics in school are necessary – reading, writing and arithmetic – but also know that the human spirit and mind is capable of much more, in fact, it craves more. Art in essence is not a luxury, it is a necessity of the human species that will manifest itself in a multitude of ways, not always under the heading of art, but which is as creative, just, and a much needed nourishment for the soul. Creativity knows no unemployment and will always find work.

"Start with art education in the schools for life enhancement and future support of the arts in the community." - Ellen Phelan (Art activist, educator, and contemporary art collector)


Public Art created a general consensus amongst the Movers and Shakers that was heard loud and clear. San Diego needs more of it. There was a slightly higher demand to integrate art and artists into any future city planning or development. We like the idea, mentioned more than once, to have temporary outdoor public sculptures placed throughout the city. Rotating them out as new ones come in would be stimulating, exciting, and opens up the possibility for fresher stronger works. We applaud April Game’s placement of sculptures in Quail Gardens as a step in the right direction.

Though we did not ask for the state of Public Art in San Diego as it currently exists, interestingly enough, there was hardly a mention of what is here in public art already, notably downtown, at UCSD, and on the waterfront. If the vision is to have more, does this mean that there is not enough? What is there to be learned in the statement, “I would like to see more public art.” What is it about public art that creates this desire or repulsion in some cases, and leaves its public wanting more of it? It is difficult to know perhaps, how cost effective public sculpture is and how much interest it truly generates. If like Miami/Basel, we were looking for a model for an art fair; than we believe Chicago would be the model to base our own public sculpture program upon. Let it be known, Mayoral influence, money, and manpower, is nine-tenths responsible for the building of Millennium Park. It is also what Chicagoans are most proud of, beside their baseball.

"I would create a plan with the City of San Diego to integrate local art and artists as well as non indigenous artists into every aspect of public design as well as part of the chamber of commerce.” – Debra Poteet (Collector)


Studios and Housing is a county wide issue. Only three people thought artists could benefit from more affordable housing and studio space. It is probably safe to say, not just artists, but anyone living and renting within the county of San Diego could use less expensive housing. In the end, you still have to make the art no matter how big the loft is. So, the question is, does every artist need a studio these days? Not likely. A better use of space might be collective work/live centers or cultural centers, like the one San Diego’s Monica Hoover is working on, located in the former Wonder Bread factory (Ballpark District), or the LUX Institute amongst others. Besides, what are the chances of a perfect storm in the form of the blustery days of SoHo with Johns living above Rauschenberg, heated debates about painting at the Cedar Tavern, and blockbuster exhibits at Leo Castelli, ever coalescing in 2008 let alone in San Diego? This is not criticism, it is about the potential and the physical territory and the boundaries of studio space, where artists have chosen to live. The galleries, and even the art supply stores, are too scattered to warrant the need of a larger supportive structure. The closest we’ve come to a discernable degree of synergy, is in North Park.

“Through Synergy Art Foundation's Barrio Logan/East Village Arts District (Believe Project), we hope to provide local artists with work/live spaces, a cultural center, exhibition/workshop space, and the ability to unify and support our visual arts community. The ultimate goal is to establish San Diego as a vital international cultural destination." - Naomi Bianca Nussbaum (Director, Synergy Arts Foundation and the BL/EV Project)


$$$$ Everyone wants it, but artists and the people whose support they depend on, hardly get any. One way to encourage creativity and less dependency on the good will of others, is to stop bartering for services and goods when putting on shows and productions and pay for it, if you’re doing the inviting. Artists are as guilty as anyone else in this exchange of free commerce and often end up the victims, giving up time and money for a “free” show and a line on their resume. A more proactive stance would be to increase local public and private grants and funding, City and local government philanthropy, create small business loans for galleries, and the buying of art. It just might do the trick. Let’s stop thinking of art as a charity and remember it has great value. We are not looking for a handout from others; we are looking for the same basic economic structure that allows millions of Americans to go to work everyday and eventually allows them to retire.

“Diversity of art in both media and style and the democratic selection of art are the best ways to regain public faith and improve finance in the art world. This would enhance the lives of artists, improve the financial viability and ensure growth of art institutions and museums, and greatly improve the public's perception of the art world." – Dennis Paul Batt (Executive Director, San Diego Visual Artists Guild)


Finally, a special award is given to Jean Lowe (SD Art Prize Ist year winner), for her cheerleading efforts and support: “San Diego has a really energetic and interesting art scene--it just needs to believe it!!”

The answer in the end might be just a question of confidence.


You can see the Movers and Shakers show in person from Sept. 5 until Oct. 4, presented by San Diego Visual Arts Network and Art Expressions Gallery: 2645 Financial Court, Suite C, San Diego, CA 92117 Exhibition hours: Monday - Friday 9am-5pm, Saturday 10am-5pm
More info: Patricia Frischer 760.943.0148 or Patricia Smith 858.270.7577

Spun by Art as Authority at 01:55 PM | Permalink | Comments (8)

by Richard Gleaves

A good hearty meal, all in one pill that can be carried in a vest pocket, is the dream of scientists of today, according to Hugh S. Cummings, surgeon general of the public health service. (Rock Valley Bee, August 17, 1923)

Whereas the visual arts of the past were strictly material (stone, canvas, paper, pigment), and those of the present increasingly electronic, expect the future arts to be biochemical in nature, as artists exploit advances in neuropsychopharmacology and the brain sciences to create well-defined aesthetic experiences with none of the undesirable side effects of today's primitive psychotropics.

Spun by Richard Gleaves at 11:17 PM | Permalink | Comments (2)

by Richard Gleaves

Spun by Richard Gleaves at 03:44 PM | Permalink | Comments (1)

by Kevin Freitas (from the SDVAN press release)

NEW VENUE: Art Expressions Gallery
2645 Financial Court, Suite C, San Diego, CA 92117

Reception: Friday, Sept 5, 2008 from 7 to 9 pm
Show continues until Oct 4, 2008
Collectors Cocktails, How to Commission Art date TBD

Exhibition hours: Monday - Friday 9am-5pm, Saturday 10am-5pm
Info: Patricia Frischer 760.943.0148 or Patricia Smith 858.270.7577
Please note: the Movers & Shakers exhibit will no longer be held at the Patrick Moore Gallery.

Visit the Movers and Shakers website for Artists and Movers and Shakers biographies as well as VIP views on highlights of the last year and their visions for the future of the visual arts in San Diego.

Description Movers & Shakers: (plural noun) very important, influential or innovative San Diegans in the visual arts community.

Unyielding enthusiasm, imagination, dedication and an intense love of art, drives the individuals who shape the art community in San Diego County. Artists, art collectors, students, teachers and the community at large all
benefit from the extraordinary efforts of those who help put the San Diego cultural scene on the map. Movers and Shakers: Who's Who in the San Diego Visual Arts World will celebrate these influential people through a collection of their portraits.

From Sept 5 to Oct 4, 2008, invited artists will exhibit portraits that will be featured at Art Expressions Gallery. To celebrate the opening, a reception will be held on Friday, Sept 5 from 7 to 9 pm to honor the Movers and Shakers, as well as the artists who created their portraits. An educational event Collectors Cocktails: How to Commission Art will take place at a date TBD. San Diego Visual Art Network will be showcasing portraits in an online gallery with linked images produced by San Diego Visual Artists Guild.

Mission

To recognize the people who make the San Diego art world spin through an online and gallery exhibition of portraits by San Diego regional artists.

Goals

Ø Educate the public about the efforts of the San Diego "Movers & Shakers" and their tremendous impact on the health of the art community.

Ø Foster relationships between the "Movers & Shakers" and San Diego artists.

Ø Promote San Diego regional artists and the art of portraiture through the Patrick Moore Gallery, SDVAN and SD Visual Artists Guild.

Ø Foster awareness of San Diego Visual Arts Network and the roles we take in nurturing collaborations and creating artist recognition.

Ø Encourage Art Collecting and Connoisseurship

Portrait Selection (Artist - Mover and Shaker)

Patricia Bean - Constance White (Art Program Manager, Pubic Community & Customer Relations Dept, San Diego County Regional Airport Authority)

Denise Bonaimo - Arline Fisch (Artist/Jeweler/ Author/ Professor of Art Emerita SDSU)

Stuart Burton - Doug Simay (Simayspace Gallery at Co-founder, The Art Academy of San Diego)

Dan Camp - Jonathan Segal(Jonathan Segal FAIA & Development Company)

Alida Cervantes - Jean Lowe (Installation artist, lecturer at UCSD)

Becky Cohen - Ellen Phelan (Art activist, educator, and noted contemporary art collector)

Cynthia Colis - Liz Edwards (Founder and Director of LetsPlayDowntown)

Isaias Crow (Crol) - Naimeh Tahna (Vice President of Network Development and Operations, Satori World Medical, Inc. and founder of Studio Vivace)

Kevin Conners - Victoria Hamilton (Executive Director of the City of San Diego Commission for Arts and Culture)

MOFO - Matt D'Arrigo (Founder/Executive Director, Pat D'Arrigo ARTS (Art, a Reason to Survive Center)

Mireille des Rosiers - Felicia Shaw (Director Arts and Culture, The San Diego Foundation)

Irène de Watteville - Zandra Rhodes (International Fashion Icon)

Diana Duval- Steven Churchill (producer, The Art of Photography Show)

Raymond Ellstad - Mary-Catherine Ferguson (Museum Director, California Center for the Arts, Escondido)

Mary Fleener - Gustaf Rooth (Planet Rooth, founder Ray at Night)

Dave Ghilarducci & Cindy Bis-Sevon - Laurie Brindle, Laura Groch, Pam Kragen, and Gary Warth (North County Times staffers)

Gerrit Greve - Derrick Cartwright, (The Maruja Baldwin Director, San Diego Museum of Art) and Vas Prabhu (Deputy Director for Education and Interpretation, SDMA)

Raul Guerrero - Larry Poteet (lawyer, SDAI board member, art collector and Debra Poteet collector and both honorary VIP hosts for SD Art Prize)

Pamela Jaeger - Robert Pincus (Art Critic and Books Editor, The San Diego Union-Tribune and Sign-On San Diego)

Aaron Rix - April Game (CEO, San Diego Fine Art Society)

Gail Roberts - Tina Yapelli(Professor and Director, University Art Gallery, San Diego State University)

Lisa Roche - Ann Berchtold (Gallery Director, L Street Gallery Art Gallery, Program Director, San Diego Art Prize)

Jamie Roxx - Philly Joe Swendoza (Chanter of Personality ArtRocks! Internet radio) and Alexandra Rosa (Co-Producer ArtRocks! Internet radio and SDVAN RAW Columnist)

Philipp Scholz Rittermann - Mary Beebe (Director, Stuart Collection, University of California)

Lisa Smith - Mario Torero (artivist, Barrio Logan /East Village Art Association)

Stacy Smith - Patricia Smith (Art Expressions Gallery, Arts Bus Xpress)

Doug Snider and Chris Brown - Nate and Ralyn Wolfstein (Wolfstein Sculpture Park, Scripps Hospitals)

Cheryl Tall - Sandra Chanis (Carlsbad Outdoor Arts Foundation, President, Board of Trustee, Oceanside Museum of Art)

Mario Torero - Naomi Nussbaum (Director, Synergy Arts Foundation and the BL/EV Project)

Jen Trute - Dennis Paul Batt (Museum Artists Foundation, San Diego Visual Artists Guild )

Sidney Wildesmith - Catherine Sass (Public Art Director, Port Of San Diego)

Jeff Yeomans - Hugh Davies (The David C. Copley Director, Museum of Contemporary Art San Diego)

Yuransky - Kevin Freitas (Art As Authority)

The Movers and Shakers committee is composed of the following who are giving of their times as volunteers to make this project successful: Mary Brooks, Michele Esposito, Denise Bonaimo, Mireille Des Rosiers, Dennis Paul Batt, Rosemary KimBal and Patricia Frischer.


San Diego Visual Arts Network: SDVAN is a database of information produced to improve the clarity, accuracy and sophistication of discourse about San Diego's artistic and cultural life and is dedicated to the idea that the Visual Arts are a vital part of the health of our city. SDVAN hosts a free interactive directory and an events calendar covering all San Diego regions including Baja Norte with an opportunity section, gossip column and the SmART Collector feature to help take the mystery out of buying art. SDVAN is the proud non-profit sponsor of the SD Art Prize. This is the only site designed exclusively for the SAN DIEGO region and the VISUAL ARTS and is one of the most technically advanced sites of this kind in the country.

Art Expressions Gallery: Art Expressions Gallery provides personalized service to both residential and corporate clients. The gallery features a vast selection of both traditional and contemporary art in a variety of media, as well as an extensive inventory of fine art photography. Art Expressions Gallery also offers on-site art and framing design consultation and art locating services with worldwide resources for the serious collector. Under the stewardship of Patricia Smith, who founded the gallery in 1984, Art Expressions Gallery represents emerging American artists who share a mastery of their medium. Patricia Smith established ArtsBusXpress, a program that offers all school children in San Diego County free transportation to the arts. To date, this nonprofit has provided rides to over 135,000 children.

San Diego Visual Artists Guild: SDVAG became an online representative for artists in the San Diego/Baja Norte region in Jan. of 2004. It evolved from the original San Diego Art Guild founded in 1915. It features images of well over 300 artists and links to hundreds of websites of the participating artists, museums, and art resources throughout the region. Also on the site is a comprehensive history of the Guild from 1910-1999.

For more information: patricia@SDVisualArts.net or 760.943.0148

Spun by Art as Authority at 02:13 PM | Permalink | Comments (0)

An International group art show supporting Barack Obama for President sponsored by:
The Art of Framing Gallery in Normal Heights.

Make a difference and participate now!

Opening: Friday, September 5 and Saturday, September 6, 2008
5:00-11:00 PM
3333 Adams Avenue
San Diego, CA 92116
619.563.9770

$10 general public
First 500 people each night will receive a free "Yes We Can" bracelet
50% of the show's proceeds will be donated to the DNC's Victory Fund



Work by Michele Guieu


Because we have been inspired by Barack Obama's message of change and unity, we are hosting "Obama '08: Art For Change;" an art show featuring 50 artists from across the United States. As a group that values creative expression and supports free speech and thought, the art community has a unique opportunity to participate in Obama's grassroots campaign by not only supporting a candidate with a strong arts platform, but also by being able to contribute to the Victory Fund from the sale of their artwork. Here are a few of Obama's positions on Arts and Culture: Reinvest in Arts Education, which would include: Expanding Public/Private Partnerships Between Schools and Arts Organizations, Creating an Artist Corps, and Publicly Championing the Importance of Arts Education; Supporting Increased Funding for the NEA; and Ensuring Tax Fairness for Artists. For more on his Arts and Culture Platform visit: http://www.barackobama.com/issues/additional/#arts
Continue reading...

If you are interested in participating, please read the Rules and Requirements below. As this is an undertaking of some magnitude, we will be very strict regarding deadlines and adherence to the rules. We hope to get a variety of artists to participate…even if you consider yourself an amateur, or too young, or too inexperienced, please, don't be shy!! Obama's campaign has focused on uniting people of all walks of life to participate in the political process and have their voices heard. We'd like to echo that sentiment; we want to see how you are inspired, what brings you hope, what issues are close to your heart and bring those images together to create a visually stunning yet heartfelt and poignant art show. All pieces submitted will be considered; acceptance will be based on message and creativity.

Show Details:

-Two opening receptions: Friday, September 5th & Saturday, September 6th 5-11 PM
-First 500 people each opening night will receive a blue "Yes We Can" bracelet
-Show will be hung in the gallery and online on our website for the month of September. (Website is being upgraded to take online sales.) Online sales will begin September 8.
-A variety of media will be considered: Originals, prints, photography, magnets, postcards, jewelry, sculpture, glass, as well as a few performance artists…
-Up to 50 pieces of original art will be accepted
-All art submitted will have to reflect a positive image and be in line with Obama's message of hope and change. Art doesn't necessarily have to be picture of Obama (or his running mate) as long as it fits into the overall picture of progress for America (environment, education, healthcare, gay rights, racial tolerance, compassion, peace, etc.)
-Advertising will be varied and will include print and online media. Setting up a live video stream of the receptions is in the works.
-Food and drinks from local eateries will be available both nights.
-Volunteers from Obama's local San Diego grassroots organization will be helping out with the opening receptions.
-All artists are welcome to come to the opening receptions to discuss their work and enjoy the fruits of their labor!

Rules and Requirements
Art Submission:

-We will accept up to 50 artists in all mediums
-All pieces must be no larger than 24x36
-To submit art, you must email a picture of your work (whether in progress or complete). All email submissions must be sent to blythe@theartofframing.net. We will not take submissions via Myspace. Subject line should read: Art for Change Submission
-All art submitted will have to reflect a positive image and be in line with Obama's message of hope and change. Art doesn't necessarily have to be picture of Obama (or his running mate) as long as it fits into the overall picture of progress for America (environment, education, healthcare, gay rights, racial tolerance, compassion, peace, etc.)
-Artists will be notified of their acceptance into the show, via email. If accepted, you will be required to download 1) An Artist/Gallery Contract, which you must sign, agreeing to the Rules and Regulations of the show, and 2) Art information form with artist statement.
-If your piece(s) are accepted, they must be received no later than September 2nd
-We will be charging a 55% Commission, 50% of which will be donated to the DNC's Victory Fund, which has been set up to fund official Democratic Party ads supporting Obama.
-We encourage all artists to consider making a donation to Obama's campaign directly with all or part of the proceeds from your work.
-All work must be ready to hang, and Print/Poster art must be framed. We can frame work here for $45, using a basic white mat and black frame. If you have multiple prints, we will offer the customer the option of purchasing it framed or unframed. If your piece needs to be shipped back to you, we will remove the glass to prevent damage and save in shipping costs.
-In an effort to provide some low cost options for our customers, we'd like to encourage each artist submitting original work to take pictures of their pieces to copy onto lithographs, glicees, posters, magnets, t-shits, etc. This will give the customers options on what they can afford and allow us to have a larger inventory. At the end of September we will be participating in the Adams Avenue Street Fair, an annual event featuring music, food and street vendors which is attended by approximately 100,000 people each year (http://www.adamsaveonline.com/StreetFair/). We would like to have plenty on hand to offer those potential customers. Plus we will have all the art available online, another way to increase sales. There are many printers and websites that can assist in producing smaller items, such as cafepress.com, overnightprints.com, Kinko's/Fed Ex, gicleeprint.net, etc.
-Each artist selected to participate in the show will be required to submit a brief artist statement explaining their work. Each statement will be printed in a brochure to be handed out at the opening receptions.
-After we have chosen the art to be featured in the show, we will choose one image to be used for advertising purposes. We will notify the artist we choose in our acceptance email.

Donations:

-A donation to the Victory Fund will be made after the show has ended on September 30.
-If you decide you would like to donate a percentage of your profits directly to Obama's campaign, we will note that in the brochure along with your artist statement.
-On the front of the brochure we will explain that 50% of the profits from the show will be donated to the Victory Fund.

Shipping (for out of state artists):

-All pieces must be shipped in reusable material, including the box. If your piece does not sell, we will ship your piece back to you via Fed-Ex ground.
-You will be required to send a blank check made out to Art of Framing, which will be used for return shipping fees. We will send you a copy of the shipping receipt along with your piece. If your piece sells, we will send your blank check back to you along with your commission check.
-Any unsold pieces will be returned after October 5th.

Please pass along this Call to Artists to whomever you think would be interested. The more submissions, the better!! We expect a large turnout for the opening receptions, and believe this will be an excellent opportunity for artists to promote themselves and their art. If you have any further questions, please direct them to Blythe Goodwin, Art Show Coordinator, at blythe@theartofframing.net. We look forward to working with you in support of Barack Obama. Yes We Can!!

Thank you.
The Art of Framing

Spun by Art as Authority at 09:13 PM | Permalink | Comments (2)

by KAI ONE


"Urban Detritus is a visual love poem to millions of nameless dilapidated buildings and cold steel freight trains. It pays homage to a society which has been destroyed right under your nose. If you would have stopped to smell the buff paint you might have been able to catch one last glimpse of beauty. Grit your teeth and pick up the sad debris from the crumbling worlds of art history and raw vandalism. Urban Detritus is pigment on surface, it’s non-archival, and it doesn’t give two shits about your dirty money. It’s the aesthetics of erosion." KAI ONE

Property is theft.
Property is liberty.
Property is impossible.
--Pierre Joseph Proudhon

Spun by Art as Authority at 07:17 AM | Permalink | Comments (1)

by KAI1





Only really badass art blurs the line between art and terrorism. The coolest example in my mind is that dude who got busted by the FBI for doing art with germs and bacteria.

WERK, the man (and not what we do for money) has a pretty good story though. When I first heard it I was reminded of some Earth First wet dream, but as I read the police report I realized that it was just one big performance art piece being played out in the suburbs. The main characters are McDonalds, trashy commerce, bored kids, and inept detectives.

The story is pretty funny and it’s pretty easy to laugh at it when Werk is right next to you laughing as well. If I were him I wouldn’t be laughing at all though, I’d be haunted by visions of being the first person thrown in Guantanamo for performance art. But someone has to do the damn thing and fight the good fight, I’m just glad that it isn’t me. If you are assisting a criminal syndicate that is trying to take down a criminal state, are you an angel or a sinner? Just don’t look back kiddo, keep it moving.





The rapid evolution of the media we are assaulted with daily is a barrage of regurgitated imagery and graphic design intended to increase consumption. The self expression inherent in any art is being perverted as soon as economic opportunity presents itself. The only stuff that lasts long is on the fringes; society grabs a hold of the rest as quick as possible and rips it into indistinguishable shreds. In some not too distant Orwellian future, we may see all forms of expression outlawed, that doesn’t promote a major corporation or peddle wares. Art for arts sake is being relegated to a mere waste of time and space. I have visions of Artists (that’s right capital A mofo) being sent to indoctrination camps where they learn to create something that will serve the “Financier Oligarchy” rather then freeing their subconscious and letting their inner demons loose.








I met Werk midway through my graffiti career as he was just getting fired up. I had no idea that he had felony priors for assisting a criminal syndicate, hovering over his head, every time he picked up a spray can. From a police report: “I learned the Midnight Mechanics were an anti-government/establishment group who were specifically targeting valley McDonalds locations. These Mechanics would tune-up the stores by committing theft and criminal damage in an attempt to disrupt commerce while at the same time leaving their trademark name and moniker.” It goes on to state that a detective learned of the crew while attending a different anti-government group meeting as an undercover agent. Goddammit, don’t they know that real anarchists don’t go to meetings of anti-government groups!





The first face to face between (now several) detectives and the Midnight Mechanics went something like this: “Werk answered the door after we knocked. He invited us into the apartment. The apartment was in disarray and not very clean. After approximately five minutes Werk obtained a glass pipe containing a green leafy substance and began to smoke it. I immediately recognized the smell to be that of marijuana. Werk then removed more marijuana from the plastic baggy and packed the bowl portion of the pipe. He offered the pipe to us (the detectives) but we refused to smoke the marijuana. He asked if we were the police and we said no. He asked if we would smoke some marijuana to prove that we were not the police. After a short conversation, he agreed that we did not have to smoke the marijuana and that we were not the police.” Yeah, I believe that for about half a second.





A few weeks pass and a bunch more McDonalds get messed up when dumbass Werk and his buddy ask the undercover if he wants to help them thrash a Mickey D’s (their first mistake). More of the detective’s report: “The incident, which was video taped, involved steeling (original typo included) the big “M” sign and tagging (spray painting) the Midnight Mechanics moniker (a fist holding a wrench) several places on the property including some newspaper stands.” Detective Five-O continued to stalk these bored little kids, and writes: “…continued contact with members of the Midnight Mechanics as they talked about doing bigger crimes to bring more attention to their causes including blowing up television antennas to knock out major media stations.” These actions are highly illegal, but defiantly on the moral high ground.

They trash a shit ton more McDonalds and the plot thickens as one of Werk’s buddies calls up the undercover cop. From the original court documents, crappy punctuation left intact once again: “(one of the other Midnight mechanics) spoke of 'impeding the flow of commerce' on 'Buy Nothing Day.' During my internet research I learned Buy Nothing Day is an annual event for activists (sic). The day is celebrated on the busiest shopping day of the year, the day after thanksgiving (sic). The day is celebrated across the globe with demonstrations and criminal acts in hopes to deter wasteful spending and capitalism. The plan for 'Buy Nothing Day' was to cement a main entrance of (a local mall) closed to impede commerce for the malls busiest day of shopping.” Notice that the detective writing this garbage is already ripping off the poetic descriptions of the Midnight Mechanics themselves. What a hack!





The report continues: “It was determined that the criminal acts would be allowed to develop to a point to prove a crime was occurring. The group had constructed a wooded barrier propped up by mall garbage cans in front of the main entrance of the mall. Behind the barrier they emptied several bags of cement onto the entranceway. One person spray painted 'Buy Nothing' on one of the garbage cans. As they tried to wet down the cement the police conducting the surveillance shined a flashlight onto the group scaring them off.”





They would be busted a short time later, as the detectives had already gathered up their names and addresses. As underage kids, none of them had to do major time (being upper middle class probably didn’t hurt either) and they got of relatively light with large fines and the instructions that they were never to hang out again together. A funny side note to the whole Midnight Mechanics debacle is that only four out of five of the members of the group ended up getting popped. The one kid that got away was the only one who refused to have his high school yearbook picture taken (the mark of a true anarchist). So, Werk is forever left with the scarlet letter of a felon for something as innocuous as pouring some cement on a door while Mickey D’s faces no charges for clogging the arteries of billions and billions. And so it goes.








Since Werk is no longer trashing any more McDonald’s (or at least not admitting to it) his fine art progresses, with a signature pop art style, that is able to address larger questions while still being infused with the wit and balls of taking action without the criminal repercussions. His art delves into the sweet realm of poetic terrorism the same way a bag of cement poured onto mall doors does. I feel the story of the Midnight Mechanics is the best introduction I can offer the reader about his art. Anything short of that would be missing the key elements that describe his creative impetus. If you didn’t know where he started from, you might think his imagery is a little crazy; but if you know the kid and what he likes to do for fun, then it all makes perfect sense.





Finally, another funny side note to this story is that I was recently at a RZA show with Werk, and inadvertently sabotaged a table of Earth First propaganda myself. I saw Werk from the back and ran up and gave him a reverse bear hug. His whole drink flew out of his hand and onto all of their literature. The two hipsters manning the booth were amicable enough about the ruined propaganda, though they politely asked me to pay for the ruined materials. When I declined, they looked so sad that I asked them what I could do to help them. They informed me there was some freeway construction going on down the road, and implied that perhaps, the paving equipment could meet a timely and tragic accident. I laughed and asked them how they knew I wasn’t an undercover cop (cause you never know right?) before informing them that the only dirt I do is for myself. Besides, I was already content with having a monkey wrenched group that only wants to monkey wrench the system.

Spun by Art as Authority at 08:06 AM | Permalink | Comments (2)

by Richard Gleaves

San Diego photographer Scott B. Davis's current show at Hous Projects in NYC has received critical mention in the New Yorker and Village Voice.

Spun by Richard Gleaves at 10:08 AM | Permalink | Comments (7)

by Kevin Freitas (from the SDVAN press release)

Patrick Moore Gallery and SD Visual Arts Network present

Movers & Shakers: Who's Who in the San Diego Visual Arts World

Reception Fri, Sept 5 from 7 to 9 pm
Show continues until Oct 4

Collectors Cocktails, How to Commission Art Fri, Sept 19 from 5 to 6 pm. Plus reception Kettner Nights from 6 to 8 pm

Patrick Moore Gallery
2400 Kettner Blvd #103 San Diego, CA 92101
Hours 11a-6p Tuesday - Saturday
More info: Mary Brooks 619.756.6483 or
Patricia Frischer 760.943.0148

Visit the Movers and Shakers website for Artists and Movers and Shakers biographies as well as VIP views on highlights of the last year and their visions for the future of the visual arts in San Diego.

Description Movers & Shakers: (plural noun) very important, influential or innovative San Diegans in the visual arts community.

Unyielding enthusiasm, imagination, dedication and an intense love of art, drives the individuals who shape the art community in San Diego County. Artists, art collectors, students, teachers and the community at large all
benefit from the extraordinary efforts of those who help put the San Diego cultural scene on the map. Movers and Shakers: Who's Who in the San Diego Visual Arts World will celebrate these influential people through a collection of their portraits.

From Sept 5 to Oct 4, 2008, invited artists will exhibit portraits that will be featured at Patrick Moore Gallery. To celebrate the opening, a reception will be held on Friday, Sept 5 from 6 to 9 pm to honor the Movers and Shakers, as well as the artists who created their portraits. A second reception will be held on Friday, Sept 19th, 6 to 8 during Kettner Nights An educational event Collectors Cocktails: How to Commission Art will take place earlier that evening from 5-6 pm. San Diego Visual Art Network will be showcasing portraits in an online gallery with linked images produced by San Diego Visual Artists Guild.

Mission

To recognize the people who make the San Diego art world spin through an online and gallery exhibition of portraits by San Diego regional artists.

Goals

Ø Educate the public about the efforts of the San Diego "Movers & Shakers" and their tremendous impact on the health of the art community.

Ø Foster relationships between the "Movers & Shakers" and San Diego artists.

Ø Promote San Diego regional artists and the art of portraiture through the Patrick Moore Gallery, SDVAN and SD Visual Artists Guild.

Ø Foster awareness of San Diego Visual Arts Network and the roles we take in nurturing collaborations and creating artist recognition.

Ø Encourage Art Collecting and Connoisseurship

Portrait Selection (Artist - Mover and Shaker)

Patricia Bean - Constance White (Art Program Manager, Pubic Community & Customer Relations Dept, San Diego County Regional Airport Authority)

Denise Bonaimo - Arline Fisch (Artist/Jeweler/ Author/ Professor of Art Emerita SDSU)

Stuart Burton - Doug Simay (Simayspace Gallery at Co-founder, The Art Academy of San Diego)

Dan Camp - Jonathan Segal(Jonathan Segal FAIA & Development Company)

Alida Cervantes - Jean Lowe (Installation artist, lecturer at UCSD)

Becky Cohen - Ellen Phelan (Art activist, educator, and noted contemporary art collector)

Cynthia Colis - Liz Edwards (Founder and Director of LetsPlayDowntown)

Isaias Crow (Crol) - Naimeh Tahna (Vice President of Network Development and Operations, Satori World Medical, Inc. and founder of Studio Vivace)

Kevin Conners - Victoria Hamilton (Executive Director of the City of San Diego Commission for Arts and Culture)

MOFO - Matt D'Arrigo (Founder/Executive Director, Pat D'Arrigo ARTS (Art, a Reason to Survive Center)

Mireille des Rosiers - Felicia Shaw (Director Arts and Culture, The San Diego Foundation)

Irène de Watteville - Zandra Rhodes (International Fashion Icon)

Diana Duval- Steven Churchill (producer, The Art of Photography Show)

Raymond Ellstad - Mary-Catherine Ferguson (Museum Director, California Center for the Arts, Escondido)

Mary Fleener - Gustaf Rooth (Planet Rooth, founder Ray at Night)

Dave Ghilarducci & Cindy Bis-Sevon - Laurie Brindle, Laura Groch, Pam Kragen, and Gary Warth (North County Times staffers)

Gerrit Greve - Derrick Cartwright, (The Maruja Baldwin Director, San Diego Museum of Art) and Vas Prabhu (Deputy Director for Education and Interpretation, SDMA)

Raul Guerrero - Larry Poteet (lawyer, SDAI board member, art collector and Debra Poteet collector and both honorary VIP hosts for SD Art Prize)

Pamela Jaeger - Robert Pincus (Art Critic and Books Editor, The San Diego Union-Tribune and Sign-On San Diego)

Aaron Rix - April Game (CEO, San Diego Fine Art Society)

Gail Roberts - Tina Yapelli(Professor and Director, University Art Gallery, San Diego State University)

Lisa Roche - Ann Berchtold (Gallery Director, L Street Gallery Art Gallery, Program Director, San Diego Art Prize)

Jamie Roxx - Philly Joe Swendoza (Chanter of Personality ArtRocks! Internet radio) and Alexandra Rosa (Co-Producer ArtRocks! Internet radio and SDVAN RAW Columnist)

Philipp Scholz Rittermann - Mary Beebe (Director, Stuart Collection, University of California)

Lisa Smith - Mario Torero (artivist, Barrio Logan /East Village Art Association)

Stacy Smith - Patricia Smith (Art Expressions Gallery, Arts Bus Xpress)

Doug Snider and Chris Brown - Nate and Ralyn Wolfstein (Wolfstein Sculpture Park, Scripps Hospitals)

Cheryl Tall - Sandra Chanis (Carlsbad Outdoor Arts Foundation, President, Board of Trustee, Oceanside Museum of Art)

Mario Torero - Naomi Nussbaum (Director, Synergy Arts Foundation and the BL/EV Project)

Jen Trute - Dennis Paul Batt (Museum Artists Foundation, San Diego Visual Artists Guild )

Sidney Wildesmith - Catherine Sass (Public Art Director, Port Of San Diego)

Jeff Yeomans - Hugh Davies (The David C. Copley Director, Museum of Contemporary Art San Diego)

Yuransky - Kevin Freitas (Art As Authority)

The Movers and Shakers committee is composed of the following who are giving of their times as volunteers to make this project successful: Mary Brooks, Michele Esposito, Denise Bonaimo, Mireille Des Rosiers, Dennis Paul Batt, Rosemary KimBal and Patricia Frischer.


San Diego Visual Arts Network: SDVAN is a database of information produced to improve the clarity, accuracy and sophistication of discourse about San Diego's artistic and cultural life and is dedicated to the idea that the Visual Arts are a vital part of the health of our city. SDVAN hosts a free interactive directory and an events calendar covering all San Diego regions including Baja Norte with an opportunity section, gossip column and the SmART Collector feature to help take the mystery out of buying art. SDVAN is the proud non-profit sponsor of the SD Art Prize. This is the only site designed exclusively for the SAN DIEGO region and the VISUAL ARTS and is one of the most technically advanced sites of this kind in the country.

Patrick Moore Gallery: Opened just two years ago, the new Patrick Moore Gallery in San Diego took over one of the most prestigious spaces on Kettner Boulevard. It joins its sister Salt Lake branch in representing regional artists. New shows are mounted monthly with an emphasis on emerging regional artists. The gallery, directed by Mary Brooks is dedicated to providing a wide range of original artwork and includes contemporary, traditional, representational, portrait and landscape works.

San Diego Visual Artists Guild: SDVAG became an online representative for artists in the San Diego/Baja Norte region in Jan. of 2004. It evolved from the original San Diego Art Guild founded in 1915. It features images of well
over 300 artists and links to hundreds of websites of the participating artists, museums, and art resources throughout the region. Also on the site is a comprehensive history of the Guild from 1910-1999.

More information: Patricia Frischer 760.943.0148

Spun by Art as Authority at 12:04 PM | Permalink | Comments (3)

by Richard Gleaves

Spun by Richard Gleaves at 12:00 PM | Permalink | Comments (0)

by Kevin Freitas


"BRAVE NEW WORLD"

Curated by Uncle Freddy's Gallery with works by:
Julien Colombier, Brian O'Dell, Casey Roberts



Julien Colombier

Casey Roberts



Brian O'Dell


Uncle Freddy's Gallery
September 20 – October 18
Exhibit Opening: Saturday, September 27, 6:00 – 9:00 p.m.

2635B Highway Avenue Highland, IN 46322
219.923.1909
www.unclefreddys.com

WALK THE TALK discussion series
Join Gregg Hertzlieb, Director/Curator of the Brauer Museum of Art for an insightful and scintilating discussion about this exhibit.
Tuesday, October 2 at 7:00 P.M.

Spun by Art as Authority at 09:15 AM | Permalink

by Kevin Freitas





I was recently asked the following question: What is your vision of the future of the visual arts for San Diego? This is how I answered:

That San Diego becomes another pole or axis in the larger national and international wild world of art. That its public and tourist profile goes beyond a city for sea sex and sun, the Padres, Midway, ComicCon, and the Gaslamp. That there is more to San Diego than the weather and Cow Parade 2009. That the artists and individuals who have been working behind the scenes, come out and take the scene. How? By sharing what they've discovered with their peers. That a few select museums here rid themselves of anything remotely "bureaucratic" in exchange for independent thinking and a caliber of exhibitions that could rival the Pompidou - since we are afterall, talking about visions. And in turn, we would gladly exchange these past and present conditions FOR a future where artists want to establish their careers here first, L.A. and the rest of the world second, a responsive and informed public, support by artists for artists, card carrying collectors with ID that states "I belong, I buy art, do you?", the building of an international cultural center for exhibitions, dance, music and theater. And finally, San Diego becomes the west coast Miami/Basel in the international art fair arena. But more importantly, artists who make their home and art in San Diego, with all their unbridled freedom to create, must have the opportunity to do so through greener economic and collaborative pastures.

My response after several rewrites is nothing spectacular in itself, but is less critical than it had begun. I now regret not submitting the “original” version since within the same day, I received the following email from Carly and Lea, proprietors of the Rubber Rose Sexuality Boutique and Rubber Rose Gallery, located on Ray St. Why the regret, read this and remember what I said about “greener economic” possibilities:

Hey loves,

Mad Rubber Rose Love
- Carly and Lea


I’m saddened by the news of their closing. I’ve attended (almost) all the gallery’s monthly Ray at Night openings, written a review or two about their shows, and at least on one occasion, purchased a work of art. This of course doesn’t make me special, not at all, because there are plenty of other Rubber Rose disciples that have also followed the gallery’s ascension into becoming one of the few great galleries in North Park. Yes, great.

The Rubber Rose up until now, with the exception of a couple rather forgettable shows, has been a consistent and very powerful visual force and voice in San Diego, and mortar to Ray Street’s shaky foundation. The gallery has exhibited some of the most diverse artists and works of art, which have pushed the boundaries and envelop of the art scene here. It was a much needed breath of fresh air and art. And now they will soon be gone. Why?

I don’t pretend to know all the reasons; I do know owning a business is difficult and a gallery, even more so. Robert Hughes, the former art critic for Time magazine, once predicted that we would end up with a two tiered economic driven art market, with galleries at the bottom and auction houses at the top. This would eventually leave no place for galleries like the Rubber Rose to exist. It would function something like this: young fashionable upstart galleries would “test drive” the hottest artists of the moment, and groom them to be picked-up by collectors and museums. These galleries or talent scouts if you will, would reap the benefits of a few sales, lose their artists to bigger NY and European spaces, but have the bragging rights for the discovery without any future returns on their investment.

The other tier of this over inflated and imaginary commercial venture would be dominated by the auction houses – Christie’s & Sotheby’s. They too would cherry-pick artists from galleries, but would take it one step further by organizing their own exhibits and museum shows, virtually guaranteeing an artist’s promotion and sales. There are two sides to every story of course, so depending on what side of the fence you found yourself on, it was either a lucrative reality or a dismal nightmare. If anything, it resembles today’s current art market. So what about everyone else?

Well, here in San Diego, in a much smaller microcosm, Rubber Rose could have become one of those galleries hand-picking the talent. Spacecraft Gallery is also located in North Park, and does this to a larger degree already, but even better, is Luis de Jesus Seminal Projects in Little Italy whose work already bridges a certain West coast/East coast aesthetic – ripe for cultivating. But that’s about it. Who succeeds, who fails, who gets to decide, difficult to say. I do know of one thing that insures the survival of a gallery, beyond the quality of work being shown, that’s clients who buy – not just collectors but buyers like you and me. It takes money honey; it takes money to put on a show, promote it, pay the rent & utilities, and the artist if something sells. These are the hard labor costs, the real price of doing business in the arts. The price of doing art business here in San Diego, specifically in North Park and on Ray St. is high, but the prices you’d find for some first rate artwork hanging on the walls at the Rubber Rose or along the street’s other galleries is very low and reasonable. This is a little known secret about San Diego’s art market, at least in this neighborhood.

So where is the problem? First, there is an abundance of good work and even great work being made in San Diego, the opposite is also true. A gluttony of very poor work being shown in maladapted or “mixed” commercial spaces – especially true of many of the businesses found on Ray St., which are required to participate in the monthly art events – leads to a certain level of quasi importance and professionalism. It’s difficult to determine, I believe, what art is for sale and what is simply background decoration. Secondly, there is a shortage of spaces designated as “galleries” that function as one. The fact that the Rubber Rose is closing decreases that number significantly. The opening and closing of galleries is nothing new, however, we’re not talking about one out of say 50 other galleries where such a closure would not have an impact on the community. North Park does not have that luxury.

Thirdly, the branding of Ray at Night has in recent years, been focused less on the art and more on the event. The initial draw to go see art, has been replaced by come and socialize with friends. This is all fine to a point, but has the adverse affect of regulating the art to the backroom. Art is now entertainment. I believe we often forget that an artist has spent time, money, and resources to put on a show, and other than friends & family, would like some feedback and potential sales from it. This is all perfectly normal and vitally necessary for their survival. Art making is a profession and not a hobby, it should be remunerated as such.

It’s easy to start pointing fingers at this point, perhaps we are all partly responsible for the closing of the Rubber Rose Gallery, but let’s try to learn from it and prevent it from happening again – we can at least try. I believe once again, it’s a question of numbers. Fewer galleries mean fewer venues and outlets for artists to show, which means little to no exposure for what does get shown and no possibility to see the entire overview of what is being created in the studio. Fewer artists showing due to a limited amount of galleries and a limited selection process based on likes & dislikes, doesn’t always mean the best work is being exposed. Fewer selections and choices leaves a range of artwork potentially less appealing to a discriminating public that may or may not have the wherewithal to purchase, or is purchasing for the first time. As fewer buyers who are unsure of what they are buying, or an artist’s or gallery’s reputation, or simply don’t see what they like, leads them to infrequently buy or at least, adopt a wait & see approach. Fewer sales=no rent money. Unless a gallery owner has deep pockets or a list of clients worth its weight in art sales, survival becomes increasingly difficult. You could take a Darwin-esque approach to small business and argue that the Payless shoe store on the corner of Ray St. isn’t catching any slack or sympathy for being open; it is after all, survival of the fittest and a good business plan that dictates success. True, but most everyone needs shoes, not everyone needs art.

Galleries need artists in order for them to exist and vice versa. It’s a simple fact. They don’t always have an exclusive symbiotic relationship because their wants and expectations are different. The one thing they do have in common is that they both require sales to continue their activities. I’m purposely being redundant and overtly didactic with this money issue to make a point: everyone should buy more art. At some point, something has to give – a gallery closes or your wallet opens. Those who do buy are of course, excluded from my diatribe. As I mentioned earlier, I’ve been to a few Ray at Night festivities and have witnessed the crowds who stroll in and out of each gallery, who are for the most part – young, well dressed, likely gainfully employed and university educated, and are having a good time. Their passing through Ray at Night is generally part of a larger plan of dining out, drinks and frivolity. It is a perfect match for an affluent crowd and reasonably priced artwork for sale.

So, if we want to avoid perpetuating a system of art marketing that only benefits a few at the exclusion of many, we need to overhaul the current structure so that it extends beyond the walls of the gallery and into the public domain. I’m not looking to mainstream, conform, or aspire to YouTube popularity, or for that matter, Democracy – at least when it comes to what gets shown. This would be extremely detrimental. I’m advocating stronger support for galleries and artists and sometimes it takes leaders to do this, meaning a larger infrastructure that comes directly from the individuals involved in its advancement. Galleries need the support of their local constituents and buyers and each other, and also the support and interest from their local museums. I believe museums should find the balance between archiving the history of art and setting trends, by putting the ascent on education (not just kids or art appreciation for the masses) but by emphasizing and showcasing local talent with yearly regional or biennial exhibits with the option to buy work.

A stronger gallery and artist’s scene also needs to be established here beyond the habitual expectations of Ray St. Give the public something more to come out for and tell them that they too, have a stake in the success of the art community here, encourage responsibility and ownership over vanity. If we can share this knowledge and experience with one another, reduce the feeling of isolation financially and visually, and create a supportive community, we will cease to be all an army of one and become an army of thousands and prevent huge mistakes like the Rubber Rose Gallery closing. It might be as simple as creating the desire.

Spun by Art as Authority at 08:37 PM | Permalink | Comments (13)

Who: Zuriel Waters & Chris Warr 2-man show
What: Sculpture, painting and installation
Where: Agitprop gallery in Northpark, 2837 University Avenue (Utah and University behind Glenn's Market facing the KFC)
When: Saturday August 9th from 7-10 pm 619.384.7989

The fruits of our almost two year collaboration and friendship come to harvest in this tightly packed exploration of personal yet symbiotic ideas.

Spun by Art as Authority at 06:15 PM | Permalink

by Richard Gleaves

Site-specific cinema on 81 grain silos, par un des plus grands artistes de la galaxie.

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