OUR GOODS has finally launched. OurGoods is a website that connects creative people who barter skills, spaces, and objects.
Artists! This is worth checking out!
So far: I see 295 members signed up, postings offering oil pastels, and postings requesting advice and books. I can only see this growing exponentially as artists sign on and take advantage of this amazing tool. Someone out there might actually need your old sheet protectors or slide cases! Were you looking for a discontinued color of artist tape? Need someone to do a studio visit? This sounds like all kinds of awesome.
This FUN DAY photo was sent it to us by world-traveler, Rob Carter. Rob did want to make clear that he was not participating in the above "event", but was merely an observer. I felt it fitting to post today since most of the outfits above look a lot like the costumes that Ricky's is selling for Halloween.
Fun Day reading list:
Maybe not such a good idea to have a wedding ceremony in a language that you don't understand. Same rule applies for tattoos.
It is apparently that time of year: the time of year for art books, artists' books, and fairs. Or a combination of all three. Be sure you mark your calendar next week to visit these two super exciting book-fairs:
The three year lawsuit between Joe Simon and the Andy Warhol Foundation and its Authentication Board is over. I find this story very upsetting for two reasons: 1. Mr. Simon certainly presented an awful lot of material that supported the validity of his claim, and 2. I think there should be more attention given to the fact that Authentication Boards often operate with what might be considered a great conflict of interest: it's not uncommon for these board members to in fact be collectors of that same artist's art work, and as an "authenticator" they also control the artist's market (and therefore value). Hmm...
(above: screenshot taken from http://www3.timeoutny.com/newyork/tonyblog/2010/10/free-things-to-do-today-486/)
I SAW IT! The Shark Attack Dance Ride. A bevy of shark-finned bike riders crossed my path in front of the New Museum last night. There were my two loves: art and sharks, in one place at one time, and I was without my camera!!!!!!!!! ahhhhhhh!!!!!!! Hopefully this event will be recurring.
More reading for your friday:
Interesting exhibition essay about art and money. Looks like I missed seeing the exhibition, Moving Money, but there are some installation shots from the 2009 show here.
It's turning out to be a SHOUT OUT kind of day. Here's another SHOUT OUT to DROOEL, a blog dedicated to presenting "contemporary painting from around the web". Drooel has shown a lot of love to a few Mixed Greens artists, and we're happy to give love back. Check it out.
“Terms and Conditions” is the fine print you should worry about. We’re now in the habit of scouring our credit card statements for increases in interest rates...add this to your list of things to pay attention to. Here’s why: most online portfolio sites or social networks that allow users to upload personal content (where “content” is defined as not being information), this becomes STUFF that you share ownership of. You are putting it out there for the world, and you are essentially giving the world the right to it. Also check out the Facebook Principles here. Note #2--it reminds users that Facebook has no control over limiting how your "Friends" or other Facebook users might use the content you upload. Ever wondered why recent news stories have pulled images of victims or perpetrators from their Facebook pages? (see below)
(above image: Screenshot courtesy of FoxNews.com taken from http://www.foxnews.com/story/0,2933,518459,00.html on 10/18/10 5:27pm)
This content is now in the public domain, and depending on your Privacy settings, your “Friends” (or possibly even “Everyone”) has the ability to pull content from your page. Most disturbing is the fact that Facebook, and similar sites, have the right to license, distribute, and even sell your content for commercial or non-commercial purposes. Although Facebook has publicly stated that they will not sell content, I still find their terms unsettling, and here's why:
From Facebook's Terms and Conditions: Sharing Your Content and Information
You own all of the content and information you post on Facebook, and you can control how it is shared through your privacy and application settings . In addition:
For content that is covered by intellectual property rights, like photos and videos ("IP content"), you specifically give us the following permission, subject to your privacy and application settings : you grant us a non-exclusive, transferable, sub-licensable, royalty-free, worldwide license to use any IP content that you post on or in connection with Facebook ("IP License"). This IP License ends when you delete your IP content or your account unless your content has been shared with others, and they have not deleted it.
This problem doesn't end with Facebook. I found similar terms and conditions on Re-Title.com, a popular art-world site that hosts artists' portfolios and exhibition images. Here is an excerpt from their terms and conditions:
What exactly does this mean for artists? Why use a portfolio site if you’re extending the license of your images for free?? Be aware of exactly what you’re signing off on when you upload your artwork to any websites. Here are some strict terms and conditions (for usage) from the MET's website, that you might consider using. It’s certainly a much better idea to have your own domain, your own website, where you have total control over content and permissions.
If you happen to be in Whittier, CA, check out the opening of Stas Orlovski's Nocturnes tonight at Rio Hondo College. There will be a reception and an artist talktonight at 7pm. The show will be on view through November 18.
Socialites as curators. Interesting topic: what does it mean these days to be a curator? Has that job title shifted in meaning? The article describes Restoin-Roitfeld as "part dealer, part gallery-owner and part party-host", and yet none of those three titles accurately describes the job of a curator.
The Artist Pension Trust (this article is from May 2010, but it's worth a read if you're not up to date on exactly what the Pension Trust is)--thought I'd mention it today since someone asked me about APT this morning. Interesting to note: "Around 110 individual investors support the fund. Shareholders in APT's parent company MutualArt, they each gave an eight-year commitment to fund APT's operations..." and the fund is now in it's seventh year. What happens after this eight year commitment is up?
I had the wonderful pleasure of attending an ArtTable breakfast this morning with guest speakers Dorothy Vogel and Montclair Art Museum's Chief Curator Gail Stavitsky. I had seen the film Herb and Dorothy when it was first released, but hearing Dorothy speak in person about her history of collecting art was even more moving. The trailer for the film is above--take a look! I highly recommend it!
If you have a chance to visit the Montclair Art Museum, they are showing a selection of the Vogel Collection from the 50x50 program, and are showing the film as part of the exhibition Living For Art: The Herbert and Dorothy Vogel Collection.
what: ARTTABLE | Alternative Curatorial Strategies Today Panel Discussion |
where: EXIT ART, 475 10th Ave, NYC, NY 10018 |
when: Friday | Oct 22 | 6pm
FEE: $5.00 suggested donation at the door, RSVP here
How is the term “alternative” defined today and what is being added to the conversation? Who is the audience and how and where is it created? What kinds of structures are needed to support alternative curatorial strategies going forward?
We received this shipment today. Ouch! Word of warning to artists out there: when packing flat works on paper, always err on the side of caution and overdo it with padding. Better to be safe than sorry.
This kind of packing misfortune makes us all miss our very own Rob Carter (who is currently on residency). Rob is the ultimate preparator and often warns us all about such mistakes. A lovely blast from the recent past of Rob below:
We're winding down our last day of installing our two solo exhibitions opening tomorrow. Here's a shot of what's currently happening in the back gallery--Lawrence, Mary and Steven (fresh off the plane from Berlin) are working on lighting and touch-ups. We hope to see you all tomorrow night to celebrate the opening of Among Friends and Enemies and the "Close" Portfolio @ Mixed Greens.
At The Pit we love supporting great artists and photographers, and with that I'm so excited to spread the word about this project that features photographs by Etienne Frossard.
Emma's Journey, a fabulous children's book, chronicles a Central Park sparrow's dream and eventual journey to visit her relatives in Paris. The book uses an unexpected combination of photographs (by Etienne Frossard) superimposed by illustrations (by Claire Frossard) to create "an inventive and poetic portrait of New York City, the images cover Central Park, Midtown, the Flatiron Building, and the Lower East Side."
*if your little kiddies want a signed copy, the schedule for the book signings is: Oct 24 at the Powerhouse Arena, in Brooklyn, NY Nov 06 at Greenlight in Greenpoint Nov 07 at Bookcourt on Court Street
Last week I was painfully reminded of just how much abuse the Reply All button forces on numerous recipients. It was a wholly unprofessional (and frankly, SHOCKING) string of emails about a canceled exhibition. The curator, in his email, explained his reasons for canceling the show (he cited building issues that might pose a threat to the artwork), and unfortunately the venue's management felt that this was not at all the case, and that the curator was also essentially trying to sabotage the whole thing (although this was never fully explained). The emails back and forth quickly escalated into a barrage of name-calling...with every sender using Reply All. At first I was intrigued, then entertained, and then finally found the whole thing to be an inbox-clogging nuisance. I will say that the venue's administrator did end up sounding a bit cuckoo for cocoa-puffs when he stooped to using racial slurs. Speaking of crazy, I found this quote on his website:
" Surreal nightmare...DNA seems to have gone berserk"
Gone berserk? It seems so.
Readers, please take caution when replying--there's no need to fight in front of others.
There will be an upcoming art auction benefiting Scott Andresen, an artist who was recently involved in a terrible accident. I urge you all to read Scott's Recovery Blog as he chronicles his incredible story.
Information for the Benefit, as well as ticket purchasing info (as well as a way to simply DONATE! to help Scott) can be found here.
This is bit of a summer flashback AND procrastination entry (ooh, fridays)...here's a nice photo from an MG adventure--we found that tax line to be pretty funny:
And in Friday Fun Day reading, I got very excited when I stumbled upon Gallery Girl's"Off the Record" posting. Trouble is, I don't find it nearly as funny or well-worth my 5 minutes of procrastination as the Gossip Girl Recap over at NYMag. I don't even watch Gossip Girl and still I find that little ditty of a weekly recap totally compelling.
It's taken me a few days to come to terms with this story. It's also taken me a full day to recover from seeing the gruesome photos (please please don't go searching for them...i think it's sad.) The link to the story I've posted does not include those photos, so no need to cover your eyes.
I can't believe I have to wait another 10 MONTHS for Shark Week. ugh.
above image credit: E. Frossard, detail of Mark Mulroney's "Really Creative Pictures" sketch book installation
If you haven't already, make sure you schedule a visit to Mixed Greens before this Saturday, October 9th 6pm. Mark Mulroney's Really Creative Pictures only has a few days left! You can read about the show and flip through some installation shots here.
And don't get me wrong--while my earlier blog post questioned the ethics of letting a museum financially fail and close (only to give away and sell off their collection), I certainly do see the issues concerning the public trust. If this does become policy, I hope it will be an extremely regulated one.
"[it] encourages viewers to notice "art" in daily life. Images captioned with the names of art world giants like Jeff Koons, Damien Hirst, and Takashi Murakami show objects that could be their work, or might just be everyday detritus."
It must be cool if they're selling the compilation book at The Smile. This blog will certainly be on my "daily read" list.
I've had museums on my mind all morning...ever since I saw this posted on the Art Law Blog. Zaretsky's posting title makes his feelings on the situation VERY clear. But I found myself weighing the options: Yes, it would be terrible for a collection to lose part of itself purely for financial gain; and wouldn't it be equally terrible for an entire institution to shut down (and the collection disposed of) because that financial need couldn't be met?
I've noticed that in most of the press regarding the deaccessioning of art works (ahhh, horror, horror), the discussion is generally rooted in the AAM Code of Ethics (which you can download here). This is the policy with that famous line, "Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum's discipline, but in no event shall they be used for anything other than acquisition or direct care of collections." But the very same bullet point begins with the sentence, "disposal of collections through sale, trade, or research activities is solely for the advancement of the museum's mission." Is continuing to EXIST not an advancement of the museum's mission??
Let's take a closer look at a museum's mission statement. The Met's mission statement:
"The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards."
If the museum's mission statement asserts the goal to "collect, preserve, study, exhibit", then it essentially asserts that it intends to EXIST as a museum. I suppose that there is great deal of interpretation that could be inserted here--there is no mention of a brick-and-mortar building that houses the collection, for example. This could potentially be talking about a virtual, online collection as well, I suppose.
"Founded in 1961, The Rose Art Museum of Brandeis University is an educational and cultural institution dedicated to collecting, preserving and exhibiting the finest of modern and contemporary art. The programs of the Rose adhere to the overall mission of the University, embracing its values of academic excellence, social justice, and freedom of expression.
An active participant in the academic, cultural, and social life of Brandeis, the Rose seeks to stimulate public awareness and disseminate knowledge of modern and contemporary art to enrich educational, cultural, and artistic communities regionally, nationally, and internationally. The Rose affirms the principle that knowledge of the past informs an understanding of the present and provides the critical foundation for shaping the future. It promotes learning and understanding of the evolving meanings, ideas, and forms of visual art relevant to contemporary society."
Looks like there's a similar problem here. The mission of the museum defines itself as being an "active participant", a "promot[er] of learning" and a "stimula[tor] of public awareness". It does not define itself as a building to house the collection, nor does it state the intent to keep the collection intact.
Perhaps, then, it is the mission statements of museums that need to change instead of the AAM code of ethics. New York State tried to pass a bill, but has been unsuccessful . No one is sure where that leaves us now.
What exactly happens when a museum closes? Here is one great example of museum collection (and disposal) policy. If this is in any way standard, then the various museums on the brink will be splitting up their collections to distribute among other institutions, and eventually selling what's leftover. So here we are again, back at that issue of selling works from the collection. Pretty vicious cycle.