studiosavant

The Illuminated Manifesto published daily by the North Edmonton Sculpture Workshop.

01 February 2010

Artists and Their Soapboxes

[Via BoingBoing, Courtesy Devil Devil]

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28 January 2010

QUESTION THE MEDIA!!!

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26 January 2010

The Corruption of Art

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18 November 2009

Some Thoughts On The New AGA Logo

See, this is their new logo...... but, from the sheer number of people who say they see "asia" instead of "aga", maybe they should have went with this...Of course, that would have been better suited if the architect used Edmonton's trademark pyramid shape in his design.

Others have pointed out the similarity of the AGA's logo to another company's well-known corporate identity...

edmonton bontemporary art yallery

... of course, had the AGA's team gone as carefree as Ebay's designers, and jostled their letters up a bit, they might have dropped their inverted-a 'G' below the baseline to give it a descender (like actual lower-case letter Gs have), lending to readability. Details...

I suppose, in the end, to really judge the new logo, one could always use the old artists' trick of looking at it in a mirror to see how it holds up...
Hey! Whadya know? I have no trouble reading that!
This new logo might just signify our new grotesque art gallery quite well, after all.

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16 November 2009

Visual Arts Job Board

The Department of Art History, Visual Art, and Theory at the University of British Columbia invites applications for a tenure-track faculty appointment in Visual Art at the rank of Associate or Assistant Professor with an anticipated start date of July 1, 2010.

UBC, one of the largest and most distinguished universities in Canada, has excellent resources for scholarly research and artistic practice. The visual art program partners with strong art history and curatorial studies programs to provide unique studio programs for its graduate and undergraduate students. The department is also associated with a leading contemporary art gallery, the Morris and Helen Belkin Art Gallery, and the internationally recognized Museum of Anthropology. For more information on the department visit www.ahva.ubc.ca.

The Department seeks an individual who pursues studio practice against a strong background of contemporary, art historical and theoretical concerns. The successful candidate will be expected to maintain an active program of research, exhibition, graduate supervision, teaching and service. Demonstrating excellence in innovative pedagogical approaches is essential. An ability to form interdisciplinary collaborations (with other departments and institutions) is also an asset.

The candidate must possess the following minimum qualifications:

  • an MFA degree or equivalent;
  • an active national and international exhibition record, including catalogue publications on his or her work;
  • demonstrated potential for high quality research and teaching at all levels from foundation to graduate;
  • strong commitment to administrative responsibilities and curriculum development;
    a serious engagement with contemporary art practice, theory and critical discourse;

Applicants must submit the following:

A letter of application including a statement of artistic, research and teaching philosophies; visual documentation of current work (for example, CD-ROM to a maximum of 30 images, DVD of no longer than 12 minutes, or URL); relevant publications and exhibitions including authored works and reviews; detailed CV; evidence of teaching effectiveness; and three confidential letters of reference (either included in the application, or sent under separate cover).

The applications and inquiries should be addressed to:

Professors John O’Brian and Catherine Soussloff, Co-Chairs, Visual Art Search Committee, Department of Art History, Visual Art and Theory, University of British Columbia, 403-6333 Memorial Road, Vancouver, B.C., V6T 1Z2, Canada.

Deadline: Applications and all supporting materials must be received by December 1, 2009.

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24 May 2009

Memory Laps

It appears Tamas Virag of the Edmonton Sun filed his story on the 2009 Edmonton Relay for Life right around the time I was doing my scheduled walking shift around the Foote Field track last night/this morning. I guess we both had a long night.

If you'd like to join the fight against cancer, and can spare the money, please pledge a donation.

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01 April 2009

Happy Canada Day!


The Conservative Reform Alliance Party proudly presents
George Galloway

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31 December 2008

New Year's Eve Prognostication

As I put it back on December 31, 2006, "I wonder how long it will be before scientists somewhere in the world genetically engineer a unicorn...". Two years later, it hasn't happened yet, but with artists and amateurs alike getting into the transgenics game (or, as Vue Weekly would have it, 'transgenetics'), it seems, now more than ever, to be not a matter of if, but when.

The Gene Pool is open: Register your prediction in the format of Day/Month/Year in the comments section below. By doing so, you sincerely agree to ante $20 (CDN) into the pot (to be held onto by yourself until Uni's birth announcement, as verified by reputable scientific authorities). Closest date wins: winner takes all, losers are on their honour to pay up.

My pick: 23/02/2015

For more information, click the Gene Pool link.

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07 November 2008

Harper Junta Terminates National Portrait Gallery

[with material from CP]

OTTAWA — The long dream of a national portrait gallery to showcase Canada's famous faces is dead. The Conservative party, officially, hates our nation.

The Harper government abruptly announced late Friday that it is killing the project, despite the fact that it has been in the works for seven years. "Fuck all that art shit," Harper said, with a cold, soulless wink.

Newly minted Heritage-Suppression Minister James Moore announced that none of the proposals received by developers is acceptable to the Nazi-style government, "and we are therefore terminating the selection process."

"In this time of global economic instability, it is important that the federal government continue to manage its own affairs prudently and pragmatically," Moore unabashedly bullshitted in a cursory news release.

"The selection process failed to meet the best interests of both the portrait gallery and taxpayers. We have therefore decided not to pursue this project further at this time. Yoink!"

The announcement was quietly released just after 5 p.m. on a Friday - a tried-and-true strategy used by assholes to minimize bad press. As has been documented previously, these guys are huge assholes.

The government ironically noted that the portrait collection will continue to be available for viewing in travelling exhibitions and other public programs. Of course, they didn't mention that the Conservatives had already cancelled the government art transportation program. Good one, hey?

The Portrait Gallery of Canada was announced by the Liberal government in 2001, and was to open in 2005 in the former American embassy building directly across from Parliament.

It was originally projected to cost $22 million, but over time, that initial figure doubled to $45 million and its opening was delayed until at least 2007. In contrast, the new AGO renovation cost 10 times this amount, at roughly half a billion dollars.

Stephen Harper's Conservative government launched an ol' fashioned "head-up-ass" review of the project after taking office in 2006.

In November 2007, the government created a stir by suddenly, inexplicably announcing that it wanted Halifax, Quebec City, Montreal, Ottawa-Gatineau, Toronto, Winnipeg, Edmonton, Calgary and Vancouver to bid for the gallery. Fucktards.

Critics quickly slammed the Tories for considering moving the gallery out of the nation's capital. Liberal Senator Jerry Grafstein even introduced a private member's bill to keep the gallery in Ottawa.

Nevertheless, eventually the competition came down to three cities, with developers from Ottawa, Calgary and Edmonton submitting proposals by last May's deadline. Those suckers! They actually thought the Conservatives were going to go through on the promise to build the thing. Boy, did they get fooled!

Even the notoriously stingy Alberta government pledged $40 million in its budget Tuesday to support bids to bring the gallery to that province. Oh well, I guess it's the thought that counts.

Meanwhile, the federal government has already spent roughly $20 million refurbishing the former U.S. embassy. According to these portraits the Tories don't want you to see, the Harper boys plan to use the space instead for "meetings of their caucus", if you know what I mean...

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11 October 2008

Harper Deserves Re-Elect(rocut)ion

Dear Editors,
I read your creepy endorsement of Harper with no small measure of disgust and disappointment.

Harper's attack on the artist-citizens of Canada is not simply a "rhetorical blunder", as you sympathetically suggest, but a cynically considered gambit to disempower a demographic that generally rejects the extremist stance of the Reform-cum-Conservative party.

Worse still is your nonsensical notion that associating "Harper with the discredited and oblivion-bound Bush-Republican crowd... is not fair". Journal, please.

This is the same sucker, Stephen Harper, that happily recited a 'bomb-bomb-Iraq' speech that sounded very much like it had been mailed to him (and Australian PM Howard, and who knows who else?) by his bumbling buddy in the White House.

This is the same Stephen Harper that allows a Canadian citizen (an abducted minor who has been abused his whole life, no less), to languish in Gitmo, the US's widely condemned illegal torture-prison. The ONLY leader of a Commonwealth country to abandon its citizens to such a fate. So please, spare us any more hypocritical, self-serving lectures on 'fairness'. Please.

This is the same Stephen Harper who approved of Israel's indiscriminate bombing of Lebanon, ghoulishly calling their murder of countless innocent civilians in revenge for the capture of a single soldier "a measured response".

Please forgive us all if we citizens feel like vomiting in terror at the thought of Harper's "hand on the tiller" of our country for a minute more.

At this time of worldwide economic crisis, do we want a leader like Harper, whose so-called conservatives cook their own election finance books under their "in-and-out" scheme, then try to cover up their shady dealings by calling a snap election, contrary to their own promised fixed election date, ahem, "law"?

Thanks, but no thanks.
Anything But Conservative!

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22 May 2008

Relay 2008

My brother Jon's torture and death in 2005, in the form of advanced esophageal cancer at age 31, came as a devastating surprise, and remains an inconceivable mystery.

"In our early youth we sit before the life that lies ahead of us like children sitting before the curtain of a theatre, in happy and tense anticipation of whatever is going to appear. Luckily we do not know what really will appear. For to him who does know, children can sometimes seem like innocent delinquents, sentenced not to death but to life, who have not yet discovered what their punishment will consist of. Nonetheless, everyone desires to achieve old age, that is to say a condition in which one can say: 'Today it is bad, and day by day it will get worse - until at last the worst of all arrives.'"

-Arthur Schopenhauer


"The "worst of all" snuck up on Jon and beat the living shit out of him, for no good reason. I say, we chase the bastards down, and give 'em what's coming to 'em."

-Ryan McCourt


The Canadian Cancer Society Relay For Life is an overnight non-competitive relay that celebrates cancer survivors and pays tribute to loved ones. It's a night of fun, friendship and fundraising to beat cancer.

I will be participating as a member of the Jimmy Coole #1 team, in the Edmonton event on 24 May 2007.

You can be part of a community that takes up the fight. Please pledge me now and help make cancer history.

Online pledging is secure and it saves the Society money by reducing administrative costs (more about how your donation helps).

Thanks for your support!

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13 May 2008

Look What the Cat Dragged Into the Library

Ambum Stone, prehistoric, New Guinea (different photo - page 50)

Right up until I pulled the FedEx ripcord on the package I had no idea I was a winner. Excepting the cover art, it's mildly awesome: our new Art Atlas. Thank you Abbeville Press and Artblog.net.

The Allegory of Sight, 1617, Jan Brueghel the Elder & Peter Paul Rubens (page 169)

After a brief perusal of titles, pictures and captions, I think I can say that the text is not really about art so much; rather, it uses art (among other potent visual artefacts) to track global human activities. Its pictures are small and its maps are big. The Art Atlas maps the spread and diversification of human civilization, devoting two pages per landmass per time period in a constant geographic and chronological narrowing towards our near past. Upon taking measure of the 70+ anthropological specialists who contributed to this 300-page+ compilation, I am astounded.

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12 May 2008

For Anonymous...

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13 November 2007

Good Idea

B.C. pledges $49M for downtown Vancouver arts campus

"Premier Gordon Campbell was in Vancouver Tuesday to announce the province will contribute $49.3 million toward a new art school that will be part of the Woodward's redevelopment project in the Downtown Eastside.

Campbell said the new campus for Simon Fraser University's School for the Contemporary Arts will help British Columbia recruit and retain creative, talented people and support the renewal of the troubled neighbourhood.

The 11,845-square-metre school, scheduled for completion by late 2009, will fill five stories and will include public space, performance venues, teaching studios, a 400-seat theatre and a multimedia lounge and lab for new media.

The state-of-the-art performance spaces will engage the community and showcase creative works by some of Canada's most accomplished students and faculty in the arts, said Campbell.

The university will pay for the remaining $22 million cost of the school through a fundraising campaign.

When it is completed, the school is expected to increase economic activity in the Downtown Eastside by up to $7.5 million per year.

The campus is part of the larger Woodward's redevelopment built on the former site of the heritage building. A portion of the original building has been incorporated into the new development, which will include a market and social housing as well as office and retail space, childcare and City of Vancouver services."

Great idea... too bad things like this aren't happening here.

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11 November 2007

New Media

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09 November 2007

Homeless Canadian People Pictures

(via CBC)
Portrait gallery looks nationwide for new home

"Our government has set forth the notion that national cultural institutions do not necessarily have to be located in the national capital," said Heritage Minister Josée Verner at a news conference Friday announcing what she called "a bold and innovative step."

The competition will seek a qualified developer in "the best possible location in Canada" for the Portrait Gallery of Canada, Verner said.

The Conservative government has launched a request for proposals from Halifax, Quebec City, Montreal, Ottawa-Gatineau, Toronto, Winnipeg, Edmonton, Calgary and Vancouver.

Verner said those cities are being considered because they have large populations, strong tourism and would make the gallery accessible.

Information about the contest will be posted next week on the Public Works and Government Services Canada website, and the winner will be announced before summer 2008.

Public Works Minister Michael Fortier said the government wants to ensure maximum tax-dollar benefits by including the private sector in developing the new gallery.

He estimated it would open in 2011 or 2012, and he said the historic Ottawa building originally chosen to house it will not be considered as a possible site.

When asked about the $8 million spent on the portrait gallery already, Fortier said about half of that would have been spent on the project even if work hadn't begun on the site in Ottawa.

The gallery was announced by the Liberal government in 2001, and was to open in 2005 in the historic former American embassy building across from Parliament Hill in Ottawa at an estimated cost of $22 million.

However, the project's cost grew to $45 million and its opening was delayed until at least 2007.

After Stephen Harper's Conservative Government launched a review of the project in 2006, rumours began circulating that the gallery might move to Calgary.

The gallery's collection of portraits is currently housed out of public view in an Ottawa area building operated by the national archives.

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10 October 2007

Freedom Fighter

(From the LA Times, via R.D.)
Ayaan Hirsi Ali: abandoned to fanatics
The outspoken former Dutch legislator deserves the protection her country promised before she ran for parliament.
By Sam Harris and Salman Rushdie
October 9, 2007
As you read this, Ayaan Hirsi Ali sits in a safe house with armed men guarding her door. She is one of the most poised, intelligent and compassionate advocates of freedom of speech and conscience alive today, and for this she is despised in Muslim communities throughout the world. The details of her story bear repeating, as they illustrate how poorly equipped we are to deal with the threat of Muslim extremism in the West.

Hirsi Ali first fled to the Netherlands as a refugee from Somalia in 1992 after declining to submit to a forced marriage to a man she did not know. Once there, in hiding from her family, she began working as a cleaning lady. But this cleaning lady spoke Somali, Arabic, Amharic, Swahili, English and was quickly learning Dutch, so she soon found work as a translator for other Somali refugees, many of whom, like herself, were casualties of Islam. These women had been abused, mutilated, denied medical care and proper educations and forced into lives of sexual subjection and compulsory childbearing.

After attending the University of Leiden, Hirsi Ali began speaking publicly about the repression of women under Islam, and shortly thereafter she started receiving death threats from local Muslims. Her security situation eventually became so dire that she moved to the U.S. in 2002. However, she was soon contacted by Gerrit Zalm, then deputy prime minister of the Netherlands, who urged her to run for parliament. When Hirsi Ali voiced her security concerns, Zalm assured her that she would be given diplomatic protection wherever and whenever she needed it. She returned to the Netherlands with this assurance, won a seat in parliament and became a tireless advocate for women, for civil society and for reason.

The rest of her story is well known. In 2004, Hirsi Ali collaborated with Theo van Gogh on the film "Submission," which examined the link between Islamic law and the suffering of millions of women under Islam. The reaction from the Muslim community was nothing short of psychopathic, and it confirmed the necessity of Hirsi Ali's work and the reasonableness of her fears. Van Gogh, having declined bodyguards of his own, was gunned down and nearly decapitated on an Amsterdam street, and a letter threatening Hirsi Ali was staked to his chest with a butcher knife.

Hirsi Ali was immediately forced into hiding and moved from safe house to safe house, sometimes more than once a day, for months. Eventually, her security concerns drove her from the Netherlands altogether. She returned to the U.S., and the Dutch government has been paying for her protection here -- that is, until it suddenly announced last week that it would no longer protect her outside the Netherlands, thereby advertising her vulnerability to the world.

Hirsi Ali may be the first refugee from Western Europe since the Holocaust. As such, she is a unique and indispensable witness to both the strength and weakness of the West: to the splendor of open society and to the boundless energy of its antagonists. She knows the challenges we face in our struggle to contain the misogyny and religious fanaticism of the Muslim world, and she lives with the consequences of our failure each day. There is no one in a better position to remind us that tolerance of intolerance is cowardice.

Having recapitulated the Enlightenment for herself in a few short years, Hirsi Ali has surveyed every inch of the path leading out of the moral and intellectual wasteland that is traditional Islam. She has written two luminous books describing her journey, the most recent of which, "Infidel," has been an international bestseller for months. It is difficult to exaggerate her courage. As Christopher Caldwell wrote in the New York Times, "Voltaire did not risk, with his every utterance, making a billion enemies who recognized his face and could, via the Internet, share information instantaneously with people who aspired to assassinate him."

The Dutch Parliament will be debating Hirsi Ali's case this week. As it stands, the government's decision to protect her only within the borders of the Netherlands is genuinely perverse. While the Dutch have complained about the cost of protecting Hirsi Ali in the United States, it is actually far more expensive for them to protect her in the Netherlands, as the risk to her is greatest there.

There is also the matter of broken promises: Hirsi Ali was persuaded to run for parliament and to become the world's most visible and imperiled spokeswoman for the rights of Muslim women, on the understanding that she would be provided security for as long as she needed it. Zalm, in his capacity as both the deputy prime minister and the minister of finance, promised her such security without qualification. Most shamefully, Jan Peter Balkenende, the Dutch prime minister, has recommended that Hirsi Ali simply quit the Netherlands and has refused to grant her even a week's protection outside the country, during which she might raise funds to hire security of her own. Is this a craven attempt to placate local Muslim fanatics? A warning to other Dutch dissidents not to stir up trouble by speaking too frankly about Islam? Or just pure thoughtlessness?

The Dutch government should recognize a scandal in the making and rediscover its obligation to provide Hirsi Ali with the protection she was promised.

There is not a person alive more deserving of the freedoms of speech and conscience we take for granted in the West, nor is there anyone making a more courageous effort to defend them.

Sam Harris is the author of "The End of Faith" and "Letter to a Christian Nation." Salman Rushdie is a novelist whose works include "Midnight's Children," which won the Booker Prize, and "The Satanic Verses."

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28 September 2007

Is Nothing Sacred?

The simple answer, then, to how atheists should respond to sacred texts is: politely, if possible, employing all the wry ambiguity book critics use when awkwardly trapped with the author or admirer of a book about which they have reservations. "It's really quite amazing," one might say, or, "You know, I was just reading it the other day — it's as good as ever."

But when believers start to use sacred texts to oppress, the atheist must attack and reject the "divine" aspect of their books, out of self-defense and because it interferes with the individual's freedom of conscience and behavior.

Some things, after all, are sacred.

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29 August 2007

A 'New York Times- Arts' Sampler

Through Analysis, Gut Reaction Gains Credibility:

"Q: O.K., let's start with basics: what is a gut feeling?

A: It’s a judgment that is fast. It comes quickly into a person’s consciousness. The person doesn’t know why they have this feeling. Yet, this is strong enough to make an individual act on it. What a gut instinct is not is a calculation. You do not fully know where it comes from.

My research indicates that gut feelings are based on simple rules of thumb, what we psychologists term “heuristics.” These take advantage of certain capacities of the brain that have come down to us through time, experience and evolution. Gut instincts often rely on simple cues in the environment. In most situations, when people use their instincts, they are heeding these cues and ignoring other unnecessary information."

Volatile Markets? Art World Takes Stock:

'“There is a potential for a very big change here,” said Maxwell L. Anderson, a former director of the Whitney Museum of American Art who recently became director of the Indianapolis Museum of Art. “If there is a short-term flood of the market with attempted sales of works, which then depresses the value of works that are available, the unhappy effect is it creates a general dampening of enthusiasm for buying art.”

Eli Broad, the billionaire Los Angeles collector, predicts that troubles in the subprime mortgage market will rein in recent astounding levels of spending.

“We’ve seen an unprecedented appreciation of contemporary art in the 35 years that I’ve been collecting,” he said. “We’re bound to have a correction. I don’t know if it will happen at the November auctions, or it will happen next May.”'

Dress Like Your Child, and the Terrorists Win:

"Fathers in America used to have sons. Now they have mini-me’s. Pop and his offspring head out to the mall dressed in the same outfits: baggy shorts, sneakers, athletic socks and T-shirt, topped by a baseball cap. At home they watch Cartoon Network, play video games and eat lots of breakfast cereal. One is older and bigger, the other smaller and younger, but their tastes overlap to a remarkable degree. Today’s child truly is father to the man.

Diana West, a columnist for The Washington Times, finds nothing amusing about this. In “The Death of the Grown-Up,” she argues that the steadily expanding reach of youth culture over the last half century has brought Western civilization to the brink of disaster."

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14 August 2007

Child's Play

Bricksmith allows you to create virtual instructions for your Lego creations on your Mac. The magic is based on the LDraw library, a collection of 3D models of Lego building blocks created by enthusiasts from around the world. With Bricksmith, you never have to worry about running out of parts!
Bricksmith's raison d'être is to wed Lego building with the ravishing beauty of a genuine Macintosh interface—a union which has hitherto been lacking. In addition, Bricksmith offers:
  • a fast, comprehensive part browser provides access to thousands of parts
  • a full Lego color palette at your disposal
  • support for steps and submodels
  • undo, cut, copy, and paste
  • drag-and-drop reordering of file contents
  • multiple viewports
  • a Minifigure Generator
Soak in the wonderment. View the screenshot.

My Kid Could Paint That: In the span of only a few months, 4-year-old Marla Olmstead rocketed from total obscurity into international renown – and sold over $300,000 dollars worth of paintings. She was compared to Kandinsky and Pollock, and called “a budding Picasso.” Inside Edition, The Jane Pauley Show, and NPR did pieces, and The Today Show and Good Morning America got in a bidding war over an appearance by the bashful toddler. There was talk of corporate sponsorship with the family fielding calls from The Gap and Crayola. But not all of the attention was positive. From the beginning, many faulted her parents for exposing Marla to the glare of the media and accused the couple of exploiting their daughter for financial gain. Others felt her work was, in fact, comparable to the great abstract expressionists – but saw this as emblematic of the meaninglessness of Modern Art. “She is painting exactly as all the adult paintings have been in the past 50 years, but painting like a child, too. That is what everybody thinks but they don’t dare to say it,” said Oggi, the leading Italian weekly. Through no intention of her own, Marla revived the age-old question, ‘what is art?’

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06 August 2007

Cultural Capitalism

Art studio turns paint into profit
By Ben Richardson
BBC News, business reporter

Nigel Holman was running a paper supply business when a sculptor friend asked if he could build a studio in some spare warehouse space in Wimbledon.

As a favour Mr Holman agreed, and decided that if he was going to create one studio, he may as well build a few and test out the market.

"The reaction was incredible," he explains, the surprise still evident 14 years after he placed an advert offering the finished units to aspiring artists tired of working at home.

Pointing to the wrought metal stairs snaking up the outside of his warehouse, Mr Holman continues.

"People were queuing all the way down the fire escape. They were shouting 'Don't give the studio to them, I was at art school with them, they are rubbish'," he says.

Realising that there was a demand that was not being met, Mr Holman decided to go into the art studio business.

Hobby or job?

Today, the warehouse near the greyhound track in Wimbledon, south-west London, houses 130 artists in 111 studios, and is the biggest independent operator in the UK.

Looking through the window of Mr Holman's office, you can see the wood and metal exterior of his new £2m art-studio building, which is due to be completed in September and will boost the number of studios to 163.

It is already £800,000 over budget, and Mr Holman is keen to point out that in an industry where providers are often seen as a soft touch, he is a serious businessman spending serious amounts of money.

Unlike many of his competitors, Mr Holman's Wimbledon Art Studios are not funded by state bodies such as the Arts Council.

Instead Mr Holman says he charges about a third more for the studio space than his rivals, but says he will sell more of the artists' work, making it a better deal in the long run.

"It's great being an artist if you are earning a living," he says.

"If you aren't making money then you aren't an artist, you are a waiter or a teacher with a hobby."

'A little crazy'

Walk through the corridors of bright and whitewashed studios and you get a feeling of quiet determination emanating from behind each of the numbered rooms.

Some doors have been decorated with cards and posters from the artist's gallery shows, while others have been left plain except for a cleanly lettered name.

Nick Vivian spent many years painting murals in the Middle East before returning to the UK.

He came to Wimbledon Art Studios because he was going "a little crazy" working alone at home, and was looking for the company of other artists he could turn to for advice and bounce ideas off.

A little further down the corridor and Claire Burke and Rod Billington are chatting, both professional artists who have recently gone into business together.

Ms Burke explains that commercial pressures can often impinge on the work an artist produces, especially when they first leave art school.

One of the best ways to gain the confidence needed to follow your own individual style is to sell paintings, she adds.

"I like to see my paintings sell as it validates my thinking behind them," Ms Burke says. "If they don't sell, it bothers me."

Wall hangings

The key to Mr Holman's business model are the twice-yearly open studio days, when artists invite the public to come and view their work in situ.

Other studios open to the public normally once a year for a private view for a few hours on a Friday night, and then all day Saturday and Sunday," he explains, adding that some of them only attract about 250 people.

Wimbledon Art Studios open twice a year, for four days at a time, and have in the past attracted 6,000 visitors who spent a total of £300,000 on the art on show.

"We don't advertise in art magazines because you get people who are interested in art but don't buy anything," he explains.

"There has been a boom in the middle class in areas like this and they want real art to hang on their walls."

Sink or swim

Mr Holman, who says he is dyslexic and grew up "when they just called you thick", has experience of trying to make it as an artist, and has no illusions about how harsh life can be.

A self-taught artist who sold paintings of figurative nudes with a slight S&M twist, the 51-year-old says it is in his businesses' interests to help others make it as artists.

"I can't think of another industry where you are so left on your own," says Mr Holman.

"You leave art school, and you go out on your own, there are no customers, no training available."

In order to better prepare them for the cold world of business, artists at the Wimbledon Art Studios can sign up for seminars and workshops with titles such as Selling and Presentation, Accounts Talk and The Rise and Design of Internet Marketing.

"The studios give artists a community," Mr Holman explains. "It can be a lonely business, but here they don't feel so alone and isolated."

"People don't tend to become artists because of commercial gain, but they want to earn a living. We just try to make that process as easy as possible."

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16 July 2007

Neil Marshall (1950 - 2007)

"A sad note: belatedly and regretfully I must report that Neil Marshall, known in both Canada and the United States for nearly four decades of fine paintings, prints, sculpture and unique "floor paintings," as well as his lively writing, both in hard copy and his recent online journal, took his own life in mid-May (after I’d sent my June 1 issue off to my webmaster and prepared my print edition for mailing) A memorial was held in Manhattan on May 24, and Neil’s website is still online, with many of his journal entries and reproductions of his art: www.neilmarshall.com."
I clicked over to the link, and the look of the site seemed familiar. I thought, maybe I had read an essay there before, but I couldn't remember which, or when.

[Here's a taste from one: "Any art critic who believes Andy Warhol was the most important artist of the 20th century is incompetent. The miracle here is that such judgments ever get published in the first place. With his collection of essays from The Nation assembled under the title, The Madonna of the Future, Danto restates this, along with other absurdities that have little or nothing to do with the experience of art, and that is the whole point. Art is not important, philosophy is. Esthetic experience doesn't matter because only ideas count. This is analogous to what I call The Doctrine of Politically Correct Crap."]


Then I clicked on 'exhibition archive'. The 'tapestry paintings' are diverse, and brilliant. The 'collage paintings', likewise. The group of six, and the group of ten monchromes, and the series of photos, are quite good, too. Even the 'horizontal paintings', which, at first, I was sure, finally showed Marshall going too far, came back around on their individual views, and triumphed in the end.

I don't know why Marshall decided to make his exit, but I hope it was with some sense of satisfaction with what he had accomplished in this body of work. Ars longa, vita brevis.

(
image: Neil Marshall, Study for Piano, Acrylic and cotton collage on board, 42 X 18 in.)

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13 July 2007

Nerdy Shame

That's a Wookie, not a Warhol

Once a source of nerdy shame, action figures and comic books are becoming acceptable accents in home decor

The art on display around Adrian Cho's Edmonton home is not framed or first-edition. It is not Impressionist or even IKEA.

Many of the pieces are from Japan, and a few of them can run faster than a speeding bullet.

Mr. Cho, who has sprinkled his living space with action figures and anime creations, is one of a growing number of Canadians who view Spiderman and Transformer toys as acceptable accents to their home decor.

"We've always idolized art in some way: now it's just a Robocop instead of Rodin," said the 30-year-old video game designer.

It used to be that grown men who collected action figures did so on the down low. If they had their Star Wars figurines on display they were relegated to a "nerd room," a private space generally in the basement and always out of sight to guests.

But with the mainstream success of superhero franchises in Hollywood and the nerdification of culture in general, action figures have come out of the closet and are increasingly finding a place of pride on walls and mantels.

"There's sort of a nerd chic thing now," said Mr. Cho, who did his master's thesis on the action figure as artistic artifact. "We're not necessarily less cultured, but our focus is different. Pop culture and cross-promotional products are huge."

Bruno Bornsztein, a designer and founder of Curbly.com, an online community for DIY home decor, agrees that the celebration of all things geek has infiltrated people's homes.

"I have seen more people tricking out their house with comic book stuff," he said. "People feel more freedom showing off interests that would have embarrassed them before."

Part of the reason, he said, is that both comics and action figures have become more visually appealing.

Ratty cartoons have been replaced by bound graphic novels and Star Trek figurines have been bumped off shelves by Japanese Munny dolls.

The line has been blurred, Mr. Bornsztein said, between "people who are geeky and people who are arty."

That said, not every action figure he has seen in someone's living room deserved to be there.

"Some of it is really cool aesthetically," he said. "But I'm not particularly into the hardcore stuff."

Jason Beck, a 38-year-old stand-up comedian from Winnipeg who collects Yoda figures, falls into the more extreme category of collectors.

In his late 20s he was inspired by nostalgia to recreate the collection of Star Wars toys he had as a kid, and now owns hundreds of dolls, sculptures and toys.

"Because I'm a comedian, the collection is a lot more accepted," he said. "People just think I'm wacky."

He would prefer to have his Yodas scattered around the house, with one large sculpture beside a plant "because it looks like he's on planet Dagobah," but said his collection has been relegated to a single room by his girlfriend.

"She really wanted to get a house so I said, 'Okay, but I want a Yoda room,' " he said. "She went along with it."

Mr. Cho, too, said his girlfriend is understanding of his decor decisions.

"She knew if she wanted me, the toys come too," he said.

In their own way, both men are following the lead of other cultural institutions that have embraced animation and action-figure-inspired content as legitimate artistic enterprise.

The Art Institute of Fort Lauderdale has a touring exhibition of limited edition toys called SubCultures: The Art of the Action Figure.

The Museum of Modern Art in New York owns work by comic artist Art Spiegelman, and the Art Gallery of Ontario owns pieces by Canadian graphic novelist Seth.

Douglas Coupland has integrated pop culture into his work with furniture design, and The Art Hotel in Berlin has a popular "Comic" room, where every corner and angle is outlined with a thin black line so that guests have the effect of being in a cartoon.

Mr. Cho believes the trend toward action figure decor began in the 1990s, when self-professed geeks started going online and discovered they were not the only ones who had kept their toys since childhood.

"Everyone was suddenly proud to dig stuff out of their parents' garage," he said.

He sees the items as an extension of pop art - instead of hanging Warhol's soup cans or installing a urinal in a gallery, his generation are putting their Princess Leia dolls on pedestals.

Bart Beaty, a University of Calgary professor who writes about comic books as visual culture, has confined his collection of comics and graphic novels to two areas of his house: The pamphlet-style Batman and Superman comics are in a closet in the basement, but the 3,000 European graphic novels he collected while researching his next book are on display in his dining room.

"We have people over for dinner and they sit there and stare and go 'What the hell is that?' " he said. "But I like the way it looks."

Tom Spurgeon, who runs the website Comicsreporter.com, said he used to hear stories about people going to great lengths to hide their action figure collections, but has recently noticed a trend in the opposite direction.

"With people under the age of 40 there's definitely a greater integration," he said. "The material's more accepted, but I also think the material's more attractive."

He has taken several trips to IKEA with friends looking for display cases for their figures, and has had lengthy discussions about how to light statues to best effect.

"They don't want to let go of their passions, but they're more serious about displaying them," he said. "There's a trend toward curating your collection."

And he is not just talking about men.

Mr. Spurgeon knows one woman who has an Evil Queen collection of action figures on display in her apartment, and heard from another woman who chose her house because it had built-in shelves where she could mount her army of toys.

Displaying dolls, comic books and spaceship replicas is not really any more bizarre than using a living room to showcase collections of tiny spoons or china teacups, he added.

"People want to fly their flag however they can fly it," he said.

"My Dad had coins and pictures of railroad stuff; my friend Kevin has pictures of people from Battlestar Galactica."

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10 July 2007

More Recommended Reading...

"Why is the art world a disaster? The prevalence of exhibitions like “Wrestle,” of collectors like Marieluise Hessel, of institutions like the Hessel Museum and Bard College help us begin to answer that question. Their very ordinariness enhances their value as symptoms. In part, the art world is a disaster because of that ordinariness: because of the popularization and institutionalization of the antics and attitudes of Dada. As W. S. Gilbert knew, when everybody’s somebody, nobody’s anybody. When the outré attitudes of a tiny elite go mainstream, only the rhetoric, not the substance, of the drama survives.

That’s part of the answer: the domestication of deviance, and its subsequent elevation as an object of aesthetic—well, not delectation, exactly: perhaps veneration would be closer to the truth. But that is only part of the puzzle. There are at least three other elements at work. One is the unholy alliance between the more rebarbative and hermetic precincts of academic activity and the practice of art. As even a glance at the preposterous catalogue accompanying “Wrestle”—accompanying almost any trendy exhibition these days—demonstrates, art is increasingly the creature of its explication. It’s not quite what Tom Wolfe predicted in The Painted Word, where in the gallery-of-the-future a postcard-sized photograph of a painting would be used to illustrate a passage of criticism blown up to the size of its inflated sense of self-worth. The difference is that the new verbiage doesn’t even pretend to be art criticism. It occupies a curious no man’s land between criticism, political activism, and pseudo-philosophical speculation: less an intellectual than a linguistic phenomenon, speaking more to the failure or decay of ideas than to their elaboration. Increasingly, the “art” is indistinguishable from the verbal noise that accompanies it, as witness the little red band that surrounded the catalogue for “Wrestle.” This “work” was by Lawrence Weiner and read: “An Amount of Currency Exchanged from One Country to Another.” The point to notice is the usurpation of art by these free-floating verbal clots, full of emotion but utterly lacking in what David Hume called “the calm sunshine of the mind.”

A second element that helps to explain why the art world is a disaster is money—not just the staggering prices routinely fetched by celebrity artists today, but the bucket-loads of cash that seem to surround almost any enterprise that can manage to get itself recognized as having to do with “the arts.” The presence of money means the presence of “society,” which goes a long way toward explaining why yesterday’s philistine is today’s champion of anything and everything that presents itself as art, no matter how repulsive it may be. If tout le monde is going to an opening for Matthew Barney at the Guggenheim, you can bet your bottom black tie that the nice lady next door who gave MOMA $10 million will be there, too. The vast infusion of money into the art world in recent decades has done an immense amount to facilitate what my colleague Hilton Kramer aptly called “the revenge of the philistines.”

A third additional element in this sorry story has to do with the decoupling of art-world practice from the practice of art. Look at the objects on view in “Wrestle”: almost none has anything to do with art as traditionally understood: mastery of a craft in order to make objects that gratify and ennoble those who see them. On the contrary, the art world has wholeheartedly embraced art as an exercise in political sermonizing and anti-humanistic persiflage, which has assured the increasing trivialization of the practice of art. For those who cherish art as an ally to civilization, the disaster that is today’s art world is nothing less than a tragedy. But this, too, will pass. Sooner or later, even the Leon Botsteins and Marieluise Hessels of the world will realize that the character in Bruce Nauman’s “Good Boy, Bad Boy” was right: “this is boring.”

[Excerpt from Roger Kimball's essay, Why the Art World Is A Disaster, from The New Criterion, June 2007]

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01 July 2007

Independent Roundup

(Via Telegraph)
Windows Into The Future "[Zaha] Hadid is now at work in Britain, designing the Aquatics Centre for the 2012 Olympics, among other projects, and very busy around the world. Models and a wall of energetic video displays at the Design Museum reveal an extraordinary array of works in progress from Spain to Abu Dhabi to Russia and India. Highlights look set to be Hadid's new Bridge Pavilion in Zaragoza, opening next year; the Guangzhou Opera House in China, nearing completion; and her Maritime Terminal at Salerno, now on site. The word "explosive" has been applied to Hadid's style again and again and, judging by these startling images of new work, the idea of detonations of energy to create "stop-and-stare" buildings remains apt."
(Via The Tyee)
The Art of The Politics of Art: "Let's do a bit of make believe. Suppose someone in Mozart's time and milieu had been shown a performance by First Nations singers, drummers and dancers. And suppose the government of that place and time proposed funding this North American expression of "culture." It would, no doubt, be mocked. Yet few, if any, people today would question the cultural and artistic validity of this exercise. Suppose Michelangelo were asked to exhibit his famous "David" alongside Inuit carvings of whalebone. He would no doubt be horrified at this terrible lèse majesté, but who today would question the artistic/cultural validity and the beauty of whalebone carvings?"
(Via Slate)
What Do Ministers of Culture Do?: "They oversee grants for the arts, fund public broadcasting, support museums, and generally seek to preserve and promote national identity. But beyond that, their responsibilities vary widely. In Britain, the Department for Culture, Media, and Sport also handles tourism and the 2012 Olympic Games, and has even spoken out against U.S. laws cracking down on Internet gambling. The responsibilities of Canada's culture minister—better known as the "heritage minister"—are largely ceremonial: attending awards functions, cocktail hours, etc."
(Via Prairie Artsters)
Alberta Biennial of Contemporary Art June 23 - September 9, 2007: "Heralded as an institutional showcase for Alberta artists, the AGA must be more clear as to what, who, and why they are curating these shows. To use the model of a biennial, is somewhat both precocious for Alberta, and in many ways, archaic and typical of Alberta. If the Alberta art scene is to gain national attention, arguably the raison d'etre of the biennial, and to market itself successfully, we need to first identify ourselves before we try to sell ourselves."
(Via The Onion)
Seminal School-Portrait Photographer Dies At 92: "PHOENIX—Henry Anszczak, the photographer whose influential work revolutionized modern school portraiture, died Sunday at his family home in Eloy. He was 92. According to longtime assistant Dave Olsen, Anszczak died of natural causes. "On Sunday, Mr. Anszczak passed away peacefully in his sleep, surrounded by his family and scores of yearbooks," Olsen said. "We will never forget his wonderful artistic achievements. He blazed the trail for thousands of school photographers nationwide. The lion of 20th-century public-educational culture roars no more."
(Via CBC)
France to Try Out Free Museums: "The French government says visitors will get free access to several museums in Paris and other towns to test out a possible nationwide program."

(Via CNN)
Serra: MoMA's Man of Steel: "The subject matter" of this work, he tells you, "is your personal experience of walking into and through and around. There really isn't any content until you fulfill your exploration" of a piece."

These topics are all offered up for discussion. Studiosavant readers, you may fire at will...

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