Selling Art Is Like Selling Potato Chips

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I come from the business world. In over thirty years of business planning and marketing I have had the opportunity to work with many successful (as well as my share of not so successful) startups to some of the world’s biggest and best known brands. These successful companies had a lot more in common than you might think. What they had in common was a grasp for the basics of marketing, consumer behavior and a good plan of action with the management to execute it. Continue reading

David Brooks’ Repositioned Core at the Visual Arts Center

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David Brooks: Repositioned Core at the Visual Arts Center.

 

Repositioned Core is the culmination of a year of research and investigation by the Fall 2014 Vaulted Gallery Artist-in-Residence at the Visual Arts Center, Brooklyn-based David Brooks. A unique feature of the residency at the Visual Arts Center is the considerable access that the artist-in-residence is given to work with other departments, areas of knowledge, production, and study at the University of Texas at Austin. Continue reading

Lynne Harlow: Big Interventions, Minimal Elements

Lynne Harlow Sculpture

Against the Velvet of the Long Goodbye, 2013. Fender guitar and amp, vinyl rain curtain, tinted light site-specific installation: MINUS SPACE, Brooklyn, NY. Courtesy of MINUS SPACE

Reducing Work To Its Essence

It takes courage to be spare. Artists have to trust audiences to understand minimal work or be brave enough not to care if they don’t. Continue reading

In the Studio with Crystal Schenk

Crystal Schenk Sculpture

Syringe (detail cropped), 2012. 18″h x 7″w x 5″d. Cow skull, beads. Photo: Dan Kvitka

Crystal Schenk uses animal skulls to create autobiographical artworks. Employing traditional folk-art techniques from the indigenous Huichol people in the Sierra Madre, Schenk covers deer, steer and cow skulls with beaded skins that are invested with personal resonance. She also uses skulls as a base for growing quartz and crystals in her Portland home. In this interview, we begin a conversation about intimate or accessible meanings of her compelling memento mori. Continue reading

Procrastination at its Best

Never Finished Sculpture

Never Finished Installation. Photo by Mark Woods.

There might have been an opening reception, but artists Etta Lilienthal and Ben Zamora have not admitted to completing the commissioned work on view. Never Finished at Suyama Space suggests open-ended conversations, things in motion, unresolved conflict. In other words it’s an ongoing dialogue that stretches from floor to ceiling in one of Seattle’s largest and most inventive gallery spaces. The gallery acts as foyer to the well-known firm Suyama Peterson Deguchi Architects. On one side of the wall, architectural professionals bent studiously over plans. On the other, Never Finished made up of over 300 fluorescent fixtures caught in a silent, whispering vortex. Continue reading

Boaz Vaadia: Sculpture 1971–2012

Boaz Scultpure

The work of Boaz Vaadia is among the most recognizable sculpture in today’s gallery, museum, and public art venues. His stacked-stone figures (solo, in family groups, sometimes with companion animals) are evocative and distinctive. A handsome book from Hudson Hills Press, with text by Wendy Steiner, Ivan C. Karp, Anthony Brown, and the artist himself, not only gives many excellent photographs of the work but also a great deal of context for the sculpture and a good sense of the origins and development of Vaadia’s art. Continue reading

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