Having your work shown in a gallery can be a great way to build your art brand and expand your market reach. If you are represented by a gallery you are entering into a legal agreement between you and the gallery. As with any legal agreement it is important to know what you are getting into. The same goes for having your work represented on an online gallery as well. Continue reading
Playing to the Gallery is the published and polished version of Grayson Perry’s Reith lectures. Whilst the BBC Radio 4 talks are widely acclaimed in the media, Perry is, to some extent, a dividing figure. The Turner prize winner has been the go-to presenter of Channel 4 art programmes for several years, a highly exposed and irreverent middleman between notions of the gallery and the general British public. Continue reading
It’s a long way – a very long way – from Australia to the northern part of the Canadian province of Alberta and its capital city of Edmonton.
It involves a kind of planetary inversion, if you will, a shift between geographic, seasonal, and ecological extremes. But it’s an inversion artist Lyndal Osborne made, living now as she does on the edge of the North Saskatchewan River which winds along just behind her property in a rural part of Edmonton.
And the two extremes – Australia and the more northerly reaches Canada – truly inform her sculptural and installational work at the most fundamental of levels. Continue reading
Most artists don’t know what kind of career they will have, or if they will even have a career, but sculptor Jock Reynolds knew he was making a career-changing decision in 1983 when he took over the directorship of Washington Project for the Arts, a nonprofit multidisciplinary art space in the District of Columbia. “It was a six- or seven-day a week job, requiring a total commitment, and I know it meant not really being able to do my own artwork,” he said. The organization was $160,000 in the red, and salaries hadn’t been paid in some time (“I had a wife and two kids”), but Reynolds left a tenured position at California State University at San Francisco where he was director of the graduate art program to take a job whose primary role was exhibiting the work of other artists. Continue reading
Con amplia formación de la mano de artistas como Juan Doffo, Marino Santa Maria, Emilio Renart, Claudia Aranovich, Horacio Zabala, entre otros, y estudios en la Escuela Nacional de Bellas Artes Rogelio Yrurtia y la Escuela Nacional y Superior de Bellas Artes Prilidiano Pueyrredón, Cristina Martinelli desarrolla su trabajo en las artes visuales desplegando su obra en el campo de la instalación. Siempre partiendo de la escultura, se generan series prolíferas que mantienen un eje conceptual sólido el cual se transmite en el tiempo y se ve reflejado en cada una de sus producciones.
Award-winning artist Luisa Caldwell, in group shows at Smack Mellon and LYNCH THAM when I visited her studio in January, is one of some fifty artists being evicted from the Bayside building in Greenpoint in April. See below for news about the studio fire! The huge edifice used to be an oil transfer station, but was bought by the City for a promised waterside parkland. Artists have had cheap studios here since 2001, but that ends in April, 2015 when the city takes over the building. Big oil tanks have berths in the outdoor space with high security fences. Caldwell shares her space with artist Rebecca Graves. Continue reading
Described as the first of five such works created under the title The Sick Man of Europe, Dor Guez’s new installation entitled ‘The Painter’ is a complex narrative exploring the heretofore unwritten story of an Israeli reservist soldier in the 1970s. More broadly, the work is a development of Guez’s interest in how art can be used to explore history that is unexamined or unaddressed within the wider framework of contemporary social and political commentary. He himself of Christian Palestinian and Jewish Tunisian descent, Guez’s work focuses on the story of D. Guez, a Tunisian Jew who immigrated to Israel and later served in the Yom Kippur War in 1973. Initially a painter, D. Guez was later diagnosed with what we would now refer to as Post Traumatic Stress Disorder (PTSD) as a result of his experiences in the conflict, and the work traces the man’s path from an immigrant painter to a soldier, and then back to painting. Continue reading