Maya Lin – On Pins and Needles

lin5-featureHere & There – New York. Installation View. Courtesy Pace Gallery

When Maya Lin (American, b. 1959) created “Storm King Wavefield” in 2009, she was in sync with the mores of late 1960s artists including Michael Heizer, Nancy Holt, Dennis Oppenheim and Robert Smithson, each of them prominent in the Earthworks or Land Art movement. Lin’s “Wavefield” is an undulating terrain of grasses rolling across an eleven-acre site within the five hundred-acre sculpture park in Mountainville, New York.  Continue reading

Art Marketing 101: An Artist’s Guide to a Succesful Business Plan

Art Marketing 101: An Artist’s Guide to a Succesful Business Plan 192 pages $19.95 Penn Valley, CA: ArtNetwork, 2013 ISBN: 978-0940899-80-3

Constance Smith’s Art Marketing 101 is now in its 4th edition (just released in March). The book is structured like a workbook, walking the beginning artist through “Business Basics,” “Legal Issues,” “Strategies,” “Networking,” “Exposure,”  and “Strategic Planning,”  with spaces for the reader’s responses to specific questions and to broader planning suggestions. It leads directly to the same publisher’s Advanced Strategies for Marketing Art, dealing with the subject in more concrete terms, such as where to market. Continue reading

What’s a Gallery Exhibition Worth to You?

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What’s it worth to you to get a gallery exhibition of your artwork? Sure, galleries are in business to sell art, earning a commission of between 40 and 60 percent for every sale of work consigned to them contemporary artists, so their profit margin should cover the costs of promoting and advertising exhibits, requiring artists to just pay for the materials they need to make their work. That would make plenty of sense if most or all of the artwork the galleries display actually sold – that doesn’t happen too often, especially in those galleries showing contemporary art by artists who aren’t famous. Those gallery owners also need to pay rent, which ranges from thousands of dollars to tens or thousands of dollars per month, depending on the city and what neighborhood in the city in which they are located. Continue reading

Top Five Sculptural Looks | London, New York and Paris

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Writing for New York Magazine during the city’s influential Fashion Week, art critic Jerry Saltz movingly reflected on the bygone thoughtfulness, self-reflection and self-challenge of the 1993 Whitney Biennial. If Saltz were an authority on fashion, instead of art, than he would be heartened to see the spirit of that era alive on the world’s major catwalks. The fashion, art and ideology of 1993 were the primary inspirations for Autumn/ Winter 2013. Continue reading

Raúl “Pájaro” Gómez – Esculturas 2013

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Galeria Laura haber expo miriam peralta , Pajaro Gomez

Galeria Laura haber expo miriam peralta , Pajaro Gomez

Escultor de amplia trayectoria, Raúl “Pájaro” Gómez presenta su serie de Esculturas 2013 en la Galería Laura Haber, acompañando por los trabajos plásticos de la artista Miriam Peralta. Los dibujos de Peralta entran en diálogo con las elegantes esculturas que copan el espacio; un diálogo que conserva afinidad de criterios, evidentes desde lo visual ya que las obras escultóricas parecieran materializar en el espacio lo que nos cuentan las obras bidimensionales de Peralta. Continue reading

Duke Riley: In Duke’s Studio at The Armory plus the (Un)fairs

DSC05394-featureOdwalla Boat, Odwalla bottles, wood, 2006. Courtesy of the artist and Magnan Metz Gallery

Since Duke Riley’s studio this month (March as I write) is somewhere unknown, either an island near Key West, Florida or an obscure library on Staten Island; and since his original Greenpoint studio was transformed into Rotgut, an all-night speakeasy with cheap drinks and naked doings; and since this was shut down by the police last month, I decided to visit the studio Duke created as part of Curator Eric Shiner’s Focus: USA Special Projects wing of The Armory.  Continue reading

Silence

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Silence, edited by Toby Kamps, curator of modern and contemporary art at The Menil Collection, accompanied an exhibition of the same name that explored the paradoxical nature of silence, a phenomenon which exists only in the vacuum of deep space. This means that, for us, true silence exists only in the imagination, since even in deafness we are plagued the incessant clamor of our own consciousness. The catalogue includes a forward by Josef Helfenstein, director of The Menil, and Lawrence Rider, director of the UC Berkeley Art Museum and Pacific Film Archive, as well as essays by Kamps, Jenny Sorkin (assistant professor of contemporary art and critical studies at the University of Houston), and Steve Seid (video curator at the UC Berkeley Art Museum and Pacific Film Archive). Continue reading

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