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	<title>International Sculpture Center Blog</title>
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		<title>International Sculpture Center Blog</title>
		<link>http://blog.sculpture.org</link>
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		<title>Maya Lin &#8211; On Pins and Needles</title>
		<link>http://blog.sculpture.org/2013/05/15/maya-lin-2/</link>
		<comments>http://blog.sculpture.org/2013/05/15/maya-lin-2/#comments</comments>
		<pubDate>Wed, 15 May 2013 15:37:00 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Materials & Process]]></category>
		<category><![CDATA[Earthworks]]></category>
		<category><![CDATA[Land Art]]></category>
		<category><![CDATA[pins]]></category>
		<category><![CDATA[sculpture]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2551</guid>
		<description><![CDATA[Here &#38; There &#8211; 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. [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2551&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Pin River - Hudson, 2009. Maya Lin. Steel Pins. 84&#34; x 60&#34; x 1 1/2&#34;. &#38;copy Maya Lin Studio, courtesy Pace Gallery.</media:title>
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			<media:title type="html">Crossing Midtown, 2013. Maya Lin. Steel Pins, 8&#039; 9-1/2&#34; x 10&#039; 4-5/8&#34; x 1-1/2&#34;. © Maya Lin Studio, courtesy Pace Gallery.</media:title>
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	</item>
		<item>
		<title>Art Marketing 101: An Artist’s Guide to a Succesful Business Plan</title>
		<link>http://blog.sculpture.org/2013/05/09/art-marketing-101/</link>
		<comments>http://blog.sculpture.org/2013/05/09/art-marketing-101/#comments</comments>
		<pubDate>Thu, 09 May 2013 15:35:28 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Profession of Sculpture]]></category>
		<category><![CDATA[art market]]></category>
		<category><![CDATA[branding]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[economy]]></category>
		<category><![CDATA[Glenn Harper]]></category>
		<category><![CDATA[marketing]]></category>
		<category><![CDATA[workbook]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2532</guid>
		<description><![CDATA[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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2532&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>1</slash:comments>
	
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		<media:content url="http://iscbookreviews.files.wordpress.com/2013/05/art101-feature.gif" medium="image">
			<media:title type="html">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</media:title>
		</media:content>

		<media:content url="http://iscbookreviews.files.wordpress.com/2013/05/art101.gif" medium="image">
			<media:title type="html">Art Marketing 101: An Artist’s Guide to a Succesful Business Plan192 pages, $19.95. Penn Valley, CA: ArtNetwork, 2013. ISBN: 978-0940899-80-3</media:title>
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	</item>
		<item>
		<title>What&#8217;s a Gallery Exhibition Worth to You?</title>
		<link>http://blog.sculpture.org/2013/05/08/whats-a-gallery-exhibition-worth/</link>
		<comments>http://blog.sculpture.org/2013/05/08/whats-a-gallery-exhibition-worth/#comments</comments>
		<pubDate>Wed, 08 May 2013 15:35:35 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Business of Art]]></category>
		<category><![CDATA[commission]]></category>
		<category><![CDATA[Daniel Grant]]></category>
		<category><![CDATA[galleries]]></category>
		<category><![CDATA[money]]></category>
		<category><![CDATA[opportunities]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2537</guid>
		<description><![CDATA[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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2537&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
		<wfw:commentRss>http://blog.sculpture.org/2013/05/08/whats-a-gallery-exhibition-worth/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
	
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		<item>
		<title>Top Five Sculptural Looks &#124; London, New York and Paris</title>
		<link>http://blog.sculpture.org/2013/05/02/top-five-fashion/</link>
		<comments>http://blog.sculpture.org/2013/05/02/top-five-fashion/#comments</comments>
		<pubDate>Thu, 02 May 2013 15:35:06 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[On View]]></category>
		<category><![CDATA[Ana Finel Honigman]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2494</guid>
		<description><![CDATA[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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2494&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Givenchy</media:title>
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			<media:title type="html">Mary-Katrantzou</media:title>
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			<media:title type="html">Haider-Ackermann</media:title>
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			<media:title type="html">Preen</media:title>
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			<media:title type="html">Balenciaga---Kiki-Smith</media:title>
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		<item>
		<title>Raúl “Pájaro” Gómez – Esculturas 2013</title>
		<link>http://blog.sculpture.org/2013/05/01/raul-pajaro-gomez/</link>
		<comments>http://blog.sculpture.org/2013/05/01/raul-pajaro-gomez/#comments</comments>
		<pubDate>Wed, 01 May 2013 15:30:40 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[On View]]></category>
		<category><![CDATA[Maria Carolina Baulo]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2481</guid>
		<description><![CDATA[Translate from Spanish to English or other languages 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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2481&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
		<wfw:commentRss>http://blog.sculpture.org/2013/05/01/raul-pajaro-gomez/feed/</wfw:commentRss>
		<slash:comments>8</slash:comments>
	
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			<media:title type="html">Galeria Laura haber expo miriam peralta , Pajaro Gomez</media:title>
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			<media:title type="html">Serie Obertura 16acero Inox. Pinotea RT  0,70x0,53x2,30 mts 2012</media:title>
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			<media:title type="html">Serie Obertura 15 acero Inox. Pinotea RT 0,54 x0,33x1,54 mts 2012</media:title>
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			<media:title type="html">Serie obertura 5 acero inox. vidrio RT 1.10x0.17x0.69  2011</media:title>
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	</item>
		<item>
		<title>Duke Riley: In Duke’s Studio at The Armory plus the (Un)fairs</title>
		<link>http://blog.sculpture.org/2013/04/24/duke-riley/</link>
		<comments>http://blog.sculpture.org/2013/04/24/duke-riley/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 15:20:57 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[In the Studio]]></category>
		<category><![CDATA[Jan Garden Castro]]></category>
		<category><![CDATA[studio]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2465</guid>
		<description><![CDATA[Odwalla 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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2465&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>1</slash:comments>
	
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			<media:title type="html">photo_by_will_star-4640</media:title>
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			<media:title type="html">005_Schrimshaw_3of7_lores</media:title>
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			<media:title type="html">Riley_LubberdiseLost</media:title>
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		<item>
		<title>Silence</title>
		<link>http://blog.sculpture.org/2013/04/18/silence/</link>
		<comments>http://blog.sculpture.org/2013/04/18/silence/#comments</comments>
		<pubDate>Thu, 18 Apr 2013 15:20:27 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[ad reinhardt]]></category>
		<category><![CDATA[Amanda Hickok]]></category>
		<category><![CDATA[anxiety]]></category>
		<category><![CDATA[books]]></category>
		<category><![CDATA[mark rothko]]></category>
		<category><![CDATA[robert rauschenberg]]></category>
		<category><![CDATA[silence]]></category>
		<category><![CDATA[transcendence]]></category>
		<category><![CDATA[yves kleing]]></category>
		<category><![CDATA[zen buddhism]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2457</guid>
		<description><![CDATA[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 [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2457&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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		<item>
		<title>Ruth Asawa &amp; El Anatsui: Heavy Metal</title>
		<link>http://blog.sculpture.org/2013/04/17/ruth-asawa/</link>
		<comments>http://blog.sculpture.org/2013/04/17/ruth-asawa/#comments</comments>
		<pubDate>Wed, 17 Apr 2013 15:20:04 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Materials & Process]]></category>
		<category><![CDATA[brass]]></category>
		<category><![CDATA[Brooke Kamin Rapaport]]></category>
		<category><![CDATA[craft]]></category>
		<category><![CDATA[metal]]></category>
		<category><![CDATA[monel]]></category>
		<category><![CDATA[wire]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2447</guid>
		<description><![CDATA[Courtesy of the Fine Arts Museums of San Francisco; photography by Joseph McDonald; © FAMSF. Two museums exhibitions – one in San Francisco and one in Brooklyn – attest to the pliability of metal and how that material can be resilient, refined, and even shape-shifting. Compared to Mark di Suvero’s commanding industrial-scale steel beams or [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2447&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	
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			<media:title type="html">Courtesy of the Fine Arts Museums of San Francisco; photography by Joseph McDonald;  © FAMSF.</media:title>
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			<media:title type="html">Courtesy of the Fine Arts Museums of San Francisco; photography by Joseph McDonald;  © FAMSF.</media:title>
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		<item>
		<title>The commission agreement: Some points to remember</title>
		<link>http://blog.sculpture.org/2013/04/10/the-commission-agreement/</link>
		<comments>http://blog.sculpture.org/2013/04/10/the-commission-agreement/#comments</comments>
		<pubDate>Wed, 10 Apr 2013 15:25:19 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[Business of Art]]></category>
		<category><![CDATA[commissions]]></category>
		<category><![CDATA[contracts]]></category>
		<category><![CDATA[Daniel Grant]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2439</guid>
		<description><![CDATA[The process of applying and being accepted for a public or private art commission is long and involved but, once it is over, the artist can concentrate totally on his or her artwork, right? Unfortunately, the end of one stage simply means the beginning of another, perhaps not as long in duration but just as [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2439&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Encuentros Transfigurados &#8211; Edgardo Madanes</title>
		<link>http://blog.sculpture.org/2013/04/03/edgardo-madanes/</link>
		<comments>http://blog.sculpture.org/2013/04/03/edgardo-madanes/#comments</comments>
		<pubDate>Wed, 03 Apr 2013 15:20:10 +0000</pubDate>
		<dc:creator>intsculpturectr</dc:creator>
				<category><![CDATA[On View]]></category>
		<category><![CDATA[Maria Carolina Baulo]]></category>

		<guid isPermaLink="false">http://blog.sculpture.org/?p=2414</guid>
		<description><![CDATA[Translate from Spanish to English or other languages Edgardo Madanes. Encuentros transfigurados. Instalación in situ, mimbre, medidas variables, 2013. Fotógrafo: Gustavo Barugel El Espacio de Arte de la Fundación OSDE, se propuso un nuevo desafío: habilitar las dos antiguas salas de platería y porcelana para que se desplieguen propuestas de arte contemporáneo; es así como [&#8230;]<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=blog.sculpture.org&#038;blog=16912612&#038;post=2414&#038;subd=iscbookreviews&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>2</slash:comments>
	
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