By George Fishman, 2011-04-07
During Sunday's Mosaic of Art broadcast, we meet Charles Stainback. He is Norton Museum of Art curator of photography and provides a "backstage" account of the pleasures and challenges of the curatorial profession - and eloquently presents his particular style of practice. We begin with a short characterization of the normally arduous process of creating an exhibition.
VIK MUNIZ, The Tragic End of 125,000 Miles of Air Travel
courtesy the artist and Sikkema Jenkins & Co.
NICK CAVE, Soundsuit
courtesy Norton Museum of Art
DAVID SHAPIRO, September
J.D. OJEIKERE, Onile Gorgoro
collection Norton Museum of Art
By George Fishman, 2011-03-23
Andy Warhol holding an unrolled acetate of “Marilyn” in the Factory, New York City, 1964.
© 2011 William John Kennedy, kiwiartsgroup.com
Andy Warhol in a field of black-eyed Susans holding a bouquet of flowers with an early “Flowers” canvas serving as a backdrop in Queens, New York, 1964. © 2011 William John Kennedy, kiwiartsgroup.com
Robert Indiana at his Coenties Slip studio with “EAT/DIE” (1962) diptych on wall and “The Red Diamond Die” (1962) reflecting in mirror, New York City, 1963. © 2011 William John Kennedy, kiwiartsgroup.com
Robert Indiana sitting in the plant room at his Coenties Slip studio, New York City, 1963.
© 2011 William John Kennedy, kiwiartsgroup.com
© 2011 William John Kennedy, kiwiartsgroup.com
Contact sheet of Ultra Violet in William John Kennedy’s New York City studio opposite his north light window,
©TOM WEINKLE, Adrift
©TOM WEINKLE, Near Hacienda Martinez
By George Fishman, 2011-03-10
For years, if not decades, charity auctions have served as a vehicle not only to raise funds for worthy causes, but also for artists to get their work out in front of potential collectors. This week, I'll be speaking with a PR representative, Lisa Silvera of seepr services, Nelson Delgado, director of T.E.A.M. (The Eclectic Arts Movement) a Miami-based "institution that focuses on new developments in painting, fashion design, sculpture, photography, architecture, performance art and new media" and visual artist Marcelo Holzinger who's donating artwork to an auction next month.
On Sunday, in a live conversation, I'm going to speak with three people who are currently organizing an event intended to raise funds for purchase of prosthetic limbs that will be distributed to earthquake victims in Haiti.
These are the questions I plan to ask. Please feel free to call in with yours. 646.721.9843. Or send a note to email@example.com
Welcome to the Mosaic of Art, Marcelo. Please tell us about your artistic background and how you came to establish your studio here in Miami.
You work in a variety of media. What are the advantages and disadvantages of this approach, as compared to specializing in just one area?
Besides just creating the best work that you can please talk about how you go about marketing yourself and reaching potential clients?
What would you say distinguishes your individual creative approach? Are there certain characteristics that are consistent in your paintings from year-to-year?
Do you feel that it's important that someone be able to look at one of your paintings and know right away that it is yours?
Miami is a dynamic place for the visual arts these days. What would you say are some of the advantages and disadvantages of so much activity?
How did you come to be acquainted both with the eclectic arts movement and with Lisa Silvera and her public relations team?
What gave you confidence that this charitable project was going to be well run and produce the benefit you expected?
Besides contributing the artwork, do you have any other involvement with the project?
Nelson Delgado, welcome to the Mosaic of Art. Please introduce the program that you direct. How long have you been established, and what are your goals?
Lisa Silvera welcome to you as well. Please describe your firm's essential approach to serving your clients and tell us how you became involved with this project and your collaborating partners. Tell us about No Boundaries Prosthetic Foundation. How did you hook up, and how did you know there would be a good fit? Please give us all the pertinent information about this auction.
Have you helped organize other auctions before? What are some of the important steps to ensure smooth sailing and to achieve the fundraising goals and two make sure that everyone is satisfied?
Let's assume some fundamental goodwill is at the heart of the organization of an auction. That said, people also get involved because they desire to make connections and to gain recognition, whether they're an event planner, a caterer, and auctioneer, an artist or public relations specialist. Would you agree? How do you weave together these various motivations?
How do you keep the overhead to a minimum, so so that the auction yields a maximum profit for its beneficiaries?
If some in our audience are approached by the organizers of a prospective charity auction, what kind of due diligence should they conduct? This is assuming they don't know the people who are contacting them. What can artists do to make sure they don't give a $500 piece and then learn that it sold for $75, thereby devaluing their work and contributing little to the campaign? Is it possible to establish a minimum price? what about offering a $1000 artwork and agreeing to donate half the sale price to the charity? Is that sometimes done?
What are the advantages and disadvantages of silent and live auctions? And what about online versus live auctions?
If some in our audience are involved with a charitable organization or are artists looking to team up with a charity to organize an auction what are some guidelines that you can offer?
I’m awed by the resiliency of the human spirit, our ability to heal, grow, and re-create ourselves. This intention to live from the belief that “all things are possible in life” has freed me to follow my natural artistic impulses. I hope to share this belief through my work, and with each person who interacts with it. -Marcelo Holzinger
MARCELO HOLZINGER, Quadro del Sol
MARCELO HOLZINGER, Crimson Quadro
MARCELO HOLZINGER, Earth Dramatique
Have questions about organizing an auction for a cause you care about? Call 646.721.9843
T.E.A.M., The Eclectic Arts Movement
FAMILY, courtesy FotoKonbit
SEATED GIRL, courtesy FotoKonbit
Please tune in to www.blogtalkradio.com/MosaicOfArt 3-4pm on Sunday. (register if you like, so you can join the chat) You are also welcome to call in. 646-721-9843 is the number. Can't make it Sunday? Don't worry. Shows are archived.
George Fishman, producer/host
By George Fishman, 2011-03-03
Last week's show was ALL about mosaic art, and we had a great trio of guests to begin a review of the (SAMA) conference, including the issues involved in creating a juried exhibition - and even defining what a mosaic is! Thanks again to KAREN AMI, PAMELA IRVING and BROOKS TOWER for their lively and informed participation as guests. That show is archived for any time.
KAREN AMI, Frank
PAMELA IRVING, Russian Dog Alexander
BROOKS TOWER, First Seed
This week's guests comprise a range of artistic endeavors. DINORAH de JESUS RODRIGUEZ creates animation the old fashion way, painting and scratching on film cell by cell. Hours of painstaking work are required to create a few seconds of screen time. A recent project in Miami involved projection of her films onto a "screen" of trees in parks around the city. She'll explain.
DINORAH de JESUS RODRIGUEZ, Coloring Blonde
French-born artist, ULTRA VIOLET (Isabelle Collin Dufresne), reveled in the juiced-up atmosphere of Andy Warhol's Factory scene during her youth, and was a model for a number of artists of that famous milieu in New York's burgeoning 1960s art scene, including photographer William John Kennedy, who will also be a Mosaic of Art guest. This was a time of great experimentation - both artistic and social - but there were also numerous casualties. (Famous for Fifteen Minutes: My Years with Andy Warhol, is Ultra Violet's best-selling account of the experience). She will describe how her own orientation toward life and art took a sudden turn.
We won't leave mosaics out of the mix this week. Two distinctive snippets from the SAMA conference provide lively views of the rewards of participation. Artist CAROL SHELKIN, recently featured in the book Mosaic Fine Art Portraits by Irit Levy and Pamela Givens, describes the challenges of teaching a workshop in stained glass mosaic portraiture within a compressed time frame.
CAROL SHELKIN, Beautiful Day
Then JESSE WOZNIAK (Crystyle's brother; Kim's son) relates the experience of staffing the booth for his family's mosaic supply companies, Wits End Mosaic and Smalti.com, and meeting their customers face to face.
CRYSTYLE and KIM (r) WOZNIAK with Kim's Intersections
KIM WOZNIAK, Intersections detail
Please tune in to www.blogtalkradio.com/MosaicOfArt 3-4pm on Sunday. (register, if you like, so you can join the chat room and mark the show as a favorite).
These conversations that I will air Sunday are pre-recorded, but if you would like to phone in during the show to comment on the interviews or your experience at the mosaic conference in Austin, please do so. The number is 646-721-9843.
It's fun to catch the show live, but if you can't tune in, don't worry - the shows are archived.
George Fishman, producer/host
By martin cheek, 2011-02-24
.... Yesterday was the third and final day of my advanced class at Dianne Sonnenberg’s Artisan Glass studio here in Austin Texas. I had to talk about Grout...they MADE me...even though I had made it perfectly plain that I see grout as the equivalent to varnishing a painting. It became very clear that I wasn’t going to get away with avoiding talking about my LEAST favorite subject - so I gave a VERY thorough demo and everyone was satisfied. In future I must remember not to mention that I don't like grouting - or even talking about it - because it only makes 'them' more insistent that I should cover it!
Well – as we all know - revenge is a dish best served cold and on the way home Lynn was kindly giving me + 2 x other participants a lift home. To avoid her embarrassment I won’t give Lynn’s full name except to say that her surname refers to - quote:
“A structure spanning and providing passage over a gap or barrier, such as a river or roadway”…and rhymes with FRIDGE.
Anyway Lynn was driving along and resurrected the grouting 'debate' telling me how important it was ...
Meanwhile my lunch of Pecan encrusted Aki (fish) with Broccoli + 2 pints of unfiltered (that's cloudy to you and me) Wheat beer had kicked in...I let out an SBD ('silent but deadly'). About 10 seconds later Lynn whilst expanding on how the wrong color grout could RUIN a piece and blah - de blah - de blah.....she suddenly SCREAMED: "AAAAAGGGHHHHH....................SKUNK!" and wound up all the windows...she thought that she had run over a skunk!
I hadn't the heart to tell her that the stench was coming from INSIDE the car and NOT outside...but at least it had taken her mind off GROUT!
By George Fishman, 2011-02-24
By George Fishman, 2011-02-10
By Guillaume Brié, 2011-02-09
By Charles K. McDonell, 2011-02-04
By martin cheek, 2011-02-04
“Have you ever been on a plane?” He asked the dignitary.
“Yes, Your Highness” came the reply
…. “Well it was like THAT!” retorted the Duke.
On long flights I am VERY keen to get one of the seats by the emergency exit which offers extra leg room. I am 6 foot 2 and I have weak tendons due to overdoing it on the stepping machine down the gym. I gave up exercising in the gym a few months ago – I found myself on a treadmill. The last long flight I underwent was to Nepal and when I arrived I found that I was unable to walk – it was my own fault – I had ‘vegged’ out the entire flight, preferring to watch the latest blockbuster movies rather than exercise. I had to get a Nepalese massage just to kick me back into action – which was extremely painful – not the floaty dreamlike encounter that I was expecting – the fact that it was carried out by a beefy Nepalese MAN did not add to this experience. I was determined not to let this happen again and went to ‘Body Balance’ class the day before which I thought might help.
The British Airways website was sending me round in circles – so after a 40 minute phone call to BA direct, I finally achieved my goal.
What I DIDN’T realise however was that the seat in question was one of the three ‘mother and baby’ seats situated at the front of economy. Thus when I got to my seat I found a baby lying on it and another on the floor where I was hoping to rest my long legs! Eventually they got themselves sorted and I found myself stuck between these two young mothers and their babies.
The one on my left was ENORMOUS even though she was only two years old. Her mother refused to put her in the regulation baby seat –insisting that she was too big for it and wouldn’t settle, preferring to perch her at a 60 degree angle on her lap for the entire 8 hour flight.
The toddler was understandably restless and every time I fell asleep, I was kicked back into consciousness – literally!
The baby on my right behaved perfectly throughout and kept smiling at me and waving – he was 6 months old and called Emil. I chatted to his Mom who was very interesting – she is about to finish her PHD in 18th Century Chinese dress. When I mentioned that I was from Broadstairs, she replied that her cousin lived there – her cousin being Ester who runs ‘Boho Rap’ where my daughter Mollie works at weekends. So that’s not even the six degrees of separation is it – more like TWO!