Wednesday, March 30, 2011
New Shows Open April 9th!!
New shows by Carol Smeraldo, June Deveau and Karen R. Phinney. Join us for the opening reception Sat. April 9th from 2-5.
Wednesday, March 23, 2011
Wildly Improbable Goals
I can totally relate to this article. Thanks to Susan Paczek for passing it on!
http://www.oprah.com/spirit/Wildly-Improbable-Goals
Posted by Brandt Eisner
http://www.oprah.com/spirit/Wildly-Improbable-Goals
Posted by Brandt Eisner
New to Swoon
Get your copy of HAMMONDS PLAINS - THE FIRST 100 YEARS by Dorothy Bezanson Evans for only $20!!
Tuesday, March 22, 2011
Traffic comes to NSCAD - and Halifax
Traffic: Conceptual Art in Canada 1965-1980, the nationally touring exhibition – and the first to focus on the influence and manifestations of conceptual art in Canada – is coming to Halifax. Presenting more than 450 works by over 100 artists from across Canada, Europe and the United States, Traffic will run from March 18 to May 8 at four university art galleries: NSCAD’s Anna Leonowens, Dalhousie, Saint Mary’s and Mount Saint Vincent.
As part of Traffic, NSCAD Professor Jayne Wark, BFA ’79; Wallace Brannen, NSCAD ‘74, BFA ’04, BA’09 and former NSCAD President and Professor Garry Neill Kennedy discuss the history and impact of the Nova Scotia College of Art and Design’s Lithography Workshop in a public panel discussion on Sunday, March 27, from 2 to 4 p.m. at the MSVU Art Gallery.
NSCAD will also host a one-day Symposium on Conceptual Art on Saturday, April 16 in the Bell Auditorium. To register, e-mail trafficsymposium@nscad.ca by April 12. A registration fee of $10.00 ($5.00 for students) will be charged at the door.
Organized around urban and regional centres of art production, the national exhibition is intended to capture the exuberant “traffic” between them during the inaugural phase of conceptual art, one of the most transformative art movements of the late 20th century.
Here in Halifax, Dalhousie Art Gallery will present work from Ontario, curated by Barbara Fischer (Justina M. Barnicke Gallery, University of Toronto), and Montréal, curated by Michèle Thériault with Vincent Bonin (Leonard & Bina Ellen Art Gallery, Concordia University). MSVU Art Gallery will host work from Halifax and Atlantic Canada, curated by Jayne Wark; Saint Mary's University Art Gallery will display work from British Columbia, curated by Grant Arnold (Vancouver Art Gallery), and the Prairies, curated by Catherine Crowston (Art Gallery of Alberta). The Anna Leonowens Gallery will augment the exhibition by presenting a selection of our unique collection and archive materials for a two-week period from March 22 to April 2.
Featured in the four-gallery Halifax exhibition are works by Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Wallace Brannen, James Lee Byars, Eric Cameron, Ian Carr-Harris, Sylvain Cousineau and Francis Coutelier, Greg Curnoe, Jan Dibbets, Graham Dube, Gerald Ferguson, Michael Fernandes, Dan Graham, John Greer, Hans Haacke, Douglas Huebler, Richards Jarden, Donald Judd, Pat Kelly, Garry Neill Kennedy, Joseph Kosuth, Les Levine, Sol LeWitt, Lee Lozano, Allan MacKay and Lionel Simons, Brian MacNevin, Barry MacPherson, Albert McNamara, Ian Murray, N.E. Thing Co., Dennis Oppenheim, Bruce Parsons, Harold Pearse, Yvonne Rainer, Ellison Robertson, Michael Snow, Theodore Wan, Douglas Waterman, Lawrence Weiner, Joyce Wieland, Martha Wilson, Jon Young and Tim Zuck.
Traffic opened in Toronto, where it ran from September 6 - December 4, 2010. After Halifax, the show goes to the Art Gallery of Alberta (June 25 - September 18, 2011), the Leonard and Bina Ellen Art Gallery, Concordia University, Montreal (January 21 - April 7, 2012) and the Vancouver Art Gallery (May 26 - September 9, 2012).
To learn more about NSCAD’s role in the Canadian conceptual art movement, read Jayne Wark’s catalogue essay, Conceptual Art in Canada: The East Coast Story.
Traffic: Conceptual Art in Canada 1965-1980 is supported by the Museums Assistance Program of the Department of Canadian Heritage and the Canada Council for the Arts.
As part of Traffic, NSCAD Professor Jayne Wark, BFA ’79; Wallace Brannen, NSCAD ‘74, BFA ’04, BA’09 and former NSCAD President and Professor Garry Neill Kennedy discuss the history and impact of the Nova Scotia College of Art and Design’s Lithography Workshop in a public panel discussion on Sunday, March 27, from 2 to 4 p.m. at the MSVU Art Gallery.
NSCAD will also host a one-day Symposium on Conceptual Art on Saturday, April 16 in the Bell Auditorium. To register, e-mail trafficsymposium@nscad.ca by April 12. A registration fee of $10.00 ($5.00 for students) will be charged at the door.
Organized around urban and regional centres of art production, the national exhibition is intended to capture the exuberant “traffic” between them during the inaugural phase of conceptual art, one of the most transformative art movements of the late 20th century.
Here in Halifax, Dalhousie Art Gallery will present work from Ontario, curated by Barbara Fischer (Justina M. Barnicke Gallery, University of Toronto), and Montréal, curated by Michèle Thériault with Vincent Bonin (Leonard & Bina Ellen Art Gallery, Concordia University). MSVU Art Gallery will host work from Halifax and Atlantic Canada, curated by Jayne Wark; Saint Mary's University Art Gallery will display work from British Columbia, curated by Grant Arnold (Vancouver Art Gallery), and the Prairies, curated by Catherine Crowston (Art Gallery of Alberta). The Anna Leonowens Gallery will augment the exhibition by presenting a selection of our unique collection and archive materials for a two-week period from March 22 to April 2.
Featured in the four-gallery Halifax exhibition are works by Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Wallace Brannen, James Lee Byars, Eric Cameron, Ian Carr-Harris, Sylvain Cousineau and Francis Coutelier, Greg Curnoe, Jan Dibbets, Graham Dube, Gerald Ferguson, Michael Fernandes, Dan Graham, John Greer, Hans Haacke, Douglas Huebler, Richards Jarden, Donald Judd, Pat Kelly, Garry Neill Kennedy, Joseph Kosuth, Les Levine, Sol LeWitt, Lee Lozano, Allan MacKay and Lionel Simons, Brian MacNevin, Barry MacPherson, Albert McNamara, Ian Murray, N.E. Thing Co., Dennis Oppenheim, Bruce Parsons, Harold Pearse, Yvonne Rainer, Ellison Robertson, Michael Snow, Theodore Wan, Douglas Waterman, Lawrence Weiner, Joyce Wieland, Martha Wilson, Jon Young and Tim Zuck.
Traffic opened in Toronto, where it ran from September 6 - December 4, 2010. After Halifax, the show goes to the Art Gallery of Alberta (June 25 - September 18, 2011), the Leonard and Bina Ellen Art Gallery, Concordia University, Montreal (January 21 - April 7, 2012) and the Vancouver Art Gallery (May 26 - September 9, 2012).
To learn more about NSCAD’s role in the Canadian conceptual art movement, read Jayne Wark’s catalogue essay, Conceptual Art in Canada: The East Coast Story.
Traffic: Conceptual Art in Canada 1965-1980 is supported by the Museums Assistance Program of the Department of Canadian Heritage and the Canada Council for the Arts.
Fashion Photography by Bruce Bottomley for FOUND FOR SWOON
Check out the fantastic new photos Bruce did for Found For Swoon. Photos and info also on the Swoon website!
http://www.facebook.com/editaccount.php?networks#!/album.php?aid=36684&id=118734708185406&fbid=160126057379604
Thursday, March 17, 2011
Problems of the Multi-Media Artist
Problems of the multi-media artist
March 1, 2011
Yesterday, Jennifer Foster wrote, "I was recently at an arts professionalism seminar where one of the presenters was a gallery owner. I asked him about submitting work to galleries in more than one medium. He surprised me by saying that anyone who did this simply showed that they didn't know who they were as an artist. I always thought that diversity and ability in many media were strengths--just as cross-training is for an athlete. When submitting to a gallery or a jury, do artists do themselves a disservice by showing work in more than one medium?"
Thanks, Jennifer. Artists need to realize that dealers are often coming from a different place than artists. While you and I know that cross-training and diversity are desirable, even necessary for creative growth, a dealer looks at an artist's work with other things in mind. Product consistency is one of them.
Dealers are, after all, entrepreneurs. In this role, most dealers like to slot each of their artists into specific media and genre. Many of them think they know what their customers want, and don't wish to muddy the waters. It's sad to say, but many excellent dealers are not too interested in your range of capabilities. My advice is to submit consistent, one-medium work at first. You can go about showing your breadth and depth later. Here are a few ideas for the multi-media and multi-talented artist:
*Keep working and developing independently, no matter what. *Deliver work in different media to different galleries.
*Deliver work of different subjects to different galleries.
*"Leak" your multi-media activities by blog or word-of-mouth.
*Give dealers exclusivity in specific geographical locations.
*While it's good to make consistent and regular deliveries, don't worry if you miss a stroke or two. The nature of our game is to be distracted by our muse, and while this may not always be good for the wallet, if the dealer has character, he'll respect your wanderings.
Finding copacetic dealers is a fact of life in visual arts. You need to vacuum out the scissorbills and the not-so-swifts. After the cleanup, you'll find the rest to be gentle enthusiasts, strong advocates, and good friends.
From - Robert Genn Twice-Weekly Letter
Posted by Helen Opie
March 1, 2011
Yesterday, Jennifer Foster wrote, "I was recently at an arts professionalism seminar where one of the presenters was a gallery owner. I asked him about submitting work to galleries in more than one medium. He surprised me by saying that anyone who did this simply showed that they didn't know who they were as an artist. I always thought that diversity and ability in many media were strengths--just as cross-training is for an athlete. When submitting to a gallery or a jury, do artists do themselves a disservice by showing work in more than one medium?"
Thanks, Jennifer. Artists need to realize that dealers are often coming from a different place than artists. While you and I know that cross-training and diversity are desirable, even necessary for creative growth, a dealer looks at an artist's work with other things in mind. Product consistency is one of them.
Dealers are, after all, entrepreneurs. In this role, most dealers like to slot each of their artists into specific media and genre. Many of them think they know what their customers want, and don't wish to muddy the waters. It's sad to say, but many excellent dealers are not too interested in your range of capabilities. My advice is to submit consistent, one-medium work at first. You can go about showing your breadth and depth later. Here are a few ideas for the multi-media and multi-talented artist:
*Keep working and developing independently, no matter what. *Deliver work in different media to different galleries.
*Deliver work of different subjects to different galleries.
*"Leak" your multi-media activities by blog or word-of-mouth.
*Give dealers exclusivity in specific geographical locations.
*While it's good to make consistent and regular deliveries, don't worry if you miss a stroke or two. The nature of our game is to be distracted by our muse, and while this may not always be good for the wallet, if the dealer has character, he'll respect your wanderings.
Finding copacetic dealers is a fact of life in visual arts. You need to vacuum out the scissorbills and the not-so-swifts. After the cleanup, you'll find the rest to be gentle enthusiasts, strong advocates, and good friends.
From - Robert Genn Twice-Weekly Letter
Posted by Helen Opie
Tuesday, March 15, 2011
Advice from Artist Eric Fischl
When asked what advice he would give to a young artist that is just starting out this is what Eric Fischl had to say:
"I tend to tell them pretty much all the same thing, which is that they should find a group of artists that they identify with and form a peer group. Density is important...density and heat are important aspects of getting started in the art world. Heat and noise. Heat and noise create attention. The art world senses where there is a hot spot, and they gravitate toward it to find out whats going on. So you want to get density; a peer group that is vibrant and competitive and supportive. And what you find with that is that members of a peer group help each other: one gets a gallery, they tell the gallery, "Oh, you got to check out so-and-so's work." That's the way I did it; that's the way I understand it."
From Inside The Painter's Studio by Joe Fig
"I tend to tell them pretty much all the same thing, which is that they should find a group of artists that they identify with and form a peer group. Density is important...density and heat are important aspects of getting started in the art world. Heat and noise. Heat and noise create attention. The art world senses where there is a hot spot, and they gravitate toward it to find out whats going on. So you want to get density; a peer group that is vibrant and competitive and supportive. And what you find with that is that members of a peer group help each other: one gets a gallery, they tell the gallery, "Oh, you got to check out so-and-so's work." That's the way I did it; that's the way I understand it."
From Inside The Painter's Studio by Joe Fig
Check It Out!!
Hi, I'm Deborah Nicholson, one of the artists represented at Swoon. I went to Copenhagen last August to exhibit my art with my artist collective, SEVEN. Next month, our culminating exhibition for this project, called Exchange, will be featured at The Craig Gallery in Dartmouth. Our opening reception is on Wednesday, March 30th from... 7-9pm.
Exchange-Udveksling
Opening Reception Wednesday, March 30th 7-9pm
Exhibition runs until May 1st
Come for your own exchange with SEVEN; it will be a multi-media adventure with seven artists, whose materials collectively range from wool to words.
The Craig Gallery at Alderney Landing
2 Ochterloney St., Dartmouth (next to the Dartmouth Ferry Terminal Building)
902.461.4698 www.alderneylanding.com
:-)
Deborah
Exchange-Udveksling
Opening Reception Wednesday, March 30th 7-9pm
Exhibition runs until May 1st
Come for your own exchange with SEVEN; it will be a multi-media adventure with seven artists, whose materials collectively range from wool to words.
The Craig Gallery at Alderney Landing
2 Ochterloney St., Dartmouth (next to the Dartmouth Ferry Terminal Building)
902.461.4698 www.alderneylanding.com
:-)
Deborah
Happenings in New Glasgow
Hey y'all
I'm the NSCAD community artist in residence here in the big N.G. and I've got some things coming up that you all should know about.
I'm the NSCAD community artist in residence here in the big N.G. and I've got some things coming up that you all should know about.
1. I'm having a studio open house on March 24 at 4pm. Come check out what I'm up to. It'll go till 5:30, then, at 7, NSCAD textiles faculty member Gary Marckle will be doing a talk in the community room in the library.
2. A handbuilding workshop will be happening on March 26 from 1:30 - 4:30.The cost for covering supplies is $10. It should be fun, I think.
3. I'll be having a solo show in the studio space opening April 13th at 4pm. I don't have a name or an invite for it yet, but I'll send along a copy when I do. I'll also be doing a talk that night in the community room at the library here at 7pm.
Whew! I think that's it for now. Please help spread the word, if you don't mind. I hope to see you all at one or more of these events. Thanks a bunch.
Alana Wilson
Sunday, March 13, 2011
An experimental primitive firing with Sharon Fiske
At the Annual Potters Guild Meeting and Potluck, Potters get to experiment with a primitive firing in Sharon Fiske's backyard.
Sharon adds a few last minute pieces to the fire.
Work begins to come into view as the fire dies down. A piece is by Basia Lukwinski sits on top a pot by Sharon Fiske which I got to paint before going into the fire.
Posted by Brandt Eisner
Thursday, March 10, 2011
Sneak Preview!
Here's a sneak preview of two of the pieces that will be in the shows opening this Saturday, March 12, 2 - 5 (details at http://www.swoonfineart.com/ under 'events'). We're so excited about this show!!
Screenprint, edition of 25
11" x 14"
$50 unframed, $150 framed and matted
"Golden Treasures Series - Spirals" by Basia Lukwinski
Earthenware
10" x 4.5" x 12.5"
$375
There will much, much more to see throughout the gallery!
See you Swoon!
Monday, March 7, 2011
New Shows Open at Swoon
Swoon is happy to present two new shows opening Saturday, March 12.
Opening Reception: 2pm-5pm, Saturday March 12. Show continues until April 1.
THE DEEPER WE FALL, THE STRONGER WE STAY is a group print show featuring work by artists, Anna Stowe, Geordan Moore, Chris Foster, Peter Diamond and Mike Holmes. All prints will be 11”x 14” on white paper with a standardized colour scheme of black, green and yellow (and/or Gold Metallic).
THE FEMININE FORM features bronze and ceramic sculptures, as well as, paintings by artist Basia Lukwinski.
www.swoonfineart.com
Opening Reception: 2pm-5pm, Saturday March 12. Show continues until April 1.
THE DEEPER WE FALL, THE STRONGER WE STAY is a group print show featuring work by artists, Anna Stowe, Geordan Moore, Chris Foster, Peter Diamond and Mike Holmes. All prints will be 11”x 14” on white paper with a standardized colour scheme of black, green and yellow (and/or Gold Metallic).
THE FEMININE FORM features bronze and ceramic sculptures, as well as, paintings by artist Basia Lukwinski.
www.swoonfineart.com
Saturday, March 5, 2011
Artist Will Cotton
" ... I try to ask myself everyday... if what I am doing is exciting to me. And so if I come in here too many days in a row and I'm not excited, that's when I know I've got to change something".
From Inside The Painter's Studio by Joe Fig
From Inside The Painter's Studio by Joe Fig
New To Swoon!
Sculptor David Macfadden just brought this wonderful new sandstone carving titled "Enduring". We look forward to seeing what else David creates in the coming months, including a interactive, public work which will happen in the field beside us during the warmer months!
Posted by Brandt Eisner
Wednesday, March 2, 2011
Inspiration Is For Amatures
When artist Chuck Close was asked, "Do you have a motto or creed that as an artist you live by"? This was his response:
" Inspiration is for amatures-the rest of us just show up and get to work. And the belief that things will grow out of the activity itself and that you will - through work - bump into other possibilities and kick open other doors that you would never have dreamt of if you were just sitting around looking for a great "art idea". And the belief that process, in a sense, is liberating and that you don't have to reinvent the wheel every day".
From - Inside The Painter's Studio by Joe Fig
Posted by Brandt Eisner
" Inspiration is for amatures-the rest of us just show up and get to work. And the belief that things will grow out of the activity itself and that you will - through work - bump into other possibilities and kick open other doors that you would never have dreamt of if you were just sitting around looking for a great "art idea". And the belief that process, in a sense, is liberating and that you don't have to reinvent the wheel every day".
From - Inside The Painter's Studio by Joe Fig
Posted by Brandt Eisner
Subscribe to:
Posts (Atom)