URGE MEMBERS OF CONGRESS TO CO-SPONSOR THE ARTIST DEDUCTION BILL.
The U.S. tax system accords unequal treatment to creators and collectors who donate tangible works (e.g., paintings or manuscripts) to museums, libraries, educational or other collecting institutions. A collector may take a tax deduction for the fair-market value of the work, but creators may deduct only their "basis" value—essentially the cost of materials such as paint and canvas. We urge Members of Congress to co-sponsor bipartisan legislation, S. 548 or H.R.1524, which would allow artists to take a fair-market value deduction for works given to and retained by nonprofit institutions.
GO here and make your statement now.
3/26/2007
can i take a picture of that old house over there??
CHARLES E. BURCHFIELD: No, it was a group of houses all huddled together, and they were unpainted and very dark, and it was a gloomy winter day towards evening, and it was reproduced in the Buffalo Evening News on the first page, and somebody had written something about it. I had a letter not long afterwards from a man who lived in one of those houses. And in the meantime the houses had been painted and they looked quite respectable. He said he had been advised to ask me by what right I had painted those houses, and that the neighbors were kidding him because he lived in a neighborhood of beat up old houses, you know. Well, I didn't have any idea whether I had the right to paint them or not, but I asked Judge Sears, who was one of the most prominent men in the legal profession in Buffalo . . .
JOHN D. MORSE: S-e-a-r-s?
CHARLES E. BURCHFIELD: Yes. He was also at that time a director of the Albright Gallery -- that's how I met him -- and I just asked him at dinner one time, and he said, "You can take a photograph, or you can paint a picture of any building there is as long as you don't get on their property to do it, or unless they have a sign on the corner of the house that this house is copyrighted." So I just never even answered the letter. But I did feel kind of sorry for the fellow. He had an inferiority complex and he was being kidded by his neighbors, even though his house had been painted. And incidentally, as a subject, painting the houses just ruined them. I would never have looked at it a second time.
3/25/2007
i want to use some photos
I just want to share something new I am playing with. Time to use some of these nice glossy photos and get something original going on.
I have a lomo colorsplash. It takes the most amazing color tinted photos....
I have a lomo colorsplash. It takes the most amazing color tinted photos....
3/21/2007
Thoughtful Writings...by Si Lewen
I came across the webstie of Si Lewen today. What a treasure trove of interesting things. First, he posts various works that are linear in nature, one work composed of 1000 works. It is very intriguing to follow along the progression that he presents. There are several lectures and text files of his commentary on the world, politics, art....and I found these most inspiring. I am going to quote some of it here....so I don't lose them. Sometimes websites disappear, and the thoughts behind them also go. I don't want to lose this perspective.
From On Art and REality
"The rare, truly inspired work becomes increasingly difficult to find. How is one to distinguish between genuine art and its commercial counterfeit? It is neither color, design, subject, skill or novelty (presented as "original"), but something ephemeral, "authentic". This "authenticity" can arise only out of inspiration, which cannot be produced or duplicated. Among all the acres of canvasses covering the walls of museums and galleries, the truly inspired work is rare, no less than the inspired drama, poem or symphony. The rest is merchandise, of one media or another, supplying the demand of a market and catering to fashion and expectations. Art must be a revelation, extra-ordinary and inspired.
How account for inspiration? How explain a Mozart who, even as a child, must have heard melodies in his head which, literally, poured from his mind and fingertips? No natural talent ever decides to create anything; it is beyond decision; it just happens. In Shakespeare, words must have occurred and arranged themselves and spilled out into poetry beyond thought or control. Words, melodies, images - they pour forth, literally by themselves, triggered by some peculiar sensibility? Surely, in a Da Vinci, Vermeer, Van Gogh or Picasso and all their kind, talent is never acquired, but reflects some peculiarity one happens to be born with - a "divine gift" or a birth defect, a genetic inheritance, some allergy or even more troublesome mystery? The "born artist", the person of peculiar sensibility and obsession has little control or choice over his talent or inspiration; he does what he must do, or as his muse directs.
"Inspiration" might start any place, at any time - some image or other "popping up". It may start in the quiet of night, sometimes in a dream, an image repeating itself, especially during that strange "twilight zone", between sleep and wakefulness. It may continue on during the day, and for day after day, ever more insistently until finally committed to paper or canvass. There may be several inspirations at the same time, a procession of images, each one clamoring to be "realized". But this confrontation with the, as yet, untouched canvass may be the most delicious moment in the long, often agonizing process of creation. It is like an act of love - it permits no intruders or outsiders watching or spying; it is a very private, sacred, secret tryst between the artist and what beckons and confronts.
When the canvass is finally touched, at first perhaps tremulously and tenderly, then with ever increasing passion, dialogues ensue, even arguments, at times becoming a wrestling match, a mutual embrace of the painter and his painting till both lie exhausted. Poets and composers facing their blank pages, probably, experience similar love affairs. Love affairs can be maddening for the artist, born of fertile inspiration and giving birth to what is mostly inexplicable and often unacceptable.
There may be only a slight shift of balance and emphasis between inspiration and madness. In a madman, inspiration may have gone too far and awry. Where then is the dividing line between one and the other? Sharp lines of demarcation or safe perimeters evidently explain little. We insist on straight lines and sharp divisions, certainty, hard facts and absolutes, perhaps, because of our own limitations. The world, however, is not merely black and white, good or evil, either or, but composed of, mostly, subtle shadings, infinite possibilities, eternal paradoxes, indeterminable change, constant contradictions, asymmetric symmetries and - indescribable beauty. Mostly, however, it appears composed of question marks - in all sizes, colors and melodies."
""Is it art?" has by now spawned generations of increasingly belabored intellectual and philosophical responses, ready to ignore art's primary function. Image and imagination (let alone esthetics) has been replaced by "ideas, theories and concepts", as well as fashion and novelty. The result has been the production of high-priced "collector items, conversation pieces" and hype - the ultimate triumph of Dada's idea of "anti-art".
It might be interesting to recall that in 1920, visitors to the Dada exhibition in Cologne were free to trash its displays. Acknowledged as "worthless", trashing it was accepted as a quite proper and even meaningful response."
I have trouble imagining this happening at Miami Basel for example....Can you picture it? Security guards all hanging out smoking butts, while the populace trashed the exhibits....
"It may take a certain innocence to create art as well as experience it. "Understanding" can get in the way. Art is not an intellectual, academic or philosophical exercise. The art of imagery must rely on imagination, perception and intuition.
The direction which future art might and, I believe, should take is toward greater freedom from the demands of the market as well as style and fashion."
Good luck with that one. It appears that they are tied even closer together.
From On Art and REality
"The rare, truly inspired work becomes increasingly difficult to find. How is one to distinguish between genuine art and its commercial counterfeit? It is neither color, design, subject, skill or novelty (presented as "original"), but something ephemeral, "authentic". This "authenticity" can arise only out of inspiration, which cannot be produced or duplicated. Among all the acres of canvasses covering the walls of museums and galleries, the truly inspired work is rare, no less than the inspired drama, poem or symphony. The rest is merchandise, of one media or another, supplying the demand of a market and catering to fashion and expectations. Art must be a revelation, extra-ordinary and inspired.
How account for inspiration? How explain a Mozart who, even as a child, must have heard melodies in his head which, literally, poured from his mind and fingertips? No natural talent ever decides to create anything; it is beyond decision; it just happens. In Shakespeare, words must have occurred and arranged themselves and spilled out into poetry beyond thought or control. Words, melodies, images - they pour forth, literally by themselves, triggered by some peculiar sensibility? Surely, in a Da Vinci, Vermeer, Van Gogh or Picasso and all their kind, talent is never acquired, but reflects some peculiarity one happens to be born with - a "divine gift" or a birth defect, a genetic inheritance, some allergy or even more troublesome mystery? The "born artist", the person of peculiar sensibility and obsession has little control or choice over his talent or inspiration; he does what he must do, or as his muse directs.
"Inspiration" might start any place, at any time - some image or other "popping up". It may start in the quiet of night, sometimes in a dream, an image repeating itself, especially during that strange "twilight zone", between sleep and wakefulness. It may continue on during the day, and for day after day, ever more insistently until finally committed to paper or canvass. There may be several inspirations at the same time, a procession of images, each one clamoring to be "realized". But this confrontation with the, as yet, untouched canvass may be the most delicious moment in the long, often agonizing process of creation. It is like an act of love - it permits no intruders or outsiders watching or spying; it is a very private, sacred, secret tryst between the artist and what beckons and confronts.
When the canvass is finally touched, at first perhaps tremulously and tenderly, then with ever increasing passion, dialogues ensue, even arguments, at times becoming a wrestling match, a mutual embrace of the painter and his painting till both lie exhausted. Poets and composers facing their blank pages, probably, experience similar love affairs. Love affairs can be maddening for the artist, born of fertile inspiration and giving birth to what is mostly inexplicable and often unacceptable.
There may be only a slight shift of balance and emphasis between inspiration and madness. In a madman, inspiration may have gone too far and awry. Where then is the dividing line between one and the other? Sharp lines of demarcation or safe perimeters evidently explain little. We insist on straight lines and sharp divisions, certainty, hard facts and absolutes, perhaps, because of our own limitations. The world, however, is not merely black and white, good or evil, either or, but composed of, mostly, subtle shadings, infinite possibilities, eternal paradoxes, indeterminable change, constant contradictions, asymmetric symmetries and - indescribable beauty. Mostly, however, it appears composed of question marks - in all sizes, colors and melodies."
""Is it art?" has by now spawned generations of increasingly belabored intellectual and philosophical responses, ready to ignore art's primary function. Image and imagination (let alone esthetics) has been replaced by "ideas, theories and concepts", as well as fashion and novelty. The result has been the production of high-priced "collector items, conversation pieces" and hype - the ultimate triumph of Dada's idea of "anti-art".
It might be interesting to recall that in 1920, visitors to the Dada exhibition in Cologne were free to trash its displays. Acknowledged as "worthless", trashing it was accepted as a quite proper and even meaningful response."
I have trouble imagining this happening at Miami Basel for example....Can you picture it? Security guards all hanging out smoking butts, while the populace trashed the exhibits....
"It may take a certain innocence to create art as well as experience it. "Understanding" can get in the way. Art is not an intellectual, academic or philosophical exercise. The art of imagery must rely on imagination, perception and intuition.
The direction which future art might and, I believe, should take is toward greater freedom from the demands of the market as well as style and fashion."
Good luck with that one. It appears that they are tied even closer together.
3/20/2007
1000 Journals—The Book
The 1000 Journals Project Book is out!
"Over two hundred pages of the best journal entries from around the world, all packed into a hard-bound book that strangely resembles... a journal. There are also some fun stories, and two absolutely crazy stitching pages that you'll just have to see to believe."
There is a lot of visual action to be found in these journals. I hope the book as good as I think it will be... Some of my work is in this book, although I have yet to see it. I ordered a copy of this book today. I can't wait to see! You can order it on Amazon.
1000 journals
1001 journals
1000 journalsfilm
ANTEISM: You Get What You Give / WINTER
I wrote earlier this year about ANTEISM launching a global art project.
"The first Anteism project of 2007 has been named YOU GET, WHAT YOU GIVE. The project aims to create an international art potluck. Individual artists from around the world share artwork with their local public. They then photograph the work and submit it to Anteism.com. Their works are added to the collection of fellow artist's and is compiled into a book for consumption. Give one piece of art, receive many in return. This ongoing project has been divided into four volumes."
They have finished the first installation of the project and now you can download the pdf to see the art that everyone has shared. Go look and download it here.
3/16/2007
Su Blackwell
Altho I usually try to keep this a collage specific blog, sometimes I just can't resist posting other art related coolness!
I came across the work of Su Blackwell this morning while looking thru my bookarts list. This is some really unique work, similar to assemblage I think in concept anyhow! The book is part of the artwork, but not in the usual manner. Su actually uses the book as a piece of the work. Boxed frames, lights, and beautiful cut work are characteristic of her pieces. Her website has a bunch of really nice examples to look at. There is even a really cool little movie presentation she has on there called The Snow Queen that I really was digging...
i just love how creative people are. isn't it great?
3/13/2007
CoLLaGeMaNíA
An interesting blog with TONS and tons of collage photos. There is such a wealth of collage art on this blog, it makes me wonder why I am bothering with THIS blog!!
Paul Butler Again!
Paul ButlerFlower 3, 2006
Negative Print
40 x 29.75"
Edition of 5
I really liked this spring feeling flower print. Today I feel kind of down, and somehow this piece was rejuvenating.
Again, I have come across the trail of Paul Butler, who's powerful collage works are spacious and the dead opposite of my busy work!! He was in an exhibit at Elizabeth Leach Gallery, which had a special 25th Anniversary Show.
A Century of Collage
Group Exhibition
November 11 - December 30, 2006
In celebration of 25 years, Elizabeth Leach opens a compelling exhibition entitled
"A Century of Collage". This survey show, which focuses on one of the 20th Century's
most significant mediums; collage, will include renowned artists Joseph Cornell,
Robert Rauschenberg, Robert Motherwell, Kiki Smith, and others. Also featuring up
and coming artists such as Paul Butler, Javier Pinon, Karen Weiner as well as regional
artists Judy Cooke, Lee Kelly and Michelle Ross.
There is an online display of work from this show here . This would have been a good show to attend!! There were some prominent names such as Rauschenberg and Cornell --Kiki --displayed...along with several new collage artists. I am sorry that sometimes I seem to be just "catchingup" with old news. But still, looking at the works and seeing what is being done holds some value. I am thankful for the internet opening up new options for people like me that live out in the sticks, away from media and rich amounts of culture.
I also read that he has a book out that can be purchased here @ Plugin under shop/publications.
3/10/2007
Collab with Deadly Daisy #1
Sharing is the buzz these days, not just in music but also in art. lots of artists are hooking up and sharing work, ideas and making impressive impact with dual thoughts and visions.
I am sending these to Colorado for some collab work with Deadly Daisy. The anticipation of her additions is already killing me!!
I am sending these to Colorado for some collab work with Deadly Daisy. The anticipation of her additions is already killing me!!
3/08/2007
Arkell Arts Center Canajoharie, NY
I am lucky enough to live in a town with money. Canajoharie in upstate NY, is the home of Beech Nut. The company still does business here and the place smells wonderfully like apple sauce, or sometimes like carrots...depending on what baby food is being done up today! The founding fathers of this town included a certain man named Arkell, who left a fortune of wonderful art with provenance and a lot of money to the town.
Recently, the town has spent a load of cash on the new Arkell Arts Center, which is a glorious addition off of the existing library in Canjo. The gallery owns many masterpieces, Eackins', Hassam, Cassatt, —including several well-known watercolors done by none other than Homer himself. Can you imagine my surprise when I found out that I could see his work up close and personal in this pathetic little sleepy upstate town?? What a cultural advantage for the local folks. They must understand this, as is evident by the expense incurred to build this beautiful building.
The flood hit here pretty badly last summer, and the library had serious problems immediately following. It is great to see flood damage replaced by a pristing building to house our national artwork treasures.
The gallery is nearing completion and the outside is almost finished. The inside looks intriguing and luckily I found these pictures today and took a peek.
I am very excited about this new venue so close to home. Sometime after June it will open, I am not certain of a date at this point.
Someday I want to exhibit here——with any luck....
Winslow Homer
(1836 - 1910)
"On the Battenkill"
Watercolor and Colored Pencil on Paper
(1895)
Cut and Paste: The Collage Show
David PlunkertCut and Paste: The Collage Show
TAG Art Gallery
237 5th Avenue North
Nashville TN, 37219
615-255-7816
March 3rd – 31st
Featuring some of the most notable names in contemporary collage -
Charles Wilkin, Poul Hans Lange, Lisa DeJohn, Suzanne Sbarge,
David Fullarton, Hilary Pecis, Griffin Norman, David Plunkert,
Thinkmule, Deborah Hayner, Gordon Wiebe, Bill Zindel,
Jason Sherry and David Wallace
Guest curated by Jim Kaufmann
"This collage show extends the tradition of collage. Limitations are few on the materials used by or subject matter addressed by collage artists today. The collages in this show are surprising and funny and inventive and provocative. Some are nearly psychedelic; some are buttoned-up and wholesome. The works of the 14 artists in Cut and Paste could hardly be more different from one another yet all have at their heart the same spirit of cut and paste."
View pictures from this exhibit here.
The Mixed Reactions to Mixed Media
In the March 2007 issue of Sunshine Artist is a thought-provoking article about the public's mixed reaction to Mixed Media work, from the perspective of 3 Mixed Media artists. The article goes into a bit of depth about the problems that mixed media artists have in categorizing their work. Indeed, there are so many categories at every level. Traditional gallery or show categories don't always include a special compartment for Mixed Media or Collage work. There is often a catch-all category and Mixed Media work gets lumped in with printmaking, sculpture or any other combination of miscellaneous work.
I feel part of this is because of the large variations in Mixed Media work in the pieces themselves...There is work done in so many ways, with so many varying techniques, it is not an easy thing for comparison. The less amount of variables that are involved, the easier it is for objects to be compared. If all the subjects in a given competition were given simply some paint and paper to work, your contest is accenting certain qualities and talents in an artist. When every object and texture in the world becomes the paint, you increase the variables in the work. This in turn increases the ways that one would have to compare them, and as we know, the more complex things get, the more difficult things are to judge.
I don't think that complexity is a good reason for the lack of specific arenas for Mixed Media artists to be judged and compared. It seems to me as tho the system is old skool, and therefore needing updating. After all, the mixed media phenom isn't exactly brand new, and there IS a plethora of artists expressing themselves in more ways than just a brush, paint and paper. Why is it that institutions are unable to meet the growing needs of the artistic community?
There is hope! Not all galleries or shows are turning a deaf ear to the medium. I have posted on this blog about several galleries that have offered up various riveting collage or mixed media exhibits as of late. Providing them with support and continuing to inform the public about our work is one thing we all can do to promote this special type of artwork.
Some Galleries Promoting Collage and Mixed Media
I feel part of this is because of the large variations in Mixed Media work in the pieces themselves...There is work done in so many ways, with so many varying techniques, it is not an easy thing for comparison. The less amount of variables that are involved, the easier it is for objects to be compared. If all the subjects in a given competition were given simply some paint and paper to work, your contest is accenting certain qualities and talents in an artist. When every object and texture in the world becomes the paint, you increase the variables in the work. This in turn increases the ways that one would have to compare them, and as we know, the more complex things get, the more difficult things are to judge.
I don't think that complexity is a good reason for the lack of specific arenas for Mixed Media artists to be judged and compared. It seems to me as tho the system is old skool, and therefore needing updating. After all, the mixed media phenom isn't exactly brand new, and there IS a plethora of artists expressing themselves in more ways than just a brush, paint and paper. Why is it that institutions are unable to meet the growing needs of the artistic community?
There is hope! Not all galleries or shows are turning a deaf ear to the medium. I have posted on this blog about several galleries that have offered up various riveting collage or mixed media exhibits as of late. Providing them with support and continuing to inform the public about our work is one thing we all can do to promote this special type of artwork.
Some Galleries Promoting Collage and Mixed Media
3/07/2007
Cobaltika
Images R Up
first work by Shawn Long
second work by Eva Lake
The Images are up @ Guestroom. The images for the Paper Chase show are up. Worth checking into!!
Virginia Rose Kane + Botanical Papercutting
Her pieces are collages, but they are silhouetted against a stark white. Very nice effect, and unique too! "A unique melding of collage and papercutting, these delicate works are an artistic expression of the earths eternal mysteries that provide the view an opportunity to discover art and nature anew." Visit her site to see more.
Gallery wAtch
Marion Harris
Untraditional Art and Antiques
http://www.marion-harris.com/
1225 Park Avenue, New York NY 10128
Telephone: 212.348.9688
By Appointment Only
Mary Lou Zeek Gallery
http://www.zeekgallery.com/
35 State Street, Salem, Oregon 97301
Call us at 503.581.3229
Open Tuesday - Friday, 10 am to 6 pm
Saturday 10am to 5 pm
Untraditional Art and Antiques
http://www.marion-harris.com/
1225 Park Avenue, New York NY 10128
Telephone: 212.348.9688
By Appointment Only
Mary Lou Zeek Gallery
http://www.zeekgallery.com/
35 State Street, Salem, Oregon 97301
Call us at 503.581.3229
Open Tuesday - Friday, 10 am to 6 pm
Saturday 10am to 5 pm
Shirley McCutcheon
I discovered Shirley McCutcheon this morning. Her blending techniques are worth noting. It is a difficult thing to blend a square vintage photo into the background without making it so obvious that it is a square photo. I always get a pang of pain with my first cut into vintage photos. I don't hesitate to cut them regardless of their age. She has a blog with all sorts of visual food. Her work is muted, layered. I did enjoy peeking around. It promoted nice thoughts towards a coming spring....
3/02/2007
3/01/2007
Creative Commons and Copyleft
Creative Commons
Creative Commons allows for a creative person to apply varying degrees of copyright to their works. You can allow someone different privelages regarding your work, and you are also always protected under the usual copyright law. "Creative Commons licenses give you the ability to dictate how others may exercise your copyright rights—such as the right of others to copy your work, make derivative works or adaptations of your work, to distribute your work and/or make money from your work. They do not give you the ability to restrict anything that is otherwise permitted by exceptions or limitations to copyright—including, importantly, fair use or fair dealing—nor do they give you the ability to control anything is not protected by copyright law, such as facts and ideas."
Find out more about the Creative Commons here.
Copyleft
Copyleft is a way to make your creative work free to others, for them to modify and alter and change. "Copyleft says that anyone who redistributes the software, with or without changes, must pass along the freedom to further copy and change it. Copyleft guarantees that every user has freedom."
Find out more about Copyleft here.
I downloaded a photo from Flickr that was copyleft--altered it and now will collab with another artist with it. Thank you copyleft. I do these things sometimes anyhow, without the copyleft arrangment. But there is always this little nagging worry if you want to get technical about stuff. I have to support efforts to change a messed-up system. Even if the alternatives aren't always ideal.
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