Art Inspirations

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Alyson B Stanfield Recommeds 

I have a ritual around writing that requires a clean space and a clear mind. It also tends to be a circuitous route to the actual writing activity.

Here’s how the first draft of this newsletter came together one afternoon.

1. Take photo of messy desk in case I need it for this note – 3:43 p.m.
2. Move piles to other surface area, except for a business card I need to take action on
3. Give cat some water out of the faucet.
4. Think about writing newsletter.
5. Decide that blueberries sound good, so snack on blueberries and sift through a few pages in the newspaper. (Disappointed in blueberries.)
6. Sit down to write newsletter and start timer.
7. Turn off timer and think about acting on the business card.
8. Muster all of my discipline and move business card out of my way.
9. Think music would be nice, so turn on Latin guitar music.
10. Restart timer and restart writing.
11. Decide guitar music isn’t the right fit. Switch to Zen meditation music at 3:59.
12. First draft done at 4:25 p.m. with 2 minutes and 39 seconds left on the timer.

The revision stage came next, not to mention the process of finding images, but we’ll save those for another time.

Today’s article is something I’ve been alluding to in previous posts. It’s time to tackle the subject.

 

Top Ten from Cleveland’s Best List : Sm.ArTist

Cleveland Artist TIffany Southall Urban Landscapes

Hello Readers,

I came across this article about the cool art galleries here in Cleveland. I thought I would share because it actually list some locations around the world. Check it out!

http://theculturetrip.com/north-america/usa/ohio/articles/cleveland-s-best-art-galleries-ten-cultural-venues-in-america-s-comeback-city/?utm_source=emails&utm_medium=external&utm_campaign=17062014clevelandgalleries

 

Best known as the home of the Rock and Roll Hall of Fame, Cleveland, Ohio also boasts an unusually appealing array of art spaces to rival any other in the country. From old railway stations to medical facilities, and from occupied warehouses to revitalised museums, Cleveland’s art scene is booming.

Transformer Station

The historic Transformer Station was built in 1924 as a substation of the Cleveland Railway Company. A recent refurbishment of the building by Process Creative Studio preserves the classic brick structure while echoing its rectangular form with a contemporary, minimalist addition. The expanded space is the home of the Fred and Laura Ruth Bidwell Foundation, established as a platform for emerging and mid-career artists. The Bidwell Foundation has partnered with the Cleveland Museum of Art, offering the space to the museum for six months each year as a venue for significant new projects. In autumn 2013 the Cleveland Museum of Art made its Transformation Station debut with Unicorn. The exhibition presents the work of five contemporary artists engaged in explorations into the reconstruction of the past.

1460 West 29th Street, Cleveland, OH 44113

 

78th Street Studios

78th Street Studios occupies a massive warehouse in the Gordon Square Arts District, and houses over 40 commercial galleries, artist workshops, design showrooms, and other creative spaces. The studios became popular in early 2000 as interest in the city’s underground art scene surged; today they comprise the largest art and design complex in Northeastern Ohio. 78th Street Studios runs a monthly art walk on the third Friday of each month, during which time all 40 venues in the structure open for evening viewings. Over the past 10 years the event has expanded to become a district wide happening, and free gallery exhibitions are now accompanied by dining specials in local restaurants, live music, a pop-up artisan market, product specials and delicious food. Galleries located inside the complex include Forum Artspace, Greenwald Gallery and Survival Kit Gallery among many others.

1300 West 78th Street | Cleveland, Ohio 44102

 

William Busta Gallery

William Busta Gallery has been presenting the impressive work of talented Northeastern Ohio based artists since its inception in 1989. A somewhat recent expansion project has resulted in a massive 4,500 square foot space which serves as a quasi museum for the art of Cleveland. William Busta’s rotating programme of exhibitions, which are usually dedicated to the work of a single artist, are held alongside a continuing display of art objects of artists represented by the gallery. Among Busta’s rich repertoire of artists are figures like Aaron Koehn, Matthew Kolodziej, Cecelia Phillips and Brinsley Tyrrell.

2731 Prospect Avenue, Cleveland, Ohio 44115

 

Shaheen Modern and Contemporary Art

Established in 1999, Shaheen Modern and Contemporary Art has developed an experimental exhibition programme, creating opportunities for younger, up-and-coming artists to show their work. Meanwhile the gallery’s number of mid-career, nationally and internationally recognised artists are provided a space to expose their practice to new audiences outside of the primary art cities such as New York, Chicago and Los Angeles. The gallery also deals in the secondary art market, offering the work of highly regarded art world figures such as Alexander Calder, Joan Miro, John Currin and Elizabeth Peyton from its considerable inventory of art.

740 West Superior Avenue, Suite 101, Cleveland, Ohio 44113

 

 The Cleveland Institute of Art
Courtesy of Reinberger Galleries © Rob Muller

The Cleveland Institute of Art

The rigorous visual art and design programme at the Cleveland Institute of Art is one of the most well regarded in the country. The University offers a wealth of opportunities to view the work of students, faculty and other professional and influential artists throughout the year, both in the on campus Reinberger Galleries and in other spaces around the Institute. A diverse and highly engaging series of exhibitions acts both as an educational resource for students as well as an important cultural attraction for non-student art enthusiasts in and around the city.

11141 East Boulevard, Cleveland, OH 44106

 

The Cleveland Clinic

Embracing the notion that art possess the power of healing, Cleveland Clinic’s arts programme is one of the most notable in the city. The facility, considered among the top four hospitals in the United States, established its arts programme in 2006 with the goal of inspiring, enlightening and enriching the experience of patients, families, employees and other visitors to the clinic. The hospital boasts a collection of over 4,500 works by local, national and international artists across a range of media, including major site specific installations. Although much of the programme caters to the patients – activities include tours specifically designed for those with memory loss – art ambassador tours are offered twice a week at regularly scheduled times and are open to the public. In addition, audio guides in which artists and curators discuss 35 specially selected artworks from the collection are available to visitors.

9500 Euclid Ave Cleveland, OH 44195

 

Museum of Contemporary Art Cleveland

Formerly housed in an outdated structure once occupied by a Sears department store, the Museum of Contemporary Art Cleveland reopened in 2012 in an impressive new building designed by world famous London architect Farshid Moussavi. Now in its shiny new location, the Museum acts as a leading force within the cultural sphere of Northeastern Ohio, reinvigorating the downtown arts community and acting as the axis for cultural happenings in the city. As a non-collecting museum, the institution presents a series of rotating exhibitions, focussing on site specific installations and public programming.

11400 Euclid Avenue, Cleveland, OH 44106

 

The Cleveland Museum of Art

Since its inception in 1916, the Cleveland Museum of Art has grown to become one of the premier art institutions in the United States. Although overshadowed by the nation’s more famous museums like the Metropolitan Museum of Art or the Art Institute of Chicago, Cleveland’s art museum is equally distinguished, and all the more impressive for its comparatively modest reputation. With an exhibition programme that spans across diverse genres such as African art, Greek and Roman sculpture, Contemporary art and photography, the museum strives to reach the widest possible audience.

11150 East Boulevard, Cleveland, Ohio 44106

 

The Sculpture Center

As a non profit art institution, The Sculpture Center strives to further the careers of emerging Ohio sculptors and to protect outdoor public sculpture as an important part of the Cleveland cityscape. During the 1990s the Center was awarded federal funding for Save Outdoor Sculpture, the largest volunteer effort ever undertaken to record the location, condition and history of all public sculpture in the nation. Although The Sculpture Center maintains a concern for the conservation of the nation’s existing sculpture, its ongoing efforts are directed towards nurturing new talent and enriching the artistic landscape of its home city through its series of exciting exhibitions.

1834 E. 123rd Street, Cleveland, Ohio 44106

 

Contessa Gallery

Contessa Gallery was founded in 1999 with three primary principles at its core: passion, integrity and education. Dealing in pre-twentieth century, modern and contemporary sculpture, painting and works on paper, the gallery works closely with collectors to help them assemble carefully considered, quality collections. Through its list of notable artists and increased visibility at international art fairs such as The Armory Show and Art Miami, the gallery has secured its reputation for excellence. Among its list of blue chip artists are Louise Bourgeois, Tom Wesselmann, Chuck Close and Jasper Johns.

24667 Cedar Road Cleveland, OH 44124

 

Cleveland Artist TIffany Southall Urban Landscapes

Art peace hope cityscapes, urbanscapes, smartist, tiffany southall, happiness, life, liberty, drugs, peace, I want art, i like art, I need art City of Happiness 11x14  2014 City of honest City of Liberty 11X14 2014

About Tiffany Southall and writer’s block :Sm.ArTist

Cleveland Artist TIffany Southall Urban Landscapes

In college I had this really awesome idea that i would write a book about some of the challenges I had as a youth and  with intentions to help people. Then one day I encountered a Junior Composition teacher at Ohio University that made me feel like I was incapable of writing. I say this only because I was really upset when she compared my writing to the works of slave narratives. She did not  say my writing was bad. She had envisioned my writing to be comparable to that of a slave and I was offended and I should of embraced the stylistic critiquing but all I saw were color lines:

Advice from WordPress in those moments 

full article avaliable at wordpress.com

 

 

Think about an event you’ve attended and loved. Your hometown’s annual fair. That life-changing music festival. A conference that shifted your worldview. Imagine you’re told it will be cancelled forever or taken over by an evil corporate force.

How does that make you feel?

Let’s consider your voice again. This topic can be tricky, as you might not be sure what your voice sounds like — yet. But it’s not that it’s not there, as Chuck Wendig explains in his “Ten Things I’d Like to Say to Young Writers” post. It just takes time to hone it:

You will chase your voice like a dog chasing a car, but you’ll never catch it. Because you were your voice all along. You were never the dog. You were always the car.
Our favorite writers, from Jane Austen to Gabriel Garcia Marquez to Paul Auster, have distinct voices. You read their writing and hear their words in your head. From their word choices, to the rhythm of their sentences, to the intimate spaces they create — right there on the page — they sound like no one else but them.

Today’s twist: While writing this post, focus again on your own voice. Pay attention to your word choice, tone, and rhythm. Read each sentence aloud multiple times, making edits as you read through. Before you hit “Publish,” read your entire piece out loud to ensure it sounds like you.

Need a helping hand? Head to The Commons.

Etsy stores for Artist step by step : Sm.ArTist

Cleveland Artist TIffany Southall Urban Landscapes

Here is a video on how to setup on Etsy.com

I also received these tips that I received from Holly as well

Here a few things to consider when selling work on Etsy:

1. Work, work, work. Keep making new work! Do what you love, develop your style, make and list new work to sell as often as you can. Be true to yourself, find your own voice, don’t worry about what others are doing or selling, if it’s too weird or too cute, trendy, not trendy, just be yourself. Don’t worry about how other people choose to do things, that’s not your concern. Your only concern should be being the best you.

2. Always deliver a great product and excellent customer service. Your customers will appreciate your effort.

3. Fill in you profile, about page and create shop policies. Tell people who you are and stand by your work. Ship orders promptly. People are taking a chance on you, spending hard earned money on you, so you need to build trust because people don’t know you. IF you get ideas from other sellers policies and item descriptions, PLEASE don’t copy word for word. Use your own words and your own voice to sell your work. Tell your own story and describe things in your own unique way.

4. As you begin to sell online, what items are selling for you on Etsy or elsewhere? What items are viewed the most? Review your sales, experiment. Should you build on a collection? Perhaps there are one or two pieces that really garner attention?

5. Use all of your listing TOOLS and tell a story. Have a defined style and clear point of view. Your tools are your photographs, item description, tags, categories, rearrange your shop feature. Use these tools to provide your customer with as much information as possible because they can’t pick up your work and hold it in their hands. SEO, search engine optimization is important. Read up on it.

6. Subscribe to Etsy finds, Etsy Success emails. Read through the Do’s and Don’ts. Read the Etsy Blog. Click through all of the resources on the Get Started SELL page: http://www.etsy.com/sell?ref=si_sell . These resources are filled with information for you. Etsy has it’s own unique culture. What works for your art elsewhere may not work here.

7. Participate in the social aspects of Etsy (only if you want to). Curate treasuries (collections of work that you like other than your own), use the follow feature(a way to follow people whos style and taste you like), join a team (like-minded people with common goals).

8. Consider free promotional tools like a blog, twitter, flickr, pinterest, facebook, tumblr, etc. Paid advertising is also an option too. All of these types of networks bring traffic back to your shop.

9. Install google web analytics and keep track of your visitors and how they find you. It’s fascinating.

10. Make Etsy a part of your business plan, but don’t make it your entire business. I do a lot of work outside of Etsy and offline so to speak. It keeps things interesting and it balances out the natural ebb and flow of a retail business.

Hope this helps!

Best,
Holly

Art Basel strong second half :Sm.ArTist

Cleveland Artist TIffany Southall Urban Landscapes

img-art-basel-marian-goodman_173353622533.jpg_x_475x356_c

I believe this is a well written piece from one of my favorite art magazines. I just got a subscription:

History Makes a Comeback at Art Basel by Olga Stefan

 

Full article : http://www.artinamericamagazine.com

 

In the first hours of Tuesday’s preview of the Swiss Art Basel fair, dealers on the first of the fair’s two floors, where modern (or, as most dealers currently call it, classic) artists are usually located, were mostly excited about their prospects.

The 45th edition of the mammoth fair, including 285 galleries from 34 countries, includes the customary Unlimited and Statements sections, which feature large-scale projects by single artists and solo shows by emerging artists respectively. There’s also Parcours, introduced in 2010, featuring artworks in the streets of Basel; Edition, which features galleries showing editioned works and multiples; and the new project, 14 Rooms, featuring performance art and curated by the Serpentine’s Hans Ulrich Obrist and Klaus Biesenbach of New York’s Museum of Modern Art.

Collectors like Maja Hoffman, curators including Okwui Enwezor and artists such as Mark Bradford were seen scouting the booths.

The customary gallery giants were, as expected, selling multi-million dollar works, like the multinational White Cube, which moved Damien Hirst’s Nothing is a problem for me (1992) for just under $6 million, and David Zwirner (New York and London), which sold a Jeff Koons sculpture for $5 million. Several galleries that usually showed on the second floor, where contemporary art is concentrated, this year moved downstairs for the first time and featured a combination of classic works alongside more contemporary artists.

New York dealer Andrea Rosen told A.i.A. that she had sold more than 80 percent of her booth by 1:30, two and a half hours into the preview. She opted to show contemporary art along with historical works because “the juxtaposition heightens the experience.” She reported that work by both older and younger artists was selling equally well. She had found a buyer for an untitled 1957 wood sculpture by Carl Andre that sold for $275,000; Polish sculptor Alina Szapocznikow’s Lampe-Bouche,(1967), was on offer, was priced between $417,170 and $516,000. She’s also offering contemporary artists such as the American Michael St. John, whose sculptures are priced at $25,000-$35,000.

At Lugano’s Buchmann Gallery, which also exhibited a combination of more classic artists with contemporary ones, were German-Iranian artist Bettina Pousttchi’s immediately recognizable street furniture sculptures. Also on view was a new ceramic wall piece mimicking the pattern on the moulding of an old house and tagged at $61,000.

An anonymous collector bought two pieces from Galeria Starmach, Krakow, in the first two hours of the preview. One was the mixed-media painting What for? (1964), by Edward Krasinski, for $41,700; the other was a Henrik Stażewski untitled constructivist-style painting, for $30,000. Both artists were active during the 1960s in Poland and created conceptually driven painting and sculpture.

In the Edition section, Matthias Kunz of Munich’s Sabine Knust Gallery reported to A.i.A. strong interest from young collectors but also institutions, as well as established collectors who are slowly starting to appreciate prints as artworks in their own right. Two works by Daniel Richter (in editions of between three and five), priced around $6,000 each, sold before the fair started, while an additional four sold in the first two hours of the preview.

Photography is also seeing a rise in interest from collectors, and not just those specialized in the medium, according to Cologne dealer Thomas Zander. He was reasonably happy to have sold a large series of unique photographs by Albert Renger-Patzsch, a photographer who influenced Bernd and Hilla Becher. The Renger-Patzsch works show factories and industrial zones dating back to the ‘30s, and went for only $250,000 as a series, while three experimental photographs by Constantin Brancusi, showing sculpture in his studio, were tagged at $200,000 each at Bruce Silverstein. They hadn’t sold yet; Silverstein suggested that this may be due to the confusion collectors experienced when confronted with a medium they were not familiar with in the sculptor’s practice. But he did sell a series of nine photos by the Bechers for $145,000.

Asked what trends he was noticing, Yves Aupetitallot, director of the French museum Le Magasin Grenoble who was visiting the fair to meet colleagues and network, noted a return to history. “Collectors may be less willing to speculate by paying wild unsupported prices. Investing in historical works may be a way for the market to regulate itself,” he said. “And in this regard, the market nourishes itself from institutions and biennials that of late have also been busy reintegrating overlooked modern artists into the art canon.”

Cristina de Migue :Sm.ArTist

Cleveland Artist TIffany Southall Urban Landscapes

I thought this article was interesting and wanted to share:

http://www.blouinartinfo.com/news/story/1040378/cristina-de-miguel-forges-her-own-scrappy-path

View the full story

 

Cristina de Miguel Forges Her Own Scrappy Path

16/06/14 5:07 PM EDT
 

Cristina de Miguel may have trained at a classically inclined art academy in Seville, Spain, but you’d be hard pressed to recognize that given the exuberant, large-scale paintings in “Absolutely Yours,” the artist’s debut solo show with Freight + Volume in New York. Indeed, the only vestige of her conservative schooling is a simple portrait of a young gentleman collaged onto “Lovestory,” a multifaceted painting depicting an imaginary studio wall hung with various sketches and studies. (There’s also an image of a devil-face De Miguel spotted graffitied onto a wall, and a rudimentary nature scene that she says was inspired by a residency at Skowhegan, in Maine.) The other paintings in the show are scenes that respond either to moments the artist has witnessed in New York, or to the act of painting itself. Abstract passages share space with weird slices of figuration, as in “La Noche,” which pairs a background pattern inspired by Andalusian tiles with a spraypainted image of a very unique French kiss. For “Candy Saga in the Subway,” De Miguel incorporated blobby forms derived from the popular smartphone game Candy Crush; another painting borrows its basic motif from a baccarat board.

While her studies at the University of Seville were fairly stultifying — “drawing from nude models for five years, the same thing,” she said — a year abroad in Athens expanded her horizons. There was more freedom in the studio there, and a well-stocked library that introduced her to painters — Julian Schnabel, Francesco Clemente — who had never been discussed in her classes in Spain. De Miguel left Spain in 2011 to earn an MFA at Pratt University in Brooklyn, and has been living and working in the city ever since — nearly all of the canvases in “Absolutely Yours” were completed since last fall. They bear the influence of her daily surroundings, as well as an ongoing exploration of painters who weren’t afraid to experiment with styles that border on the impolite and ragtag. “Two Bitches or Mother and Daughter” looks a bit like a DIY beauty-shop sign that one might find hanging in certain corners of Brooklyn, although in this case it seems to be advertising the familial joys of cigarette smoking. De Miguel completed it immediately after touring MoMA’s Sigmar Polke exhibition, keyed in to the early, commercially-inflected paintings of socks and sausages.

 
 

In the back of Freight + Volume there is a scrappy, multi-layered painting titled “Self-Portrait Wearing Jeans.” It depicts a flattened, two-dimensional vision of the artist wearing a cliched “I Love New York” tourist T-shirt; an actual paintbrush is glued into her hand and a thick red arrow shoots straight into her brain. She looks equal parts ecstatic and anxious; her arms hang nearly down to her kneecaps. It’s a rough and raw work, and given her background, it reads as a literal destruction of the formal training De Miguel cut her teeth on. It’s a portrait of the artist striving to clear a path for herself, even if things get a little messy.   

Thomas Pynchon: what art can learn from the great pop author: Sm.Artist

Cleveland Artist TIffany Southall Urban Landscapes

 

 

Article from The Guardian :

Thomas Pynchon: what art can learn from the great pop author

Pynchon’s art – and genius – is to absorb modern life and turn it into joyous fantasy. Visual artists would do well to copy him
Pieces of a plane and a destroyed Rodin sculpture from the World Trade Center at Fresh Kills landfill, 2002. (Photograph: Kathy Willens/AP)

The 1960s produced many pop artists and one great pop novelist. The fiction of Thomas Pynchon is not pop in the sense of popular – he’s fairly “difficult” – but in the true sense of pop art, in that it takes its images, language and references directly from the big, bad, modern world around it.

Today, Pynchon is one of the most important creative figures on the planet. Still pumping out formidable and monstrously contemporary fiction – his latest novel Bleeding Edge deals in an engrossing, hilarious and shocking way with the Deep Web, video games and 9/11 – he not only disproves all those pessimists who fear literary novels are doomed in the digital age but points a way forward for serious practitioners of all the arts… not least for visual artists.

Pop imagery is everywhere in today’s art, and so is the imperative to engage with the multi-voiced, multichannel, democratic abundance of the digital world. How to do justice to this teeming new age? Some artists have abandoned the role of author and let the audience become the art – as Antony Gormley did with his Fourth Plinth project –while others, likeCory Arcangel, sample modern electronic life.

Pynchon demonstrates a bigger and better way of making art out of the reality we inhabit right now. He soaks it all up, ingests a stupendous volume of cultural phenomena then transfigures them into a comic phantasmagoria, where everything is metamorphosed into joyous pastiche, parody, and grotesque fantasy.

All great modern art is abstract. The power of pop artists such as Jasper Johns and Andy Warhol was that they understood this. While pop art seems to be about things, it actually translates them into abstractions. The most perfect example of this metamorphosis is Flag by Jasper Johns, which is a copy of a flag that has become something else. It has been abstracted.

Pynchon achieves the same thing in language. At around the same time that Phil Spector invented the “wall of sound”, Pynchon invented what might be called the Wall of Prose. His words are like an ocean full of the floating debris of modern life. In 2013’s Bleeding Edge, which is set in the summer of 2001, a father takes his sons on a tour of the midwest to experience the old arcade games of the 1990s before they vanish forever. A woman searches for the perfect Jennifer Aniston haircut. A New York radical reads, what else, the Guardian.

Even with its retro-setting in recent history, this novel is immersed in the way we live now. Pynchon, in common with Johns or Warhol or every young artist right now, does not think for one second the “serious” artist should stand aside from this stuff.

So what can Pynchon teach artists? It has to do with complexity.

The pop artist he most resembles is Robert Rauschenberg. Just as Rauschenberg drew together the city’s trash into enigmatic “Combines” and represented history in haunting collages, Pynchon collects innumerable cultural artefacts into his fictions and weaves them into montages of modern history. The effect is to communicate the difficulty of understanding things, and the hidden layers of meaning in every moment.

Pynchon does not use pop to create simple messages, but resonant and suggestive ones. You don’t come away from his writing with any easy answers, but a fresh sense of the difficulty of knowing anything and the sheer massiveness of the world we inhabit.

There is a scene in Bleeding Edge that describes the Fresh Kills garbage islands of New York. This evocation of the city’s mountains of trash is as beautiful as anything by TS Eliot, an image of all that is forgotten, thrown away and lost. I want to see it as an artwork!

This is what artists ought to be doing. We’ve had enough one-dimensional images amd instant sensations. We need art that does justice to the scale and wonder and horror of this life we’re in – without turning away from it into some pious ivory tower.

What would a Pynchonesque video installation look like? A piece of truly Pynchonesque digital art? I’ll tell you exactly what it would look like: the great art of our time.