FSU Art Department Visiting Lecture Series videos on youtube

The FSU Art Department Visiting Lecture Series videos are now being added to youtube. Subscribe to the channel here: http://www.youtube.com/user/fsuartdept

Alec Soth

David Packer

Thank God For an Artist Who Thinks Art Isn’t Just About ‘Big Power’

What a sweet rant this is…

It isn’t the kind of joke that actually makes you laugh, but the visual arts world isn’t all that good at making people laugh. The visual arts world likes to use words like “interrogate” and “notion” and “question”, which other people think are embarrassing art-school clichés, but which it seems to think are piercing poetic truths. It also seems to think that you can “interrogate” and “question” the values of a culture – its obsession with celebrity, say, or marketing, or hype — while also getting, and keeping, and eating, an awful lot of cake.

Read more in: Thank God For an Artist Who Thinks Art Isn’t Just About ‘Big Power’ by Christina Patterson

Free market fail: Pay-to-play groups ripping off artists?

Here is an unsolicited email I received this week from someone who “likes” my work and wants me to submit to her art publication. By “submit” she means send images of my artwork for the International Contemporary Masters to consider for inclusion. Upon further research I have found her organization is in the business of charging artists into submission. How much you ask? Try nearly $1000 for a single page. Have plenty of money laying around? You can purchase six pages for almost $3500, or the front cover for $9800!!! Here’s the email:

From: 	 ornella@omma.us
Subject: International Contemporary Masters Volume 6
Date: 	 October 5, 2011 3:09:52 PM EDT

Dear Owen

I visited your portfolio and I liked your work, so I would like
to invite you to submit art for inclusion in Volume VI of
"International Contemporary Masters”, a leading juried annual art
publication presenting noteworthy artists from all over the world.

Please note that this is not a free inclusion and we encourage
artists to seek sponsors. 

If you are interested I will send you more information or you can
visit the link: http://wwab.us/index.php/Masters-Application/
To get an idea of the quality of our publications you can view our
previous books at the link above.

With Best Regards

Ornella Martin - Assistant Curator
World Wide Art Books,INC
1907 State Street
93101 Santa Barbara CA
Tel / fax +1 805 845 3869

www.wwab.us

World Wide Art Books was established in 1997 and has to date pub-
lished and represented over 6,000 artists from all over the world.

Unfortunately this kind of “pay-to-play” scenario is not unusual in the art world. The more my name gets out there the more contacts I receive asking me to pay money to be included in a publication, exhibition, or other so-called opportunity.

The illusion of “making it” as a visual artist today is not unlike the often unrealistic goals shared by young musicians. And, like the music business, the economically disparate art world reflects the failures of free market principles by rewarding only a few lucky or well-connected individuals and ignoring everyone else.

Elizabeth Warren’s critique of corporations and billionaires who believe they shouldn’t pay their fair share of taxes accurately critiques the focus on art stardom that pay-to-play organizations promote. There are thousands of artists, designers, and creators out there who exhibit their work publicly and contribute to the visual dialog. Like the industrialists who use publicly-funded roads to move their goods to market, the 1% of artists who reach international fame do so because they have been inspired by everyone else that came before them. Everyone else that is, who are targeted by rhetoric such as this from the World Wide Art Books website:

An invaluable tool for every artist who wants to help himself or herself to succeed, to get the best value for his or her art, to establish relationships with art galleries, and also as a reference for clients.

Every artist knows how important it is to be included in juried exhibitions, festivals, books and publications. To create an important record that will open a path to success and also to show his or her creations in every possible way and to get one’s art out of the studio and before the public eye.

I like to think that artists are more savvy than to fall prey to this marketing-speak. I also like to think they are inspired to respond to the world for reasons beyond getting “the best value” for their art. Sadly, the truth is there is little support in the United States for the cultural, social, and aesthetic contributions artists make, so many find themselves taking risks like this in order to get their work seen. Other risks include applying to shows that charge entry fees and provide no shipping expenses (to or from) or insurance. See this post with details about entry fees for artists: What it costs to be an artist.

In this post-Jesse Helms era, the echo of his “letting the market decide” tirade has only made matters worse. Artists have reduced themselves to craft production, creating unique, one-off works, with the hope of selling them to collectors. Instead of reflecting and affecting society, the market has given us a numb and spectacle-driven object factory akin more to stamp collecting than a valid mode of cultural production.

In his short book, Behind the Times: The Decline and Fall of the Twentieth-Century Avant-Gardes, Eric Hobsbawm points to the greater problem of a “collectable” art practice—that it suffers from lack of reproducibility, relevance to those outside of the art world, and actually obscures real political realities.

Hobsbawm says that, unlike film or literature, “an ideal work of art is deemed to be completely uncopiable, since its uniqueness is authenticated by signature and provenance.” Citing Benjamin’s famous “The Work of Art in the Age of Mechanical Reproduction,” he says this “spiritualization” of the object conflicts with the ability to reproduce a work for as many patrons as possible and throws art into a technological obsolescence. (Hobsbawm, 16) Put another way, 99% of the public doesn’t encounter art because it is regulated to museums and private collections.

Also, unlike movies or books, due to better technological methods for making images (namely photography) painting and other media have “abandoned the traditional language of representation” making it practically incomprehensible to a general public without an art historical training. (Hobsbawm, 24)

Finally, Hobsbawm argues that art has rendered itself impotent in terms of it’s impact by willfully turned its back on society. Unlike, film which had to communicate with a mass market or face economic failure, art has sought some grander idea that is intentionally exclusive of the masses. It pretends to critique society but rarely does it communicate anything at all to most of them because it has been regulated physically and philosophically to an irrelevant niche.

 

Wendy Babcox artist lecture

The FSU Visiting Artist Lecture Series invites you to attend:

FSU Visiting Artists Series featuring Wendy Babcox
Thursday, February 4, 2010
7:00 – 8:00pm
Room 249, Fine Arts Building: 530 E Call Street St.,Tallahassee, FL

Wendy Babcox is a British interdisciplinary artist who received her BFA from the University of Colorado, Boulder and her MFA from the University of Florida where she received a Presidential Fellowship. She now teaches at the University of South Florida in Tampa.

Her work exists in a wide variety of media including photography, video, installation and performance and has received two public art commissions. She draws upon interrelatedness of site, place and contemporary in her recent works, calling upon the imagery of animals, tourist attractions and acts of female transgression.

Projects bave been exhibited and performed nationally and internationally in places such as the Bronx Museum the Kitchen and Exit Art in New York, The Glass Curtain Gallery at Columbia College in Chicago, the Transmodern Age Festival in Baltimore, the Urban Institute of Contemporary Arts in Grand Rapids, Miami Beach Cinematheque, Miami the International Center of Bethlehem, Al Hoash Gallery, Jerusalem and in Russia, New Zealand, Mexico, Columbia and Peru.

www.wendybabcox.com

Jack Stenner artist lecture

This is the final lecture for calendar year 2009. See you there!

stenner-installation
Playas: Homeland Mirage installation view, 2007, photo by Max Becher.

Jack Stenner artist lecture
http://www.jigglingwhisker.com/jack/research/
Thursday, November 19
7:00pm

Jack Stenner is an artist who works with digital media. He is currently Assistant Professor and Area Coordinator of the Digital Media Art program in the School of Art + Art History at the University of Florida. His work revolves around issues related to our socio-culturally constructed “reality” and the ways we create meaning from our environment. Combining techniques from information retrieval and visualization, motion tracking, video gaming, 3D visualization and experimental video, his work has been shown nationally and internationally at exhibitions including Siggraph, ACM Multimedia, International Society of Electronic Artists (ISEA), ZeroOne Biennial, Alternative Museum, Polk Museum of Art, Tampa Museum of Art, Contemporary Art Museum Houston, and others. http://www.jigglingwhisker.com