Posts filed under ‘Uncategorized’
An Open Environment
I’d like to use this post to talk about Momenta Gallery, located on Bogart Street in Bushwick. It’s in keeping with my post on Conveyor Arts in that Momenta is another institution that aims to provide a space for emerging and established artists alike. April 25th marked Momenta’s Spring Benefit Raffle, which featured 200 works on display for silent auction. Gallery Director Andy Monk described how the benefit functions differently than a typical silent auction: tickets start at $200, with each ticket guaranteeing the purchaser one of the works on display. The tickets are then entered in a lottery, and the first ticket drawn gets the first choice of artwork. As such, the size of the lottery is matched to the size of the show, ensuring everyone gets a piece – of work, and of the event.
On a recent visit, the pieces were hung in a non-traditional, salon-style format, but I agreed with graduate intern Sophie Buonomo who said the walls “don’t look cluttered” given how many pieces are on display. The level of care that had gone into this benefit was readily apparent. Furthermore, Monk noted how the raffle democratizes the process – each piece bears the same price, so “no one is disappointed.” I find this method particularly well-matched to Momenta’s mission of supporting emerging artists – a show in which neophytes and big names are equally likely to sell. Monk proudly described Momenta as a “springboard for careers,” indicating a Kiki Smith piece on display. In this light, one can see how the Momenta model furnishes an open environment for emerging artists, where one can gain attention and exposure amongst more established artists. Moreover, this popularizing effect does much to expand the community of visitors and supporters surrounding Momenta itself.
There are other art institutions in the building as well, and many residents of the immediate neighborhood are artists themselves. Some of Monk’s own works are on display – he has made floor plans of buildings and street routes in plaster and lit them on fire to create strikingly immediate three-dimensional pieces (seen below).
I was struck by a sense of community, that all-important element in fostering an open, popular process such as Monk and the staff at apexart stand so strongly behind. Momenta has been in operation for 25 years and its Benefit for 17, so their model must have its fans and proponents. Do any of our readers number among them?
As always, I look forward to hearing your thoughts. Have you been to Momenta recently? Are there any other spaces you feel are in keeping with their mission? How does a price-neutral show work out for the artists? For buyers? For casual viewers? Would you try to show or sell in this way?
Education for All!
I’ve talked a lot about resources for artists and the important work done to try to level the playing field in the arts community, but I wondered about the resources available for an individual to really study the history of art, be a practicing artist, a student, an avid admirer, or all the above. There are obviously loads of resources available, from books and online publications, to classes through universities and colleges, but to an extent these are also limited in part because they either require money and/or insider access (as in organizational affiliation). I did find Smarthistory a unique and completely free way to provide incredibly comprehensive information about art, and more importantly, how it relates to us today.
Dr. Steven Zucker and Dr. Beth Harris (co-founders) who are both art historians with a lot of teaching experience, refer to Smarthistory as “multi-media web-book designed as a dynamic enhancement (or even substitute) for the traditional art history textbook” and that really is a great way to put it. It organizes the various periods chronologically, as well as by subject matter and there are links to each individual artist that is discussed, making it a technological textbook; however, because it includes other multi-media outlets and resources it’s offering what students and experts in the field receive, for the masses. Steven and Beth even include videos where they discuss works of art from New York museums, therefore going past classroom lessons about art by providing a dialogue with different viewpoints and backgrounds to make better sense of the work’s historical context and how it might relate to us now. For example, their conversation about Roy Lichtenstein, Judy Chicago, and Richard Serra.
Dr. Zucker has said that they are working to make art history not elitist by offering this kind of information freely, and you can really see the work and care that has gone into to that endeavor. He says, “In our field, we see a future where art museums, libraries, colleges and universities no longer produce content primarily for their own students and visitors but instead develop systems where resources are pooled to create more comprehensive resources for a larger audience of learners.” I think this ties directly into making the arts a more dynamic and inclusive environment, and just as others are working to eliminate the hierarchy of rewarding artistic creation, I haven’t found a place more open in taking apart the hierarchy of discussing art. Universities have even started to incorporate Smarthistory in their classrooms therefore transforming the way we understand art both inside and outside the classroom and how art fits into our rapidly changing technological world. Just as I mentioned how apexart is democratizing art, Smarthistory is essentially democratizing art history.
Thoughts? Would you use Smarthistory either for personal or professional reasons? Have you used their resources in the past?
I do have to add that they initiated their Kickstarter campaign last spring and reached their goal! They are also listed on the Open Educational Resources Commons and just joined forces with the Khan Academy. Through that, you can view their blog for more updates as their progress continues.
In Search of a Map
I wanted to use the last post to talk about the hierarchy of the art world and use apexart as an example of an attempt to break past it, but now I want to actually look at some artists who challenge the idea of borders, and at a magazine that helps them express those ideas. Conveyor Arts is an organization that works to give photographers a resource to print and publish their work, which is where their magazine, Conveyor Magazine, comes in. It just started in 2010, has released two issues, and is on its way to publishing a third. What is also great about this publication is the interaction between established individuals and newer artists and how the focus is not on one helping out the other, but working together to add dimension to the photographs. Moreover, all the photo series they feature are submission-based, fostering opportunities for exposure for established and emerging photographers alike.
Their second issue looks at the idea of mapping in relation to photography. They see it as allowing one “to criss-cross the distances between our philosophical, physical, and cultural sensibilities.” The first series introduces the issue, with photographs by Alec Soth and an introduction by David Coggins, who has worked as a writer, editor and copywriter for publications such as Art in America, Interview and Modern Painters. Coggins writes about how maps have moved from being a political treasure to incredibly neutral objects, especially with the rise of Google Maps (which was the focus of a series in this issue as well). When was the last time you actually used a map, in the traditional sense? Therefore, mapping here is symbolically about finding one’s place in the world; even though our interests have become increasingly narrow and we can literally know where we are at anytime with the click of a button, that natural yearning to orient oneself in the world, beyond borders, persists. This section of Conveyor features Soth’s photos of the American Midwest. These photographs were recently on display at Sean Kelly Gallery.
Alec Soth’s Luxora, Arkansas (2002)
Alec Soth, who has made a name for himself photographing the seemingly ordinary and developing scenes to convey a sense of mystery, asks the viewer to contemplate the everyday world in an introspective manner.
With that, there was a section headed by Dominica Paige, a practicing artist and teacher of Art History, about the importance of photography in documenting the spaces we inhabit and experience, while at the same time questioning areas unknown to us. Again – trying to make sense of our space in time. Justin James King’s photograph And Still We Gather With Infinite Momentum 1 (2009) certainly grasps that sublime notion, as do other photographs in the series, some focusing on landscapes such as Soth’s and others abstracting objects in globe-like contortions or creating aerial photographs of sprawling landscapes.
Justin James King And Still We Gather With Infinite Momentum 1 (2009)
What is your take on the idea of narrowing interests? Coggins mentions how we control what information we choose to see, due to the rapid proliferation and widespread availability of so many different information outlets. We customize the news and information we want to see, but do you only choose to explore what interests you? Or do you try to remain equally aware of issues and trends around the globe?
I also would love to hear about a time you felt that same urge to explore, or a time when you tried to grasp (or did discover) what it really means to be living in a world both so globalized, and so self-contained.
apexart
My previous posts on the Artist’s Digital Toolkit were an attempt not only to provide resources for artists seeking opportunities to showcase and develop their craft, but also to provide a way to question and highlight certain business aspects that are inevitably tied to the art world. With these networking truths comes a question of merit itself – clearly we want to foster the careers of emerging artists we feel have both drive and talent, but in an increasingly institutionalized art world, success can come down to sheer marketing skill and connections. What opportunities are there then for an individual to feel they have achieved something based on their own merit?
Enter apexart: a non-profit organization located in Soho, apexart strives to make the art world a truly democratic environment with both a unique outlook and program. Their Unsolicited Proposal Program is a curatorial call open to anyone, regardless of curatorial experience, and three applicants are selected to exhibit a show in apexart’s gallery space and are given funding to do so. apexart has been running this program for fifteen years along with their newer Franchise Program – a similar program offering the opportunity to curate a show outside the United States. The program focuses on countries with underrepresented artists in an attempt to breathe life into their arts communities and facilitate creative growth for those with limited opportunities. On February 4th in Johannesburg, apexart Franchise opened “Just do it! Creative Strategies of Survival,” curated by Katharina Rohde. It showcases five local artists focusing on local small businesses and “the challenges as well as creative potential that exist for them within a global economy.” Currently, their gallery in Soho is showing “A Postcard from Afar: North Korea from a Distance”, curated by Mark Feary whose proposal won the Unsolicited Program Proposal for 2011. The Unsolicited Proposal Program is currently accepting applications, so if you or someone you know is interested, I suggest submitting your ideas!
Steven Rand (Founder and Executive Director) has made sure that no one at apexart decides the winners from the applications – he has designed a crowd-sourcing jury system whereby submissions are evaluated by a large international jury (up to 150 jurors) with whom apexart has no contact during the process. Furthermore, applications are stripped of the applicant’s name and any personal information, allowing the jury to evaluate based uniquely on the content of the proposal. Mr. Rand feels that complete anonymity cultivates fairness in the evaluation process. In fact, he is a self-proclaimed practicing agonist, falling right in line with his democratic approach.
Equally non-traditional is apexart’s Inbound Residency program, which I found remarkable as it aims to give residents a chance to understand a culture comprehensively. The program aims at individuals who have never been to New York City, where apexart invites residents from around the world – again, preferably from areas with fewer opportunities for artists. A particularly innovative feature of this residency is that one cannot actually apply to become a resident. apexart seeks out recommenders in various areas to suggest individuals for the program. Thus, the recommender is someone apexart has known and worked with before, and who knows more about the individual and the advantages they might reap from a stay in New York. Mr. Rand sees the residency program as increasing sensitivity to different cultures on both ends, and I can’t help but agree.
And what do the residents do? Pretty much everything you might think of. There is no specific list of events, and more times than not Julia Knight, Assistant Director of Programs, will plan certain events for the individual while still immersing him or her in the culture of New York City. Past residents’ activities have included tours of smaller art spaces around the city and classes in areas other than their own field. They also plan activities in non-art spaces, such as witnessing court proceedings, going to the opera, even visiting famous graveyards. Ms. Knight has also set up meetings for residents with organizations that might interest them. However, these are non-promotional meetings, sans portfolio and resume. Ms. Knight and Mr. Rand both feel that this facilitates an open conversation and allows the organization to get to know the individual more intimately, rather than solely by their work. Steven has said “the more we give up control, the more fun it is.” I’d love to hear your thoughts on that sentiment – have you had positive or negative experiences with putting your partners in the driver’s seat? What successes or disappointments have you had going shaking up a common practice?
What I’ve gathered from apexart is that it is a progressive and thoughtful organization, with a serious interest in meritocracy and strong interpersonal relationships between institution and artist. Mr. Rand truly believes in the importance of dialogue and creativity, especially in today’s art world. What do you think about apexart’s mission and approach? What does it say to you about how business and art come together? I look forward to your comments!
Silence, Not Absence of Meaning…
Dear Artists, Colleagues, Friends, Supporters and Readers all,
NYFABlog will be taking a brief hiatus, effective as of this clause, while we ready a new series of posts.
We look forward to coming back to you with ever more resources, discussion, commentary and exploration of how we can continue to support one another as artists, creators and individuals.
I have personally been inspired by the level of insight and feedback we have witnessed in this community over the past several months, and I could not be more excited for what the coming months will bring to this exchange.
My Big Discovery…that’s Old News to Berlin Artists
Rebecca and Jonathan in Front of MMX
On Sunday, I went to meet Jonathan Gröger and Rebecca Loyche, a 2010 NYFA Photography Fellow, who live and work in Berlin. Jonathan and Rebecca, along with partner Jason Burgess, just completed their one-year project MMX (MMX meaning 2010 in roman numerals), an open art venue and non-profit on Berlin’s commercial gallery street in Mitte.
Rebecca and Jonathan, who also moonlights as a boat captain and photographer, gave me a tour of MMX, which ran an encore exhibit in February and is now closed to the public. Among the many impressive features of MMX, I was perhaps most intrigued by its visitor incentives.
For example, MMX offered a daily membership, which meant one daily member-fee (like an entrance fee) that included unlimited attendance of lectures and viewings that day and the option to purchase alcohol in the gallery (which, without membership, would not be legal). MMX’s programming boasted an impressive 6-week gallery rotation and a lecture series, making a daily membership ideal.
Commissioned Graffiti at MMX
As I to visit up-and-coming spaces in Berlin, I continue to see the drive and inventiveness of these young German entrepreneurs. Rebecca and Jonathan brought me across the street to their new venture, Co-Verlag. Jonathan took me through the rubble of the old building complex. He showed me where walls were taken out (frequently by his own hand, since he is handy with a jackhammer), to create more space for artists to “breathe.”
One artist currently lives in Co-Verlag, while several others, including Rebecca, have studio space there. In addition to the German artists (one of whom is also Jonathan’s dentist slash multi-media computer artists), a group of Icelandic artists have creates a makeshift “settlement” in the garden.
Standing in front of a demolished wall with an old bathroom sink still affixed to where the second floor bathroom once was, Jonathan explains that ideally Co-Verlag will become a self-sufficient artists space. Artists can work with the history and context of the abandoned East Berlin space. Jonathan adds, “Of course, it would be nice to give [the artists] white walls” as well.
Jonathan in Front of a Wall Needing Rennovation (look for the second story sink)
My BIG Discovery…that’s old news to Berlin artists
Over the course of our brunch, I of course asked Rebecca and Jonathan my main query: WHY is Berlin so hospitable to artists? After speaking about cheap rent and available larger spaces, they mentioned something that I had not heard of before: Germany’s specific Artist’s Healthcare.
Künstlersozialkasse, or KSK, is a health insurance and retirement fund program for artists. KSK works as an artist’s employer, paying half of the fees incurred while the artist pays the other half. There are minimum qualifications to be applicable for KSK, and artists of all discipline can apply. Many suggest getting a native-German speaker to help fill out application forms; the intricacies of the language become tricky, and receiving KSK has become more difficult because of the rise in artist population in Berlin.
NYFA Blog friend Kate Hers, an American artist living in Berlin, outlines how to apply to the KSK in her blog Nomadic Wanderings by Estherkaprojekt, which is a terrific resource for all American artists thinking of moving to Berlin or currently living in Berlin.
The difficulty of obtaining KSK membership is only exacerbated by the visa process. Here is the Catch-22: in order to obtain a visa, one must had health insurance. In order to have German health insurance, one must have a visa. Organizations like Bundesverband der Veranstaltungswirtschaft e.V. (BDV) can help with this process, but still most recommend getting a native-German speaker to assist you.
USArtsBerlin Potluck
Delicious Potluck meal brought by USArtsBerlin members
We met up with Co-Verlag partner Jason Burgess, and Rebecca, Jason, and I took the S-Bahn (subway) to a party hosted in honor of NYFA’s visit by the U.S. Embassy. Artists kate hers and Madeline Stillwell were kind enough to plan this potluck meet and greet with their group USArtsBerlin so that I could speak directly with artists in the group, along with Elizabeth Corwin of the Department of Cultural Affairs.
I enjoyed my time talking to the artists, who came from all over the United States. We spoke of artists’ upcoming projects and acclimation to German culture.
Kristen Tovson
As KSK was fresh in my mind, one attendee caught my eye. I spoke with Kristen Tovson, an American dancer, who is a few months along in her pregnancy. She told me about the German government’s child rearing incentives that applied to her as a taxpaying German resident.
She noted Kindergeld, a children or family allowance that helps defray some of the costs of raising children, and Mutterschutz, mandatory maternity leave for employed women working for a German company.
In the evening, I attended a dance performance at Dock11/Eden****. Kirsten Seeligmüller, one of the founders of Dock11, and NYFA Blog friend Sven Neumann showed me around the beautiful dance studios and performance spaces at Dock11 and Eden****. Afterwards, the pair invited me to a cast party barbecue, where I enjoyed the company of artists and friends and ate some truly exceptional sausage.
At the USArtsBerlin Party hosted by Art Laboratory
I left the potluck and barbecue with a sense for the artists community in Berlin, and I look forward to learning more about the positives (and perhaps negatives) of living in Berlin as an American artist as I continue my tour of the city.
Keeping Creativity in New York City
Despite the high cost of living in New York City, artists have flocked to live here. Why? Because it is one of the world’s largest cultural centers, filled with museums, galleries, and a city-wide community of artists. Now, however, the harsh economic climate has begun to take its toll on New York City artists choosing to live, or stay, in New York.
In “Artists Fleeing the City,” an article from Crain’s New York Business, author Miriam Kreinin Souccar discusses why artists are choosing to leave New York City. Souccar writes that the number of part-time jobs that artists require to survive is decreasing, while rent prices are barely dropping.
If artists leave New York, what kind of cultural center will it be? Even artists who stay in New York have lost the sense of community central to creativity, notes Souccar, because artists have spread all over the city looking for cheap deals instead of gathering in one inexpensive area.
Will New York become a place where art is exhibited but not made?
Other cities, like Austin, Berlin, Cleveland, Minneapolis, Philadelphia, and Portland, are becoming more desirable to artists. The cost of living is less, studio space is ample, and some cities are even offering incentives for artists, like artists residencies.
When asked by American City what a city can do to attract and retain artistic talent, Robert Lynch, the President & CEO of Americans for the Arts, replied,
A city through its policies can make a difference — they can create tax incentives, as Providence did. They can make it easier for artists to find working space and pay low rents, as Omaha did in its Warehouse District. And sometimes a city will adopt an arts organization making it easy for it to locate there, which just happened with the Trey McIntyre Project in Boise.
That is not to say that finding the funds and the time to support the arts is a simple task. The importance of cultural support is frequently overlooked, for example England and Italy have begun to drastically cut government arts funding.
However, arts funding benefits many aspects of the economic and social sectors. The arts revitalize the economy, connect people and communities, improve quality of life, and facilitate creative thinking.
Should New York City begin to adopt the tactics of the cities attracting artists? The City has launched a “1% for Culture” campaign, working to get 1% of the municipal budget allocated to cultural non-profits. What else is New York City doing to help its population of artists, and how can we continue to support them?
Breaking News
The Philadelphia History Museum has sold more than 2,000 items over the last several years to raise money for building renovation and maintenance. To read more on the sale and the topic of deaccessioning, check out the New York Times’ article on the Philadelphia History Museum and my last blog posting, “Art as Asset“.
Recent Comments