FineArtViews Interview: Mollie White -- Show Director for SCOPE Art Show by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Huffington Post, The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
SCOPE Art Show is one of the most notable of the mainstream global contemporary art fairs. SCOPE Art Show holds annual fairs in New York, East Hampton, London, Miami, and Basel. Total sales at SCOPE fairs have reached well over $100 million since the fairs creation nearly a decade ago. Mollie White, the current Show Director for SCOPE, offered her time and experience to FineArtviews in order to answer key questions about SCOPE, how the internet is impacting the art world, and advice for artists.
Brian Sherwin: Mollie, you are the Show Director for the SCOPE Art Shows in New York, Miami, Basel, London and throughout the world. Tell our readers about your position with SCOPE-- for example, what responsibilities do you have?
Mollie White: As the Show Director, my primary responsibilities include finding and enlisting international galleries to participate in the various SCOPE Art Shows. I will often travel to different cities to visit art fairs, and gallery openings, so as to research and find new galleries. Once the galleries have committed to the fair, I act as a liaison to the rest of the SCOPE team, ensuring a seamless and enjoyable experience at the SCOPE fair.
Tuesday, March 29, 2011
Friday, March 11, 2011
Brian Sherwin / Tonya Hoots interview with author Anne Bishop
Cover: Art by Larry Rostand -- Design by Ray Lundgren
Anne Bishop is a New York Times best-selling author. Bishop has steadily made her mark in the fantasy genre since the release of her first novel, Daughter of the Blood, in 1998. Since that time she has authored over a dozen novels, including the award-winning Black Jewels Trilogy. Her most recent novel is Twilight‘s Dawn, a book set in the Black Jewels world.
Anne Bishop is known for creating character driven stories that explore good vs. evil themes-- as well as the complexities of relationships-- in a way that is uniquely hers. The characters and worlds that she has created in her novels are detailed-- bold worlds where a reader can explore his or her own imagination page after page. That is no easy task considering that the fantasy genre is often burdened with mediocre concepts, dry characters, and familiar plots.
Due to Anne Bishop’s originality she is considered by many to be one of the most influential fantasy storytellers writing today. Bishop offered her time to answer a few questions about her writing process, influences, and advice that she has for emerging authors.
Brian Sherwin: Anne, your books are known for meshing themes of sensuality and violence-- The Black Jewels series is a perfect example. In your opinion, what do you think attracts readers to these extremes within the context of your novels?
Anne Bishop: I can’t speak for other people, but sensuality and violence were not an unusual mix in the historical romances I was reading twenty years ago. So for someone who liked fantasy, horror, romance and “women‘s fiction,” putting elements of those genres together to create a violent, sensual, gritty world wasn’t that big of a jump. I think the attraction is being able to take a ride with powerful, dangerous characters in a place that exists only in imagination--the supreme exotic locale. It is writing about the play of human emotions--the joys and triumphs as well as the heartaches and failures--in an otherworldly setting that intrigues me. Perhaps that is the same reason readers are drawn to the stories.
Tonya Hoots: What do you think attracts readers to the fantasy genre in general? Why, in your opinion, do people need fantasy within their lives?
AB: Fantasy contains boundless possibilities. It contains the delight--and the fear--of things that are Other. In a background where anything can happen, the things we fear can be given tangible form and be defeated (sometimes). We also have a chance to explore the human heart without the constraints, and pain, of the real world. Wonder exists within the boundaries of the genre, and that makes it fun.
Thursday, March 3, 2011
The arts writers ‘strike’ against the Huffington Post is absurd!
The arts writers ‘strike’ against the Huffington Post is absurd!
On March 1st I read an article on The LA Times‘ Culture Monster blog titled, ‘Arts writers declare ‘strike‘ against Huffington Post‘. The article explored a ‘strike’ declared by writers for the websites ArtScene and Visual Art Source against the Huffington Post. Long story short-- the ArtScene and Visual Art Source writers agreed to be volunteer bloggers for the Huffington Post in 2010. They agreed with the understanding that the content they provided would not be paid for. Furthermore, they agreed knowing in advance that they would not be considered employed by the Huffington Post. Apparently this agreement is now in the wind. The volunteer art writers want paid-- and they are waving the banner of writers rights to position themselves as victims.
On March 1st I read an article on The LA Times‘ Culture Monster blog titled, ‘Arts writers declare ‘strike‘ against Huffington Post‘. The article explored a ‘strike’ declared by writers for the websites ArtScene and Visual Art Source against the Huffington Post. Long story short-- the ArtScene and Visual Art Source writers agreed to be volunteer bloggers for the Huffington Post in 2010. They agreed with the understanding that the content they provided would not be paid for. Furthermore, they agreed knowing in advance that they would not be considered employed by the Huffington Post. Apparently this agreement is now in the wind. The volunteer art writers want paid-- and they are waving the banner of writers rights to position themselves as victims.
Thursday, February 10, 2011
Interview with Alan Bamberger
FineArtViews Interview: Alan Bamberger -- Art Appraiser, Consultant, and Author by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
Brian Sherwin: Alan, you have been an art consultant since 1985 and have written about art business since 1983. You are also known throughout San Francisco for being an astute art critic. Thus, you have no doubt observed how art marketing has changed over the years-- specifically since the advent of the Internet and the bombardment of social media that our lives tend to be linked to today. In general, what are your thoughts concerning the meshing of traditional art marketing with the Internet?
Alan Bamberger: The internet is an incredibly valuable tool; use it. Artists can reach more people than ever with their work-- no matter where they live-- as long as they have an internet connection. You don't necessarily have to be in a big city anymore, or know the right people, or play the game according to other people's rules. If you have talent and you put it out there into the electronic ether, sooner or later they'll find you.
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
Brian Sherwin: Alan, you have been an art consultant since 1985 and have written about art business since 1983. You are also known throughout San Francisco for being an astute art critic. Thus, you have no doubt observed how art marketing has changed over the years-- specifically since the advent of the Internet and the bombardment of social media that our lives tend to be linked to today. In general, what are your thoughts concerning the meshing of traditional art marketing with the Internet?
Alan Bamberger: The internet is an incredibly valuable tool; use it. Artists can reach more people than ever with their work-- no matter where they live-- as long as they have an internet connection. You don't necessarily have to be in a big city anymore, or know the right people, or play the game according to other people's rules. If you have talent and you put it out there into the electronic ether, sooner or later they'll find you.
Sunday, January 30, 2011
Artists Need to Face Reality: What is Success?
How to be Truly Successful as an Artist by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
The reality of being an artist is that success on a grand-scale is often far from reach. It is not uncommon for artists, especially emerging artists, to beat themselves up with worry over why they have not reached what they consider success. It is not hard to become bitter if you spend your time comparing yourself to wealthy famous artists-- especially if you are suffering financially for your dream as so many artists do. Thus, the first step in becoming a truly successful artist is to let go of your art star fantasies and work toward redefining your view of success in a more realistic manner.
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
The reality of being an artist is that success on a grand-scale is often far from reach. It is not uncommon for artists, especially emerging artists, to beat themselves up with worry over why they have not reached what they consider success. It is not hard to become bitter if you spend your time comparing yourself to wealthy famous artists-- especially if you are suffering financially for your dream as so many artists do. Thus, the first step in becoming a truly successful artist is to let go of your art star fantasies and work toward redefining your view of success in a more realistic manner.
Thursday, January 27, 2011
Does Original Art Exist?
Art and Art Criticism: The Specter of Originality by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
Thinking to myself today I pondered on the issue of originality. It is not rare for me to find individuals making bold charges online about how their art or opinion is original-- and just as many more who are quick to suggest the opposite in response to said bold claims. At the heart of the issue I’m left asking, “Does it matter?”. I’ve decided that originality, if anything, is a specter casting itself over society as a whole-- just as it has always done. What is important is the manner in which artists and art critics convey their personal adaptations of past ideas and influences.
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
Thinking to myself today I pondered on the issue of originality. It is not rare for me to find individuals making bold charges online about how their art or opinion is original-- and just as many more who are quick to suggest the opposite in response to said bold claims. At the heart of the issue I’m left asking, “Does it matter?”. I’ve decided that originality, if anything, is a specter casting itself over society as a whole-- just as it has always done. What is important is the manner in which artists and art critics convey their personal adaptations of past ideas and influences.
Brian Sherwin examines how the personal life of an artist shapes the perspective of viewers.
Artists' Personal Lives: Does it Play a Role in How You View Their Art?
by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
I was recently involved in a debate concerning the fact that many people appear to make value judgments on art based on knowledge of the artist's personality, beliefs, and life choices. In other words, someone may or may not view a work of art in a positive manner based strictly on what he or she knows about the personal life of the artist behind the artwork. It spurs me to ask, does the personal life of an artist play a factor in how you view his or her artwork for better or for worse? Sometimes it does seem that people critique art solely on what they know about the artist in question instead of focusing on the art itself.
by Brian Sherwin
This article is by Brian Sherwin , Regular contributing writer for FineArtViews. Brian Sherwin is an art critic, blogger, curator, artist and writer based near Chicago, Illinois. He has been published in Hi Fructose Magazine, Illinois Times, and other publications, and linked to by publications such as The Boston Globe, Juxtapoz Magazine, Deutsche Bank ArtMag, ARTLURKER, Myartspace, Blabbermouth, Milwaukee Journal Sentinel, Modern Art Obsession, Citizen LA, Shark Forum, Two Coats of Paint and Art Fag City. You should submit an article and share your views as a guest author by clicking here.
I was recently involved in a debate concerning the fact that many people appear to make value judgments on art based on knowledge of the artist's personality, beliefs, and life choices. In other words, someone may or may not view a work of art in a positive manner based strictly on what he or she knows about the personal life of the artist behind the artwork. It spurs me to ask, does the personal life of an artist play a factor in how you view his or her artwork for better or for worse? Sometimes it does seem that people critique art solely on what they know about the artist in question instead of focusing on the art itself.
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