This article, originally posted on FineArtViews by FASO, 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.
Mat Gleason is known for being a bare-knuckle art critic. He founded Coagula Art Journal in 1992-- which has focused on giving the lowdown on high art for nearly two decades. Coagula Art Journal has been described as "the publication that the art world loves to hate, and loves to read" by the Village Voice-- and has been referred to as “The National Enquirer of the Art World" by the New York Post. Gleason describes Coagula Art Journal as an antidote to the theory-addled and fashion-driven forces in the world of contemporary art.
Brian Sherwin: Mat, you founded Coagula Art Journal-- a freely distributed contemporary art magazine-- in 1992. The publication, which is known for its tabloid style, has been praised widely for the love/hate relationship it has had with the mainstream art world-- including mentions of the influence it has had on art writing by art critics such as Jerry Saltz. Can you reflect on the founding of Coagula Art Journal? What spurred you to see it in print?
Mat Gleason: In college I had success publishing an underground newspaper so I kept the same model with a raw approach. I prefer immediacy in writing and art and reactions and was deeply into punk zines, so it was just a word dominated punk zine for the art world.
Friday, August 5, 2011
Art Critic Brian Sherwin Interviews Gallerist Edward Winkleman
This article, originally posted on FineArtViews by FASO, 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.
Edward Winkleman is a gallery owner, curator, author and blogger from New York. Winkleman's blog has long been a point of contact for artists who desire to learn more about how mainstream art galleries function. His blog features discussion about art, culture, and politics. Winkleman is known for being an art dealer who embraces social media and the Internet. He spearheaded Moving Image, an art fair focused on contemporary video art, and participated in VIP Art Fair.
Winkleman Gallery has participated in Art Chicago, Pulse, ARCO, NADA, Aqua and several other art fair venues. Exhibits at Winkleman Gallery have been reviewed in The New York Times, Art in America, The New Yorker, Artforum, Flash Art and several other art publications. Winkleman Gallery is located in the Chelsea arts district in New York City.
Winkleman tends to represent art that has an edge-- art that slices deep into societal exploration. He has represented Janet Biggs, Jennifer Dalton, Joy Garnett and The Chadwicks-- among others.
Brian Sherwin: Edward, your art blog is considered by many to be one of the most influential art blogs active at this time. Why did you decide to start blogging?
Edward Winkleman: I began blogging originally about politics, back in the early days of the George W. Bush administration when I couldn't find any semblance of the outrage I felt about our march to war in Iraq being expressed in the main stream media. Bloggers were much more willing to say the things the news anchors apparently were not, and it became a haven of sanity for me. Even when I disagreed with the other commenters, at least people were acknowledging what was going on. Most important to me about all that was that I was actively learning about things I wouldn't have known how to go about learning if left to my devices...the community of bloggers were very generous in pointing out the best summaries of issues and/or best critiques of policies.
It took me a few years to realize that this same resource could be applied to discussing art and the art gallery system. I launched my current blog in 2005 mainly as a marketing tool for the gallery, but it quickly evolved into a forum on how to navigate the gallery system. I've enjoyed being part of the discussion (loving galleries as I do) and so continue it today.
Edward Winkleman is a gallery owner, curator, author and blogger from New York. Winkleman's blog has long been a point of contact for artists who desire to learn more about how mainstream art galleries function. His blog features discussion about art, culture, and politics. Winkleman is known for being an art dealer who embraces social media and the Internet. He spearheaded Moving Image, an art fair focused on contemporary video art, and participated in VIP Art Fair.
Winkleman Gallery has participated in Art Chicago, Pulse, ARCO, NADA, Aqua and several other art fair venues. Exhibits at Winkleman Gallery have been reviewed in The New York Times, Art in America, The New Yorker, Artforum, Flash Art and several other art publications. Winkleman Gallery is located in the Chelsea arts district in New York City.
Winkleman tends to represent art that has an edge-- art that slices deep into societal exploration. He has represented Janet Biggs, Jennifer Dalton, Joy Garnett and The Chadwicks-- among others.
Brian Sherwin: Edward, your art blog is considered by many to be one of the most influential art blogs active at this time. Why did you decide to start blogging?
Edward Winkleman: I began blogging originally about politics, back in the early days of the George W. Bush administration when I couldn't find any semblance of the outrage I felt about our march to war in Iraq being expressed in the main stream media. Bloggers were much more willing to say the things the news anchors apparently were not, and it became a haven of sanity for me. Even when I disagreed with the other commenters, at least people were acknowledging what was going on. Most important to me about all that was that I was actively learning about things I wouldn't have known how to go about learning if left to my devices...the community of bloggers were very generous in pointing out the best summaries of issues and/or best critiques of policies.
It took me a few years to realize that this same resource could be applied to discussing art and the art gallery system. I launched my current blog in 2005 mainly as a marketing tool for the gallery, but it quickly evolved into a forum on how to navigate the gallery system. I've enjoyed being part of the discussion (loving galleries as I do) and so continue it today.
Thursday, April 7, 2011
Should President Obama say something in support of artist Ai Weiwei in China?
Should President Obama say something in support of artist Ai Weiwei in China?
If you follow art news online you have likely heard about the arrest of Ai Weiwei in China. A handful of politicians, mostly from Germany, have spoken in support of Ai Weiwei-- demanding his release. As it stands there has been little information released about Ai Weiwei from Chinese authorities. All that is known is that he is being held-- and many fear that he may meet the same fate that so many creative individuals before him have met under the oppressive Chinese government. When I read the opinions about Weiwei-- and the list of those supporting his release-- it forces me to ask… what stance does President Obama have on the issue? I for one think that he should make his opinion known.
When I mention this people tend to respond with a variant of, "He is busy with an economic meltdown"-- to me that is an excuse. After all, if President Obama can make basketball predictions and other comments about sports during an economic crisis I’m fairly certain that he can manage to make a statement in support of Ai Weiwei and the global art community. It is the perfect opportunity for him to live up to some of the things he said about the power of art during his historic presidential campaign.
I would like to see President Obama stand up for art worldwide. Many within the art community voted for him because they thought he would be pro-art in general. I don't think anyone can deny the support Obama received from artists during his run for office. There is a debt due in my opinion-- a debt to the art community in the United States as well as to artists worldwide.
I don't think President Obama’s support will magically make things in China better for visual artists-- but the impact of his words would hit harder than anything said by art critics and others who have shown support for Ai Weiwei. Mr. President-- I’m asking YOU to make a stand.
Take care, Stay true,
Brian Sherwin
If you follow art news online you have likely heard about the arrest of Ai Weiwei in China. A handful of politicians, mostly from Germany, have spoken in support of Ai Weiwei-- demanding his release. As it stands there has been little information released about Ai Weiwei from Chinese authorities. All that is known is that he is being held-- and many fear that he may meet the same fate that so many creative individuals before him have met under the oppressive Chinese government. When I read the opinions about Weiwei-- and the list of those supporting his release-- it forces me to ask… what stance does President Obama have on the issue? I for one think that he should make his opinion known.
When I mention this people tend to respond with a variant of, "He is busy with an economic meltdown"-- to me that is an excuse. After all, if President Obama can make basketball predictions and other comments about sports during an economic crisis I’m fairly certain that he can manage to make a statement in support of Ai Weiwei and the global art community. It is the perfect opportunity for him to live up to some of the things he said about the power of art during his historic presidential campaign.
I would like to see President Obama stand up for art worldwide. Many within the art community voted for him because they thought he would be pro-art in general. I don't think anyone can deny the support Obama received from artists during his run for office. There is a debt due in my opinion-- a debt to the art community in the United States as well as to artists worldwide.
I don't think President Obama’s support will magically make things in China better for visual artists-- but the impact of his words would hit harder than anything said by art critics and others who have shown support for Ai Weiwei. Mr. President-- I’m asking YOU to make a stand.
Take care, Stay true,
Brian Sherwin
Tuesday, March 29, 2011
Interview with Mollie White (SCOPE Art Show)
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.
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.
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.
Wednesday, January 26, 2011
VIP Art Fair Failed? Hype Failed Today -- Thoughts on the Collectors of Tomorrow
VIP Art Fair Failed? Hype Failed Today -- Thoughts on the Collectors of Tomorrow
Criticism over the implementation of VIP Art Fair has been growing steadily since its January 22nd launch date. The NYC art world rumor-mill suggests that several art dealers involved with VIP are demanding a refund. On top of that-- there are rumors that collectors who experienced the site will no longer deal with VIP in the future due to frustration. Based on comments I’ve read at Art Fag City-- and a few other art blogs covering VIP-- it is clear that people tend to view VIP as an over-hyped and poorly developed venture. Blind praise is quickly turning into frustrated rage.
Criticism over the implementation of VIP Art Fair has been growing steadily since its January 22nd launch date. The NYC art world rumor-mill suggests that several art dealers involved with VIP are demanding a refund. On top of that-- there are rumors that collectors who experienced the site will no longer deal with VIP in the future due to frustration. Based on comments I’ve read at Art Fag City-- and a few other art blogs covering VIP-- it is clear that people tend to view VIP as an over-hyped and poorly developed venture. Blind praise is quickly turning into frustrated rage.
Tuesday, January 11, 2011
The Hypocrisy of Our Times: Political Rhetoric fuels opinions against Political Rhetoric and Gives Strength to Censorship
The Hypocrisy of Our Times: Political Rhetoric fuels opinions against Political Rhetoric and Gives Strength to Censorship
I try my best to stay out of politics-- sometimes it can be very hard to do… Especially when art writers that I know tap into stories that spark national outcry in order to twist the story in a manner that promotes their own political views. That said, the recent tragedy in Arizona has revealed the hypocrisy that is crippling our nation as a whole. What could be used as common ground to discuss the importance of supporting mental health, community, and personal responsibility is instead being used to point fingers of political blame.
I try my best to stay out of politics-- sometimes it can be very hard to do… Especially when art writers that I know tap into stories that spark national outcry in order to twist the story in a manner that promotes their own political views. That said, the recent tragedy in Arizona has revealed the hypocrisy that is crippling our nation as a whole. What could be used as common ground to discuss the importance of supporting mental health, community, and personal responsibility is instead being used to point fingers of political blame.
Sunday, January 9, 2011
Articles by Brian Sherwin on FineArtViews update 1
I’m taking this time to inform my readers about articles that I have written for FineArtViews. FineArtViews is a free daily e-newsletter about art marketing by Clint Watson. Watson, a former owner of a national art gallery, is an expert at selling art and the founder of FASO-- a site dedicated to creating affordable websites for visual artists.
FineArtViews offers an eclectic combination of articles that focus on various aspects of art marketing and creation. Below are a few topics that I’ve written about for FineArtViews-- feel free to click on the titles in order to read these articles at the FAV blog.
Art and Art Criticism: The Specter of Originality by Brian Sherwin
Copyright Registration: Protecting Yourself as Well as Your Collectors by Brian Sherwin
Artist Websites: The Pillar of Your Social Networking and Online Art Marketing Efforts by Brian Sherwin
Take care, Stay true,
Brian Sherwin
FineArtViews offers an eclectic combination of articles that focus on various aspects of art marketing and creation. Below are a few topics that I’ve written about for FineArtViews-- feel free to click on the titles in order to read these articles at the FAV blog.
Art and Art Criticism: The Specter of Originality by Brian Sherwin
Copyright Registration: Protecting Yourself as Well as Your Collectors by Brian Sherwin
Artist Websites: The Pillar of Your Social Networking and Online Art Marketing Efforts by Brian Sherwin
Take care, Stay true,
Brian Sherwin
Thursday, January 6, 2011
Art Museums: Compromise is the Key to Public Support for Art
Art Museums: Compromise is the Key to Public Support for Art
Towards the end of 2010 situations involving the motivation behind specific works of art and arguments over art museum exhibit content were at the forefront of many online debates within the circle of artists and art writers that I frequent. Debate concerning these issues are common throughout the year-- sparked by one controversy or the other. However, the end of 2010 brought with it an ignited powder-keg of hardcore debate. One could say that the year in art went out with a bang. That said, it is my hope that the dialogue continues-- specifically, the conversation about what should be expected from public funded art museums and other public funded art spaces.
Towards the end of 2010 situations involving the motivation behind specific works of art and arguments over art museum exhibit content were at the forefront of many online debates within the circle of artists and art writers that I frequent. Debate concerning these issues are common throughout the year-- sparked by one controversy or the other. However, the end of 2010 brought with it an ignited powder-keg of hardcore debate. One could say that the year in art went out with a bang. That said, it is my hope that the dialogue continues-- specifically, the conversation about what should be expected from public funded art museums and other public funded art spaces.
Subscribe to:
Posts (Atom)