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.
Showing posts with label Brian Sherwin. Show all posts
Showing posts with label Brian Sherwin. Show all posts
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.
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, November 24, 2010
Brian Sherwin’s Thoughts Concerning Media Hyped Art
Brian Sherwin’s Thoughts Concerning Media Hyped Art
The media hype surrounding a work of art can be fascinating up until the point that fad becomes the status quo. I think with the art world today we see a lot of art that is only respected because of a landslide of press-- both legitimate and financially spurred. Warrant enough buzz and any news story is worth being in awe over, true? In that sense, the media-- specifically online media-- attempts to define what the public views as being of worth. Who are we to question the masses if Yahoo! News tells us that gold dust on vomit, titled ’Sprinkling of Fate’, is the most influential artwork of the year because the work conveys the losses endured in Iraq? I for one question it.
The media hype surrounding a work of art can be fascinating up until the point that fad becomes the status quo. I think with the art world today we see a lot of art that is only respected because of a landslide of press-- both legitimate and financially spurred. Warrant enough buzz and any news story is worth being in awe over, true? In that sense, the media-- specifically online media-- attempts to define what the public views as being of worth. Who are we to question the masses if Yahoo! News tells us that gold dust on vomit, titled ’Sprinkling of Fate’, is the most influential artwork of the year because the work conveys the losses endured in Iraq? I for one question it.
Saturday, October 30, 2010
Brian Sherwin's thoughts on strong copyright for visual artists
Brian Sherwin's thoughts on strong copyright for visual artists:
I’ve long been a strong supporter of copyright-- specifically for visual artists. The key issue today is that art can be a business now more than ever-- which is why copyright is important. My experience dictates that artists who are against copyright either don’t make money from their artwork-- so the infringement is not really an issue for them per se-- or they rely on using the work of others freely in order to create-- and profit from-- there own artwork.
The artist Shepard Fairey always comes up in conversations about copyright. After all, he is a prime example of an artist who would have a strong advantage if copyright protection as we know it were derailed. That said, Fairey is also an example of an artist who scoffs at copyright protection until his own artwork is put to the legal challenge. Fairey whines around about how copyright should not be so strict, but heaven forbid anyone do legitimate appropriation involving his widely known pieces.
I’ve long been a strong supporter of copyright-- specifically for visual artists. The key issue today is that art can be a business now more than ever-- which is why copyright is important. My experience dictates that artists who are against copyright either don’t make money from their artwork-- so the infringement is not really an issue for them per se-- or they rely on using the work of others freely in order to create-- and profit from-- there own artwork.
The artist Shepard Fairey always comes up in conversations about copyright. After all, he is a prime example of an artist who would have a strong advantage if copyright protection as we know it were derailed. That said, Fairey is also an example of an artist who scoffs at copyright protection until his own artwork is put to the legal challenge. Fairey whines around about how copyright should not be so strict, but heaven forbid anyone do legitimate appropriation involving his widely known pieces.
Thursday, October 21, 2010
Why I started my own art blog-- serving up a new dish...
Why I Started My Own Art Blog-- serving up a new dish:
Just imagine me with a chef hat...
A few people have asked why I’ve started my own art blog. The answer is simple really-- in the last 6 years I’ve helped establish some of the most popular art blogs online at this time. That involvement ranges from helping Myartspace Blog become an art blog that has experienced-- at times-- 30,000+ visitors per month all the way to helping lesser known art bloggers to hit on key art issues that have helped their art writing to reach more people. That said, the time for me to take steps for myself is long overdue.
Having written for Myartspace Blog, Hi Fructose Magazine, and a few other websites and art magazines-- and having been quoted by Juxtapoz online, Deutsche Bank Art Mag, The Boston Globe, the Maynard Institute for Journalism Education and other publications and websites-- I feel that I can best serve art and artists in general by having my own art blog alongside other art ventures that I'm involved with. As mentioned, this is something I’ve put off doing for years-- but now is the time.
A few people have asked why I’ve started my own art blog. The answer is simple really-- in the last 6 years I’ve helped establish some of the most popular art blogs online at this time. That involvement ranges from helping Myartspace Blog become an art blog that has experienced-- at times-- 30,000+ visitors per month all the way to helping lesser known art bloggers to hit on key art issues that have helped their art writing to reach more people. That said, the time for me to take steps for myself is long overdue.
Having written for Myartspace Blog, Hi Fructose Magazine, and a few other websites and art magazines-- and having been quoted by Juxtapoz online, Deutsche Bank Art Mag, The Boston Globe, the Maynard Institute for Journalism Education and other publications and websites-- I feel that I can best serve art and artists in general by having my own art blog alongside other art ventures that I'm involved with. As mentioned, this is something I’ve put off doing for years-- but now is the time.
Saturday, September 18, 2010
Brian Sherwin -- Art Critic
This is my personal blog. The following is some basic information about me:
I got my start with art writing / criticism after joining the http://www.myartspace.com/ team in September of 2006. I started out as a Contributing Editor for the MYARTSPACE.com Blog and worked my way up to Senior Editor in a relatively short frame of time. Since that time I've interviewed over 500 visual artists-- ranging from James Rosenquist to emerging artists such as Anthony Lister-- and have written just as many, if not more, articles about art. Eventually I plan to publish a book about my experiences, art theories, and advice.
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