Wednesday, March 31, 2010

In progress, pt. III



I had one of those, "Why haven't I done this before now?" moments today. In the photo above, a big table is missing. It would have been on the right side of the photo, perpendicular to the painting wall. I dismantled it today in an effort to make my space a bit more practical for the current project. The table, while useful, isn't always used and thus becomes one more surface for things to accumulate on. Taking the table apart was a breeze since it's just a large door blank that sits atop two pairs of leg stands. There are two good things about having done this a) I now get an unobstructed view of the painting if I happen to be sitting on the couch and b) I opened up the area and gave myself some breathing room.

The physical and psychological difference created by taking the table away made this session a lot easier to deal with. Doing this brought up something that I struggle with a lot: adapting to changes in order to make my time in the studio more efficient and just simply easier. I often just keep working and don't think too much about how even a slight change to the studio environment might make things a bit better somehow. I've been feeling the need for a change and wasn't sure how to act on it until today when I walked into the studio and saw that I really needed to get that table out of the way, for now, at least. What I hadn't considered previously is that I can always set it up again within a couple of minutes. I had to get out of my head thinking that it was going to be a chore and get on with switching from having a perceived problem to finding a solution.

Here's a couple of shots of today's progress:







Thursday, March 25, 2010

Acquisition

Drum roll, please...

Plume, 2007, acrylic on canvas, 60" x 72"
(photo: Mark Brosseau)

I have some great news that about something that has been in the works for a while but now it's official: my painting, Plume (above), has been selected to be included in the art collection of West Virginia University in Morgantown, WV. Plume was was first exhibited at the Bridgette Mayer Gallery in 2007 for my third solo show, "When Is Now" and at WVU last fall as part of the traveling group show, "Concurrent", which is now at Bucknell University until March 31st.

Now, back to work...

In progress, pt. II

Made some progress today. Not as much as I would have liked, but it's moving along.





Saturday, March 20, 2010

in progress

I've been working on a rather large (for me) canvas in the studio lately. It measures 6 1/2 feet x 11 1/2 feet and so far, things are going ok with it. These early stages are all about establishing a matrix that I can react against in later layers. I still don't know where it's going to wind up, but I'm at a point where things slow down a bit and I'll take more time evaluating what I want to do in the upcoming and final states.










Friday, March 19, 2010

Philly invades New York!

Two shows to look for if you're in Chelsea, but there's only a week left for one and two weeks for the other, so if you're in NYC soon, check them out:

Ring The Bells Anew

Show ends March 27th

Blank Space Gallery
511 West 25th Street, Suite 204
Ny, NY 10001


Memories Are Uncertain Friends

Show ends April 3rd

Margaret Thatcher Projects
539 West 23rd Street, ground floor
New York, NY





Sunday, February 28, 2010

Catching up a bit

Wow, it's been almost a month since my last post and that's ok. I haven't been having a great relationship with words lately, so it's probably been for the best. Anyway, things are going on and this is some of what's been happening: Way back on February 19th, I visited Bucknell University (Lewisburg, PA) to give a talk in conjunction with Concurrent. The day went really well, even with me under the fog of not having enough sleep the night before and being nervous about the talk.

I arrived around noon, met with Cinhad lunch with Dan Mills, one of the organizing curators of Concurrent and graduate assistant, Sarah McFalls, who hung the show and one of the students I did a studio visit with while there. The other visit I had was with Jason Sorensen, pictured below with some of his work. I also got to meet Craig Hill, who teaches painting at Bucknell.


After the studio visits, I had the chance to examine some works in Bucknell's art collection in the Collection Study Room. It was amazing to be able to look at an original Goya print with no glass, crowds, nor guards. I had about 10 minutes to collect my thoughts before giving the lecture. Despite being somewhat tired and slightly nervous, the talk went well. I'm my own worse critic when it comes to public speaking since I'm relatively new at it, but I've since heard that some of the students present at the lecture have begun looking to abstraction as a viable creative option. I guess I did better than I thought. My thanks to Cindy, Dan, Sarah, and everyone at Bucknell who made my visit a great one. A special thanks to Jim, the driver who got me back to Philly after I missed my train in Harrisburg.

Tuesday, February 16, 2010

"Shut up already...I'll look at your art!"

New York gallery owner and blogger, Edward Winkleman, will look at your art. Submittal form. This is kind of tongue-in-cheek, but there have been a lot of submissions from the U.S. and beyond...

"Shut Up Already...I'll Look at Your Art!"

The Rules (roughly):
  • Artists will submit one digital image to "Shut up already. I'll look at your art"
  • Mr. Winkleman and guests will view the image for no less than 10 sec.
  • Mr. Winkleman and guests will be monitored by a volunteer as they view the work to assure full compliance with the rules.
  • Mr. Winkleman, his guests and the Monitor will sign a certificate of viewing stating the image has been viewed
  • Mr. Winkleman and his guests will have no obligation to provide representation to any of the artists, make any comment about, or critique any of the images.
  • Once an image is viewed by Mr. Winkleman and his guests the artist cannot complain that their work is not being considered by a professional gallery for one year from the date of viewing, Mr. Winkleman and his guests will be absolved of any further obligation to take complaints by artists that their work is not being considered by a professional gallery seriously for one year from the date of viewing,
  • As Mr. Winkleman and his guests view the images, they will be available on the internet to be viewed.

Wednesday, February 10, 2010

Julie Mehretu: Workday



A short portion of the latest season of Art:21 with Julie Mehretu in the studio.

There's a longer interview with Julie Mehretu in the video below:

creative intervention



This short talk by Elizabeth Gilbert, she outlines some interesting ideas on the nature of creativity and inspiration.
(via: Art Vent)

Along the lines of this video, here's a quote by Chuck Close that I found:


“Inspiration is for amateurs, the rest of us just show up and go to work.”


Tuesday, February 09, 2010

Hitler learns that the director's job at MOCA went to Jeffrey Deitch



I just found this, so if you've already seen it too many times, don't rake me over the coals. I just had to share because it's just too funny to pass up.

Here's an article referencing what the video is about, in case you were wondering: Los Angeles MOCA Set to Name Jeffrey Deitch Director, Shake Up Art World

Saturday, February 06, 2010

Neutra Face



Things have been a bit too serious around here lately, so here's something to lighten it up a little. This video, Neutra Face, is a pretty funny homage to a typeface inspired by Lady GaGa's Poker Face. Thanks to Ruth Kalinka for the original post.

Tuesday, February 02, 2010

the slow move



I haven't been too inspired to post here lately, but the thaw is coming. My mind has been pulled in several directions over the past few months and I'm just now beginning to get a hold of things.

Things are taking form in the studio: paper, panels, paint, collage, a bit of this, a bit of that. It's happening slowly but surely.

This fall/winter has been a little rough: bike accident back in October, computer crash/loss of information, finance issues (who doesn't have those, not counting the CEO's of certain companies we've helped finance. That's all I'll say about that here...) and a general lack of focus in the studio for a while. Of course, it all has not been bad: I did Open Studios in October and sold a small painting, I gave a talk at West Virginia University, met some great people there and saw some paintings of mine that I hadn't seen in almost a year.

With that said, I'm moving on with some new work. In a way, I feel like I'm in a pitch-black room, feeling my way around for a switch. It's getting done and how it turns out is anyone's guess, but that's how it usually is, actually. My studio schedule has been pretty scattered for the past few months but things are coming together.

And now for something completely different:


This is going to be my new bike, hopefully. It's not ready yet and I haven't tried it out. My old bike was not exactly totaled after the accident, but there are too many things wrong with it to make fixing it worth the headache. Lucky for me, my parents-in-law super great. They are so cool that they sent money over from Australia so I could get another bike when Eva told them what happened.

I'm going with a single speed because I've wanted one for a long time and I love their simplicity. They can be works of art in and of themselves. Here's more about the one I'm getting: Swobo Bikes

Friday, January 15, 2010

Olafur Eliasson on TED.com



In a jam-packed 10 minutes, Olafur Eliasson talks about his work and his explorations of color, light, and space.

Saturday, January 09, 2010

back

The computer issue is settled for now. I picked up my machine from the shop last week and, so far, things are going well. The main lesson learned is to back up, back up, back up everything and right away. I can't afford to wait, let lots of important data build up only to disappear into the ether with a hard drive crash again. I became complacent before and can't let that happen again. I lost nine months of photographs, along with updates to my artist statement amongst other things. Luckily, some of the photos do exist in smaller resolution online, but I do have them. The good in all of this is that the computer crashing did not impact my paintings and other works.

New work is brewing in the studio again. It's coming along in fits and starts, but it's happening at least.






Tuesday, December 15, 2009

round 2

I've been hit with the second computer failure this year, resulting in the loss of a lot of unsaved files, including 10 months worth of photographs, some of which I was hoping to have printed in the upcoming months. The hard drive is shot and I'll have to replace the computer itself, as well. The hard drive was under warranty, at least.

I hope I don't have a repeat of this scenario since I should have the lesson of backing up everything, all of the time, stamped into my brain. I got lazy about backing up my data and am paying for it. Don't be lazy about backing up your files.

So, in the meantime, I'm just doing small tasks on my wife's computer like checking email and updating here and there, but its going to be some time before I'm back with my own. On the upside, I'm going to bed a little earlier...
"I think maybe it’s time to stop, or more reasonably, curtail somewhat, state investment in the past — in a bunch of dead guys (and they are mostly guys, and mostly dead, when we look at opera halls) — and invest in our future. Take that money, that $14 million from the city, for example, let some of those palaces, ring cycles and temples close — forgo some of those $32M operas — and fund music and art in our schools. Support ongoing creativity in the arts, and not the ongoing glorification and rehashing of the work of those dead guys. Not that works of the past aren’t inspirational, important and relevant to future creativity — plenty of dead people’s work is endlessly inspiring — but funding for arts in schools has been cut to zero in many places. Maybe the balance and perspective has to be redressed and restored just a little."

That's one of my favorite parts of a recent blog post from David Byrne on arts funding.

Wednesday, November 25, 2009

Untitled



A satire that pokes fun of the nuanced world of the New York contemporary art scene through a pair of competitive brothers, eclectic and self-important music composer Adrian and commercially successful painter Josh. When Chelsea art gallerina and Joshs love interest Madeline attends Adrians concert featuring the sounds of paper-crumpling, glass-breaking and bucket-kicking she commissions him for a gallery performance and a love affair ensues.Further complicating the situation is that Joshs highly commercial art work the financial backbone of the gallery is sold to corporate clients discreetly out of the gallerys back room.

The New York contemporary art scene needs a parody? Really? you could have fooled me...This is like shooting fish in a barrel, but I might go see it anyway...

Sunday, November 22, 2009

music in my eyes and ears



When I turned on my computer this morning and started browsing through some posts on Tumblr, I found one where someone had posted this video of a Led Zeppelin concert from 1972. 'Immigrant Song' is one of my favorite Zeppelin songs and this was just what I needed to hear. Sometimes, a quiet Sunday morning isn't necessarily what one needs.

Speaking of finding music...one of the things I love about the 'net is the sheer amount of stuff I can find, especially music. I have a profile over on MySpace that I don't use much, but every so often, there's a 'friend request' from random bands, musicians, and other people trying to get their sounds heard. Almost two weeks ago, I checked in and there were a couple of requests, one of which was from '7b Mixes'.

I usually delete most music requests, but I decided to give a listen to the tracks he had on his profile and was hooked! I'm a big fan of good deep house and listen to a lot of it in the studio. The 7b Mixes are excellent. Here's three of them below. Most are over an hour long, so if you're into house or are just curious, you might like to download them or visit the 7b Mixes podcast page.











Tuesday, November 17, 2009

New photography

The Watch

Roundabout


Skyline Gray

Some new images taken this past week around Philly.

Long Portraits

Long Portrait #1 from Simon James French on Vimeo.

I just found this video this morning and remembered how much I like the long portrait format. I especially like this one from Simon James French because of the lighting, textures and music. I first encountered the long portrait format this summer while browsing online and have been hooked ever since. There are a few long portraits here by photographer Clayton Cubitt, who is responsible for the popularity of the long portrait format. I'd like to experiment with this idea to see what can happen. I'll probably post others that I find interesting as I find them.

"Long Portrait: The long portrait is a video made popular on Vimeo by photographer Clayton Cubitt . A long portrait is exactly like it sounds, a portrait that is long. It’s like a photo of someone, but stretched out in video form to show the person’s small expressions, mannerisms and gestures.”

Saturday, November 07, 2009

Condensed Fields



Works from the 'Condensed Fields' series on the studio wall. These are some of the works on paper I did this summer. Each piece is acrylic on paper and 30 x 22 inches.

Saturday, October 31, 2009

hand-made storage







Before my open studio event earlier this month, I went through a bunch of my works on paper, sorted some out and displayed a lot of them that I haven't exhibited previously. That part was great. The not-so-great part was having to wrangle with the poor storage options I had for these works. There are good archival storage box options out there, but most of them are more expensive than I'm ready to deal with for studio storage.

I was in one of the art supply stores I frequent a couple of months ago looking for archival boxes good for long-term storage. They didn't have any in stock at the time, but the clerk I spoke with suggested using acid-free foam board and archival linen tape to make my own boxes. I thought about it and finally got around to making one this week. My first box (see photos above) measures 24" x 32" x 3" to accommodate the 22" x 30" sized works, like 'Blue Pool' in the second shot. I spent about $32-$34 in materials (acid-free foam board, archival linen tape and white velcro for fasteners) and spent almost three and-a-half hours to assemble it. I expect to improve on that time as I do more of these. The cost of good archival storage boxes in a similar size hovers around the $90-$100+ range. Of course, mine aren't made to last 100 years, but they will still go a long way towards protecting my drawings and other works on paper while in the studio for a long time.

I still need to make about one or two more in the same size as well as a couple of smaller boxes for immediate use. The one above is filled already with works I did this past spring and summer. Making these boxes is a little time-consuming but worth it for me. Now that I have the first one done, I have a better idea of what to expect and hopefully, the next few will be easier to construct.

Thursday, October 29, 2009

The Tate Channel




Video artist, Bill Viola, talking about his piece, Ocean Without A Shore that was installed at the 2007 Venice Biennale. I found this on the Tate's video channel (thanks to Vincent Romaniello for posting the link to the site).

Video description from the website:

Bill Viola's latest video installation, Ocean Without a Shore, is presented in the atmospheric setting of the church of San Gallo, Venice. Monitors positioned on three stone altars in the church show a succession of individuals slowly approaching out of darkness and moving into the light, as if encountered at the intersection between death and life. Viola talks about his artistic intentions and the technical challenges of the piece.

There are quite a few other videos on the Tate Channel featuring interviews and artist talks from a range of artists.

Tuesday, October 20, 2009

'Concurrent' at West Virginia University


Poster announcing my lecture at West Virginia University. Last Thursday and Friday (Oct. 15-16), I had the honor of being the visiting artist for the latest installation of Concurrent, the traveling exhibition featuring works by Natalie Alper, myself, Diane Simpson, and Larry Webb.

I arrived Thursday afternoon and gave a lecture that evening, right before the opening reception. The crowd was composed mainly of very attentive art students and faculty. My talk went on for just over an hour, which surprised me because I remember thinking months ago that I'd have a hard time filling up that time. Once I started talking, the time flew by.There was time for a short question and answer session at the end, after which everyone went upstairs for the opening reception and out to dinner afterwards.

Friday morning, I met with three out of four graduate art students who had signed up for crits. The fourth was sick and couldn't meet with me. I was a bit surprised that more students hadn't taken advantage of me being there and available to talk with them about their work, but it left me with more time for the ones with whom I did meet.

I left WVU later that afternoon for a plane out of Pittsburgh that was scheduled for a 5:40pm departure. That turned into a 6:50pm delay, which turned into a cancelled flight, leading to a mad dash for the 'special services' desk for US Airways. There were no more direct flights back to Philly, but they put me on one that went to Washington, D.C. with a connection to Philadelphia. A flight that should have only taken just over an hour took 6 hours, instead. At least I was able to get home. I felt bad for those who had more complicated situations to deal with.

Overall, the two days were great, and were made much easier thanks to Chris Barr, Bob Bridges, Michael Sherwin, and everyone else in the College of Creative Arts involved with the exhibition.




Undercurrent next to exhibition signage.

Sculpture by Diane Simpson.
Stratum I next to drawings by Natalie Alper



Paintings by Natalie Alper (left) and Larry Webb (right)

Cape by Diane Simpson.



More paintings by Natalie Alper and Larry Webb.



Plume, 2007, acrylic on canvas, 60" x 72" (left) and All that could be, 2006, acrylic on canvas, 60" x 84" (right)

Drawings from my Random Expansion series, water media on paper, 20" x 20" each.

Wednesday, October 07, 2009

Open Studio-2009

Works on paper from 2002-2009 (left to right).
View of paintings and works on paper set up for this past weekend's open studio event.

Wall of paintings, 2008-2009, set up for open studio event.

Things went pretty well in spite of my injuries. They gave me something else to talk about when I saw that look on visitor's faces when they noticed my bandaged hands and swollen eyelid. Had a good turn-out, a little lighter than last year, but still well worth the effort put into preparing for the event.

Monday, October 05, 2009

time lost to a sudden dreaming

Friday found me in a very unusual predicament. I was prepping for my open studio weekend and had a bunch of errands to complete on my bike. One part involved picking up some paper products from the K-Mart at 10th and Market Streets. I purchased what I needed and set off back to the studio eastbound on Market Street.

Before I go on, I have to say something about the condition of Market Street on the south side, the side I was on. For some reason, the city decided sometime back in the 80's or maybe early 90's, I think, that it was a good idea to use a cement mixture to "extend" the sidewalk about 6 feet into the street between 13h and 6th Streets. So, you have the sidewalk, curb, and one lane of "sidewalk" in the street. No one walks on it, it's just another lane for vehicular traffic. Now, after a number of years and all sorts of street work, the cement lane is pretty rough to ride on. It's very uneven and there are areas where asphalt has been used to patch up previous road works.

It's about 12:45pm and traffic on Market Street is light. So, I'm riding and as I approach 8th Street, the red light changes to green and I accelerate and then...nothing. The world around me disappears and I have the strangest feeling that I'm suddenly dreaming. In my mind, I'm even thinking that I'm dreaming and about to wake up in bed. Well, I did wake up slowly, and only after having crashed somehow just after passing 8th Street. I wasn't hit by another vehicle. What I remember is a vague feeling of my rear wheel going sideways out from under me as I rode, which means I possibly crossed an uneven line in the cement and went down. The thing is, I don't remember hitting the ground at all-I simply blacked out.

What I recall after crashing is in bits and pieces: people around me, helping me lock my bike to a near-by bike rack then I was being loaded onto a stretcher and into an ambulance. Here is where I started regaining full consciousness. I ran through a mental checklist of things, like where I was, what day it was, what I was doing, etc... and then the EMT personnel started asking me a similar series of questions to determine how mentally fit I was. They took me to Jefferson Hospital where I found out that I hadn't broken anything and only had a few patches of skin ripped from my hands. That's it. I was wearing a helmet which probably saved my life. There is an area on the side of it that absorbed the impact. I still had an abrasion over my right eye, which was swollen until today. I also didn't have any headaches, blurry vision, nor double vision, so my brain was working well. Thankfully, I didn't need stitches; they used a skin glue to close the eyebrow wound. In the meantime, one of the nurses lent me a phone to make some calls. One of which was to my wife, who was at work and my best friend, also at work. They arrived at almost the same time.

I was extremely lucky to not have had any more injuries than I did. I mean, as a painter, the use of my hands are pretty necessary, and even though they were hurt, I won't have any problems doing what I need to do in the studio. Besides my hands, I've had no other soreness nor aches, and thankfully, no road rash. They kept me in the ER for about three or four hours. After the x-rays and cat scans came back clear, they gave me the go-ahead to leave.

I'm still not over those minutes I lost on the street being unconscious. I keep wondering how exactly I fell and how it was that I wasn't hurt as much as I could have been. I don't think I'll ever know, but I am thankful for whoever saw what happened and called for medical assistance. I'm also thankful for my body's defense mechanisms.

Thursday, October 01, 2009

POST 2009




Wall of paintings that I hung yesterday. Still more to do today in terms of sorting the other wall that will have works on paper hung on it.

This Saturday and Sunday, October 3rd and 4th, I once again open my studio to the public as a part of POST. On both days, from 12pm-6pm I will have a mini exhibit of recent paintings and a selection of works on paper dating from 2003-2009 in my work space.

Tim McFarlane Studio
16-A North 3rd Street
4th Floor
Philadelphia, PA 19106

Saturday, October 3rd
Sunday, October 4th
12pm-6pm


Also, while you're in the area, stop by and see the work of other artists in Old City and Northern Liberties.

This is only the first weekend of POST. Be sure to check out those studios west of Broad Street next weekend (October 11-12)

More information about POST: Philadelphia Open Studio Tours

Thursday, September 17, 2009

Blog mention

Designer and illustrator, Laura Oster, has been kind enough to mention my work on her blog after seeing my exhibition at the Philadelphia International Airport. Check out her work at Laura Oster Designs.

Tuesday, September 15, 2009

Powhida-Post opening malaise



Some funny and interesting observations. Click image to read.

Saturday, September 12, 2009

Inside the Painter's Studio


"I clean the studio every week. And a lot of times I think while I am cleaning. Usually at the end of each day, I clean up a little. I also clean up and organize at the start of each day—like nesting. It gets me into the work, kind of like pacing.”

Julie Mehretu, Harlem, New York City
(photo by Joe Fig)

In his new book, Inside the Painter’s Studio, artist Joe Fig documents the day-to-day lives of 24 contemporary artists with photos of their studios, notes on their work habits, and interviews about where and how they make art. In addition, Fig’s own sculptures are shown—miniature reproductions of the artists themselves in the process of creating, a spellbinding sort of diorama as portraiture. For any artist, historian, or art fan, there’s fascinating stuff in the minutia about gear and paint brands, and also the larger questions about what it takes to get up every morning and go paint. As Chuck Close says, “Inspiration is for amateurs, the rest of us just show up and get to work.”

Friday, September 11, 2009

The arts and "Plan C"

Below is a good chunk of Wednesday's blog post by Gary Steuer, the Chief Cultural Officer for the City of Philadelphia. In it, Steuer lays out what may lie on the horizon if the budget impasse in Harrisburg is not resolved in a timely manner.

......

The State House is scheduled to act this Thursday on the bill that would allow the City to close a $700 million gap in its five year budget. Without this action the City will be forced to implement the "Plan C" budget which would be crippling to the City on many fronts, and would effectively eliminate all City cultural programs.

For those that have not been following this saga closely, the budget approved by the City Council and the Mayor required action from Harrisburg on two items - authority to raise the local sales tax by 1%, and some changes in the City's pension plan. The House eventually passed a bill - 1828 - that gave the City what it needed. The Senate then considered the bill and passed it with an array of amendments designed to rein in pension expenses throughout the state. That bill is what is now going back to the House. If the House passes it without amendment it will be signed by the Governor and the City's budget will be balanced. If the House passes a budget with further changes that the Senate does not agree to, the City will be forced to begin the process of implementing Plan C.

In the Arts, Culture and Creative Economy area, this means that notifications will begin going out to the field late tomorrow, providing details on what programs and services will be lost. Much has been written about all the horrible cuts included in Plan C - closure of all branch libraries, closure of recreation centers, 50% reduction in trash pickup, suspension of most programs and operations of Fairmount Park, police officer and fire fighter layoffs. But there has been relatively little coverage of the arts cuts included in Plan C. Here is a summary of what will be eliminated:

  • All funding and staff or the Office of Arts, Culture and the Creative Economy, including suspension of the Art in City Hall program and the Public Art program.
  • City funding for the Philadelphia Cultural Fund
  • City support for the Philadelphia Museum of Art, Atwater Kent Museum, and African American Museum of Philadelphia
  • City support for Mural Arts Program
  • City funding for Avenue of the Arts
In related areas, the cuts to Commerce will include virtual elimination of the Art Commission and the Historical Commission. Other cultural programs and support that take place through Recreation, Records, City Representative and other departments are also largely eliminated. In terms of timing, staff will be notified if they are being laid off on September 18th, and all cuts and layoffs will become effective as of close of business on October 2nd. This is also when all program eliminations will take effect. If the House and Senate agree prior to September 18th, the notices will never go out, and in fact if there is agreement anytime up until October 2nd, we can pull back from the precipice. After that point, while programs and staffing can still be restored it gets much more complicated. Some staff may take retirement and not be able to or interested in returning to work; they may also find employment elsewhere. It will be complicated in many cases to restart programs, reopen facilities, etc.

There is hope that with pressure from their constituents, state legislators from both legislative bodies and both sides of the aisle will find a compromise before this comes to pass. It goes without saying these cuts will be crippling to the City and a significant blow to its citizens.

Wednesday, September 09, 2009

lessons

"The process by which an artist’s work finds its way into a commercial gallery is often long and circumvented. Stein was gracious, politely tenacious, and smart. Professional relationships can often be analogous to marriage, and after three years of “dating,” I was certain that I liked Stein as a person. This was someone with whom I would enjoy working on a day-to-day basis; someone whom I could trust; and someone who clearly has a bright future, so that after one successful show I will not be left in the lurch with no further compelling work to promote."-Brian Paul Clamp, director,ClampArt (New York City)

The above quote is from this article on the F Stop photography website.

Articles like this should be required reading for anyone looking for gallery representation, from the newly minted BFA or MFA to even older, more experienced artists. Even though this article comes from the viewpoint of a commercial gallery that specializes in photography, the lessons are general enough to cover any kind of artist seeking professional representation.

I can relate to this because it parallels the way I wound up being represented by the gallery I work with, the Bridgette Mayer Gallery here in Philadelphia. When she opened her gallery here around 2001, I was already looking at a couple of other galleries in the city for representation. I made it a point to go to the openings of shows she had as well as checking out the work at other times, as I was genuinely interested in some of the artists she was showing. I introduced myself and got myself onto her mailing list. At the same time, my work was gaining some attention after it was included in a prestigious regional exhibition grant competition and other local exhibitions.

The 'dance' began in earnest when Bridgette asked me to bring some slides and other materials to the gallery for review. About three or four months went by and then she scheduled a studio visit for another three months down the line. In the meantime, we stayed in touch and I kept working as usual.

In the spring of 2002, she came to my studio. She was really interested in my work as I was her gallery, and I remembered that we had a long conversation that afternoon. I was in a transitional period with my work, changing how I painted and was moving towards a more hard-edged, geometric abstraction from work that was more based on biological forms. She had a lot of questions about what I was doing and how I saw the work developing, etc...

At the end of that conversation, she offered to represent me. I took some time to look think about it, asked her some questions and after a couple of weeks, I signed on with her. The relationship we've built over the intervening 7 years has grown to one where there is friendship, mutual respect and benefits on both sides. As with any other relationship, it's constantly evolving and, so far, things are going along well, even with the economic crap storm that's been happening. It's good to know that there's someone standing behind my work in the good and bad times.

Thursday, September 03, 2009

Rebecca Crowell slide presentation



Rebecca Crowell, an artist I know only through the web, has included a couple of shots of my project, 'This Moment', in a slide presentation that she has used for workshops this past summer. Other artists that I've connected with online included here are Diane McGregor, Ian MacCleod, Jen Bradford, Lisa Pressman, and Michael Kessler.