Monday, May 28, 2012

Don't forget your art,


Don’t FORGET YOUR ART, your craft!

If there were anything I want to say about making art it would be one thing. It is important no matter how anyone feels, thinks, or experiences, making art on a regular bases is crucial to the evolution of your practice no matter if you’re a traditionalist, conceptual, or craftsmen. If I were to give myself any label I would say I am a self-taught artist. Someone once asked me why I keep saying this even thou I went to art school. I say this for one reason if you make art seriously, you will never stop learning, growing, and discovering more about oneself and your practice than any art school can ever teach you.

Kenneth Burris Studio, 1997
Over the years I have painted thousands of bad-bad pictures, I am not embarrassed to say it, it only make sense. Being in a rush to do something is fine as long as you understand that the outcome may not last. Being a skilled person (not just an artist) is again crucial to the success of any career no matter if your working for a corporation or making hamburgers for Mc. Donald’s or running your own medical practice. Can you imagine a medical student not graduating from college saying to you, “Surgery will start immediately”. 


We all know those that can focus on the task at hand are the one who will receive the rewards, financially, monetarily, and spiritually. For the younger generation today I will say I personally believe that you guys are in trouble. I don’t care how much someone can multitask –you will never be as good as the person that takes there time no matter the context.
Inka Essenhigh, artist.

Like I said in a different post I moved to New York a decade ago and from the time I have moved here I have never taken time off of my craft, why would I?   
Once I went to see Inka Essenhigh lecture at the SVA Theater downtown on 23rd street. I remember a student asking her a question. He asked how did she keep her work going? Now from my observation of Inka Essenhigh, who I do not know personally she said it quite simple. “Because its FUN”, hens –like what a stupid question! 

In some respect for the question that was asked -that is what’s essential. At least from Essenhigh's perspective. Making art is fun and if you are the type of person setting there by yourself and asking the same question as that student. Well you might need to think about that.
Kenneth Burris Studio NYC, 2004
Then why am I saying all this in the first place? Even before I moved to NYC I was the type of person who rented my own studio for years. I spent almost all my free time working and painting really-really bad pictures. I did this for almost another decade in Columbus, Ohio. On top of that I work as a billboard painter so I could pay the rent and have enough money to be stupid with my friends on the weekends.


Kenneth Burris, working as Billboard Artist.
I can remember only once in all that time that I did not make art. For an eight-month period I was doing other things that young people do. But even then I believe I still painted three to four large works. I know this for a fact because I gave a picture to a girlfriend of the time.

Chuck Close, artist.

So now to my point, one of the most difficult things I have experienced as a practicing artist over the years are those people I talk to who say they haven’t made art in years. I always hear from them that they wish they could get back into it or they miss painting, drawing, or what ever they were doing at the time. This perplexes me completely why in the hell would anyone stop doing their craft in the first place, I don’t want to be unreasonable here and say it’s all or nothing. But why would someone who says art making is so important to them suddenly exchange that for laying down floors or becoming a company owner, why stop making art for something completely unrelated? And please don’t try to tell me there could be family hardship or illness, if you try, you might need to go back and reread your art history. Because history is full of personal struggles at all levels -a good example is Chuck Close.

Yes of course well all want families, or maybe it’s the middle class amenities that the good-old American life can offer, right?


I don’t know about art school these days, does the dean still have that lecture on your first day, or is it orientation? I remember our president of that time saying to us, only one percent of you will even be an artist your whole life, hell with a career!
Kenneth Burris Studio, NYC 2008
Now is it fare I am saying this in this way. I guess what I would like to stress is most people making artwork will do just that. Those that make art all the time will make art all the time. And those of you who started out in art but end up laying down floors or being a company owner. Why can’t you just be happy you got to make some art in the first place an if painting is want you what to do then please,


Paint!

Signing off,


Kenneth Burris

Thursday, May 24, 2012

Studio Specialist,


Working as a Professional Studio Specialist, Why? How did I get here?


Okay, I have started to read over articles that other people have written about,  "Life as an artist in New York City". If there is anything I've learned from moving here is that, NO ONE HAS A GREAT ANSWER.  I say this because like people NYC is one of the most diverse cities on the planet, with a population as diverse to match. And its artist population can easily extend this diversity.
So- do I have an opinion on the subject -honestly, no.

I believe the best anyone can do is just tell his or her own story, maybe that is what makes living in NYC so important. I have been in New York now for twelve years and from my perspective (small as it is) it never gets boring. It stays interesting because for me it is simple I have to work my ass off. 
I know what I am saying is a personal point of view and I don't think I am anything special; you might say I am just another around-about artist. Trying to find my way through a world of overlapping complexities, such as paying rent, paying bills, and finding enough money to buy food. And when things get real good I might have enough money to buy beer!

Check next page for more....

Thursday, March 29, 2012

Dystopia in America

March 2012

Dystopia in America

by Andrew C. McCarthy

On the stripping of liberties by progressives, as detailed by Mark R. Levin's Ameritopia.

I love mankind; it’s people I can’t stand.” The saturnine wisdom of Charles M. Schulz’s immortal Peanuts comic strip is impossible not to recall when reading Mark R. Levin’s new blockbuster, Ameritopia.1 For one thing, there is the sheer Schadenfreude of imagining how the people at the The New York Times, those notorious lovers of humankind, must have reacted upon learning that a new book by the popular conservative radio host would debut at number one on the paper’s bestseller list—the slot Levin’s last book, Liberty and Tyranny, owned for more weeks than the Gray Lady cares to remember.

Linus’s snark, more to the point, marks the scrimmage-line in the epic struggle Levin depicts. On one side stand progressives, whose professed humanitarian devotion thinly camouflages a disdain for flesh-and-blood people . . . particularly the kind who go to Tea Party rallies. To the social engineers, people are little more than laboratory specimens in statist experiments contrived to drag the benighted species toward perfection—which is to say, to subjugate people into serving the engineers’ conception of the good.

Huddled on the other side are those of a conservative cast of mind, reckoning human beings as basically worthy but incorrigibly fallible, and human interactions as infinitely complex and dynamic. In our quaint way of thinking, human nature defies grand statist schemes. To quote Karl Popper, as Levin does at the outset of Ameritopia, “Any social science which does not teach the impossibility of rational social construction is entirely blind to the most important facts of social life.” Worse, such schemes are invariably orchestrated by the state. Comprised of people, the state magnifies human flaws; yet, being a mere “Form of Government” (to borrow from the Declaration of Independence), and not a person animated by human incentives and virtue, the state is bereft of the people’s capacity to perceive, self-correct, and improve.

On this side of the scrimmage line, where Levin emphatically situates himself, the key to human flourishing is individual liberty. Leavened by society’s mores and shielded from state meddling, freedom unleashes the people’s work ethic and creative genius. As proof that this is the true path to our advancement, consider the scarcity of great achievements attributable to government planning. Or one could consider the historically unparalleled and sustained success of the American experiment, only recently frustrated by the Fabian conquest of the welfare state.

It is on this conquest that Ameritopia fixes its sights. Levin thus revisits the battleground between statists and conservatives explored in Liberty and Tyranny (which was reviewed in these pages in September 2009). In this book, however, his focus is different: He examines not so much the present crisis, but how we got here. Levin’s lens trains on the intellectual underpinnings of totalitarianism and of the American founding—that sharp turn in our understanding of the relation between the citizen and the state. The author leaves no doubt about which governing construct, in his view, has the better of the argument. But that by no means makes this a cheery tale. Reminiscent of Whittaker Chambers’s melancholy assessment in Witness that his renunciation of Communism amounted to joining the losing side, Levin ruefully observes that “Ameritopia”—the term he coins for the overrunning of our freedom culture by the Progressives’ utopian project—is not some distant prospect.
Ameritopia is here.

Nominally, “Ameritopia’s” roots lie in “Utopia,” the purportedly ideal society conjured in Sir Thomas More’s sixteenth-century novel. But, as Levin explains, statist attempts to devise a political order that embodies perfect social justice actually trace back thousands of years, to ancient Greece. The template is Plato’s Republic, long recognized by such giants as Popper and Bertrand Russell as a totalitarian tract, notwithstanding (or perhaps explaining) its continuing popularity in Western universities. Like Popper, Levin analyzes the Republic as the conception of Plato rather than, as the dialogue itself intimates, of Socrates—who, of course, paid the ultimate price under an oppressive government.

For the academic Left (Department of Redundancy Department), Plato’s blueprint for society is revered as the foundational political science treatise. Appropriately, Levin confronts it as such. Nevertheless, it is worth bearing in mind the dialogue’s true objective. Oxford’s Daniel N. Robinson describes the Republic as “man writ large.” The interlocutors initially seek to analyze not the state but human virtue. They settled on the state as their macro model, assuming that it reflected the essence of the citizen. This assumption bolsters one of Levin’s central themes: The American progressive movement’s adulteration of the Constitution based on the Wilsonian theory that government is a living organism—one that cannot be constrained by the eighteenth-century world in which it was created.

For the Left, the government requires active, enlightened leaders. In Plato’s trailblazing system, these were the “guardians,” who, Levin recounts, were to be foisted on the masses through a “noble lie”—a pretext for breeding a race of philosopher kings, men of gold, to be raised above men of silver and iron, the lesser classes of soldiers and citizens. Besides this remorseless system of eugenics, the classes would be indoctrinated by a rigorous, state-controlled education program, fortifying the guardians’ absolute control over society. The nuclear family would be abolished in favor of communal life—the preeminence of which is fortified (as in modern Islamist society) by the repression of free speech, lest individuals sow social unrest. “Having eliminated family ties, independent thought, and individual dignity,” Levin observes, “Plato turns to the City’s standards for medical ethics.” Controlling healthcare provides the authoritarian state with its best rationale for regulating life down to the granular level.

Crucially, Plato further bans private property. This is the leitmotif of the utopian canon and, consequently, the bull’s-eye in Levin’s critique: “There is, in fact, no such thing as private property of any kind on Utopia.” Instead, Thomas More’s principle of “economic egalitarianism requires everyone to turn over everything they produce to central storehouses.” Citizens are then to take in accordance with their needs—“Abolition of private property” being, in the eventual formulation of Marx and Engels, “the theory of Communism . . .
summed up in a single sentence.” But how are the state’s storehouses to be filled? “From each according to his abilities,” promises the utopian. People will produce for the state just as they would for themselves. And there’s the rub. Utopians “fabricate an egalitarian society that claims to provide for all wants and needs,” Levin observes, “by expunging the humanness from the human being.”

Acquisitiveness is an inextinguishable component of human nature. It motivates us to act, to achieve. Yes, like any attribute, it can be a severe danger if allowed to overwhelm the others—or, for that matter, if unduly suppressed. And yes, the talent and drive to acquire are unevenly distributed in nature. But these are not injustices; they are the human condition. In his radical egalitarianism and contempt for private gain, the utopian statist endeavors to program humanity against its nature—in contrast, one might add, to the Aristotelian strain of Greek philosophy which, taking nature as it finds it, recognizes the communal property scheme to be a prescription for rewarding sloth and provoking conflict.

Naturally, in proposing theories so contrary to human nature, utopians must offer implausible scenarios to rationalize their ideologies. For Marx and Engels, it is dialectic materialism: a Manichean world of bourgeoisie and the proletariat, the haves and have-nots, the capitalist and the relentlessly exploited laborer—their relations bowdlerized into a purely economic class struggle. It is, Levin argues, as if “religion, war, nationalism, law, and politics,” in all their complexity, have played no role in human history.

Levin turns his attention to Thomas Hobbes’s Leviathan, which, like the Republic and Utopia, offers a top-down plan in contrast to Marx’s bottom-up revolution. Nevertheless, foreshadowing Marx, Hobbes launches from an unreal premise: the dystopian “state of nature.” As Levin explains, Hobbes’s horror at the anarchic ruthlessness of the British civil wars heavily influenced his political philosophy, in which mankind’s primordial condition is framed as a “war of everyone against everyone.” Regarding his fellow men as enemies, the individual, in a struggle for survival, does not recognize the rights of others—not even the right to bodily integrity. In this state, there is no place for industry, property, or knowledge, much less a functioning society; there is only, in the memorable words of Hobbes, “continual fear and danger of violent death, and the life of man, solitary, poor, nasty, brutish, and short.”

In the Hobbesian dystopia, fear plays the part of a Big Bang of sorts—it is the starting point of civilization. Man is intimidated into surrendering the whole of his personal autonomy to a sovereign power in exchange for security. This submission is the prerequisite for moral virtue and societal advance. The sovereign may be a single ruler or an assembly, but is, in either event, omnipotent and above reproach by the subjects. In this social contract, liberty belongs to the sovereign alone—although Hobbes cedes to the subjects limited natural rights to the defense of their own bodies. As Levin points out, man must trust, against the weight of logic and experience, that “the Subjects will be treated equally under the law” by the unaccountable despot, who will altruistically provide “a stable and secure society.”

It was left to John Locke, the Englishman who most profoundly influenced America’s founders, to reverse Hobbes’s framework by confuting his premise. Though flawed, man is created by God and infused with reason, which is the “law of nature.” Reason instructs us that God creates us as equals and wills that we survive. Consequently, we must have equal and inalienable rights to preserve life, liberty, health, and property. Being created equal, “there cannot be supposed any such subordination among us that may authorize us to destroy one another, as if we were made for one another’s uses, as the inferior ranks of creatures are for ours,” as Locke writes. Reason and self-interest thus induce men to cooperate in the state of nature. In stark contrast to Hobbes, Locke sees war not as man’s default condition, but as the result of transgression against the natural order.

Government, then, is not the source of moral virtue. The source is the individual person exercising his preexisting liberty. Sovereignty inheres in the individual, and a legitimate government can only be formed through his consent. Reason counsels man to give his consent, especially for the purpose of securing his property rights through, in Levin’s phrase, “just and predictable laws and their impartial enforcement.” Locke thus dismantles the bedrock of the utopian castle. Statist central planning is rejected because, in the ideal society, free people employ reason to pursue their interests. One of these interests, despite the one-dimensional progressive caricature of them as selfish, is the betterment of our fellow men. Radical egalitarianism is rejected because, while liberty demands equality of opportunity, it recognizes that equality of result is neither possible nor, if society is truly to progress, desirable.

To be clear, promotion of liberty does not translate into a rejection of government. As Levin asserts, “There can be no political liberty without law.” Moreover, reason and experience dictate that nations must be able to protect themselves from external threats. Government, however, is inherently coercive—otherwise it would be useless. It thus tends to dominate and destroy if left unharnessed. Consequently, limiting it while ensuring its effectiveness is the great work of the statesman. In the case of America’s founders, Levin recounts, their great work in this regard was mightily influenced not only by Locke, but also by Charles de Montesquieu, the French philosopher who died twenty years before shots were fired at Lexington and Concord.

For Montesquieu, a republic—in which the people hold sovereign power—was government in its highest form. It was a historical rarity, however, because it required “an additional spring, which is VIRTUE”—a “love of the republic” coupled with a culture in which “the one who sees to the execution of the laws feels that he is subject to them himself.” The maintenance of popular sovereignty and ordered liberty calls for deft balancing. Government, Montesquieu contended, must be structurally limited: compartmentalized to prevent a potentially tyrannical alignment of the powers to make, enforce, and sit in judgment of the laws. Equally essential, the government official must grasp his role as the servant, not the master: the law must be an expression of the popular will and culture, not a cudgel to coerce the free citizens into compliance with the pieties of meddlesome officials.

As Levin details, America’s founding documents are full of allusions to Locke and Montesquieu. The latter believed that a written constitution would be critical to constraining government, and his imprint stretches across the U.S. Constitution—which limits the three federal branches of government to the powers expressly enumerated, which separates their powers as an internal check, and which checks them from without by a federalist structure that preserves state sovereignty. Indeed, the Bill of Rights—the guarantee of Locke’s cherished inalienable rights without which the states would not have adopted the Constitution—was also meant to address Montesquieu’s well-founded fear that, as a nation and its central government expanded, the republic would be smothered. The purpose of the Tenth Amendment, which protects the rights of the states, was to safeguard against this very threat.

Similarly, Locke pours off of key passages of the Declaration of Independence with its emphasis on the theory of natural law, the primacy of inalienable rights, equality of opportunity, the people’s sovereign right to oust any government not established by consent, and the centrality of private property to liberty. Levin further takes pains to demonstrate that Locke’s emphatic condemnation of slavery resonated with the Declaration’s drafters—including Jefferson, a slaveholder, whose original draft nonetheless indicted King George III for waging “a cruel war against human nature itself, violating its most sacred rights of life & liberty in the persons of a distant people who never offended him, captivating and carrying & carrying them into slavery.” The passage was deleted at the insistence of the Georgia and South Carolina delegations—the original sin that stained the Union’s birth. Yet, as Levin trenchantly argues, slavery could not have long survived the Declaration’s championing of human dignity.

The United States is—or at least was—anti-utopian not only in its founding framework but in its spirit. For this proposition, Levin leans heavily on Alexis de Tocqueville, the French political philosopher whose Democracy in America is a searing study of the nation through which he traveled extensively in the 1830s. Tocqueville brilliantly captured not only the strengths of the American character, but the susceptibility of our democratic society to the populist allure of Utopianism. As to the latter, Tocqueville contrasted the “manly and lawful passion for equality” that enables citizens to strive for greatness with a very different and all too human quality: “the depraved taste for equality, which impels the weak to attempt to lower the powerful to their own level and reduces men to prefer equality in slavery to inequality with freedom.”

This perversion of equality, what Levin calls “radical egalitarianism,” could potentially destroy the real thing. It could also erode America’s strongest trait: the manner in which popular sovereignty and self-determination are not only proclaimed by the laws but ingrained in the custom and culture. This, Levin exclaims, is the utopian temptation.

Tocqueville elaborated that free societies generate unparalleled wealth—which is all to the good. But they necessarily create great disparity between the richest and poorest. Neither classification is permanent for there is constant mobility up and down the ladder. And the vast majority of people live between the extremes. They desire to improve their lot, and that ethos catalyzes a prosperous, civil society. They see their prospects as bright, and, whatever envy they may feel, they are predisposed against revolution, which would, in Tocqueville’s formulation, “threaten the tenure of property.” Still, in a dynamic and free economy, some citizens inevitably fall on hard times, and even more have spurts of insecurity. They become open to the prospect of assistance from the government—the society’s seemingly stable source of public authority. The belief that, short of upheaval, their lot can be improved and society made more just by government’s “democratic and administrative utilitarianism”— pinned by Levin as the disguise worn by radical egalitarianism—becomes alluring.

The seeds of a soft tyranny are sowed. Levin explains that Tocqueville sought “in vain for an expression that [would] accurately convey” the concept, finding “inappropriate” the “old words despotism and tyranny.” Levin nails the elusive concept down as utopianism. Tocqueville sensed that the old tyranny could emerge from a modern democracy in three ways: in the guarantee that the privileges and status of equal citizenship endure regardless of the individual’s parasitism; in the notion that elected officials and “a vast, neutral administrative state” are capable of gradually perfecting life and ensuring its proper regulation; and in the incremental erosion of community life as individuals, “incessantly endeavoring to procure the petty and paltry pleasures with which they glut their lives,” turn inward.

At length, Levin reminds the reader of Tocqueville’s prescient alarm: “With the people denuded of spirit and exceptionality, dependent on government for their welfare, the democracy gradually transitions into a powerful administrative state.” In order to “spare [the people] all the care of thinking and all the trouble of living,” this “immense and tutelary power” cultivates dependency—it “provides for their security, foresees and supplies their necessities, facilitates their pleasures, manages their principal concerns, directs their industry, regulates the descent of property,” and so on. It gradually spreads its tentacles from strategic hubs to the whole community:

It covers the surface of society with a network of small complicated rules, minute and uniform, through which the most original minds and the most energetic characters cannot penetrate, to rise above the crowd. The will of man is not shattered but softened, bent, and guided; men are seldom forced by it to act, but they are constantly restrained from acting. Such a power does not destroy, but prevents existence; it does not tyrannize, but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to nothing better than a flock of timid and industrious animals, of which the government is the shepherd.

The final indignity in this regression would be the unwitting collusion of citizens in their consignment to this “dreary existence.” In the husk of their democracy, to quote Levin, citizens would continue to go “through the motions of electing their guardians.” Yet, as the administrative state metastasized, the vote would become meaningless, except for providing the psychologically satisfying mirage of participation in “self-government.”

In a plea as dolorous as it is hopeful, Levin notes that the American experiment was a quite conscious exception to “history’s preference for tyranny.” While it seemed to have triumphed for a time, there are no permanent victories, and counter-historical trends have to fight especially hard to survive.

For the last century, it is the statists who have done the fighting. Woodrow Wilson’s campaign to discredit the Constitution as an obsolescent relic has been inculcated in generations of legal scholars and social scientists. Franklin Roosevelt’s welfare state has radically reversed our conception of “rights” from protections of individual liberty to redistributionist guarantees of security. Lyndon Johnson’s Great Society erected profligate, degenerative healthcare and antipoverty programs. Now, finally, we have the copestone: Barack Obama’s dizzying seizure of effective control over vast sectors of the economy—healthcare, housing, financial services, energy—and the economy’s consequent paralysis and impending collapse under unprecedented mountains of debt.

As a result, liberty’s defenses are long past being breached. If you doubt that, Levin suggests having a gander at your pantry, your garage, your medicine cabinet, your child’s bedroom (or, indeed, your own), your business, and the stuff of your hobbies—try to find something, anything, the manufacture or use of which is not regulated by at least one of the myriad bureaus of a federal behemoth that recently announced its determination to regulate carbon dioxide (the air we exhale) as a pollutant under the Clean Air Act.

The stark question Mark Levin poses is whether we are so far gone that the losses are permanent. Do we throw off Ameritopia and pivot back toward liberty and self-determination? Or will we remember this pass as “the good old days,” the soft tyranny in an inexorable disintegration into some harsher variety that has, for millennia, been the fate of failed democracies? Levin—insightful, fact-driven, pulling no punches—characteristically declines to don rose-tinted glasses. Ameritopia is the deep contemplation of a staunch believer in the vision of the American founding, one who sees that if dramatic counteraction does not begin promptly, all will be lost. The chilling part is that he is anything but sanguine about the likely outcome.

Wednesday, March 7, 2012

This is nice...

10 Principles for an Artists Success

Michael Godard Rockstar of the Artworld

Godard - Rockstar of Art?

Do you ever wonder why some artists are incredibly successful, despite the fact that they aren’t the most talented? And then you meet one of the most masterful oil painters since Leonardo da Vinci, and you find out he’s still living in his mother’s basement.

It seems as though there is a secret combination to finding success as an artist, and only a few lucky people figure out the code.

In our younger years Drew and I prayed that the secret code would land in our laps. We watched as Shepard Fairey and Wyland and Michael Godard traveled down the path of prosperity, and we would ask “how’d they do it?”

It was hard to find answers, because no one was talking. So we put our heads down and just kept moving forward. Before we knew it years had gone by. One day we looked up and saw that we, too, found our way to the cul de sac of accomplishment.

There are many combinations to unlock the secret to success for artists.

Usually it’s not one massive accomplishment that leads an artist down the path of victory, but rather a consistent series of little triumphs that blend together, coupled with basic principles that are practiced regularly.

Below is my list of the 10 Principles of Success for Artists. Over time, I will post a weekly article which will dive deeper into each principle. They are:

1.) PLAN YOUR ART CAREER – Decide what you want: You can’t get what you want without a concrete vision of what it is. Deciding what you want is the jumping off point. Once you do that, you are capable of creating the lifestyle of your choice.

2.) Have Integrity: A good reputation will get you more work, collectors and clients, and it comes from having integrity. Integrity means doing what you say you’re going to do, when you say you will do it. Meet deadlines, respect your agreements, and make ethical decisions. Make your mother proud.

3.) Brand Yourself: Tell your own personal story. Carve your own niche and have your own distinctive style. You’ll be remembered for this.

4.) Promote yourself Shamelessly: Marketing is how you announce to the world that you have something to contribute and it’s for sale. Tell everyone that you are an artist. Hand out business cards. Keep your website fresh, because it’s your window to the world. Document your work with photos and video. Ask the media to write about you.

5.) Keep the Passion: Being passionate about what you do will shine through you and your work. Think Big. Be a light for your ideas. Never give up. Don’t do things you don’t enjoy. Not for long, anyway.

6.) Control Your Copyrights and Use Legal Agreements: Be protective of your style and your name. Use common sense when going into legal agreements. Never sign anything that you don’t fully understand or agree with.

7.) Manage Your Money: If you aren’t making a profit, than what you’ve got is a hobby. THINK BEFORE GOING INTO DEBT TO SELL YOUR ART. You must be able to make money off of your craft to be a professional. This means charging the proper amount, handling your money well, and keeping track of expenses. Never give your work away – you hurt your collectors and your fellow artists when you do.

8.) Say “yes” to most everything: Be open to trying new mediums and new techniques. Don’t ever be “too busy” to give interviews or to be featured in a book or magazine. Consider all opportunities that come your way, even those that you aren’t sure of.

9.) Contribute to the Industry of Art: Network with other artists, help your fellow artists, buy from your favorite artists. Join us in the vision of making the profession of art become a lucrative career.

10.) Tenacity: Commit to your craft and don’t look back. Never give up. Realize that you can live the lifestyle that you dream of. It’s within your reach. Remember that you are making a contribution to the world, and it’s important.

So that you don’t miss out of future postings, please sign up for my rss feed or fill in your e-mail address to get future posts delivered to your in –box.

How to get on in the art world..

How To Get On In The Art World

Episode Guide: How To Get On In The Art World

Episode Guide: How To Get On In The Art WorldView Gallery

Posted: Friday, 16th November 2007

Modern art used to be a standing joke in Britain - remember the brouhaha over Carl Andre's bricks at the Tate? It certainly isn't anymore. Domestic sales of contemporary art are worth more than £500m annually, commanding more than half of all European art sales. And this year, for the first time ever, sales are expected to exceed those of Old Masters. We increasingly desire art that speaks of and for our times. So what has turned us from a nation of cynics into a nation of collectors?

'Imagine: How To Get On In The Art World' sees Alan Yentob immerse himself in this vibrant world during the week of the 5th Frieze Art Fair in October, the centre of the British contemporary art calendar. He sees past the kisses and handshakes to crack the sophisticated codes that govern the way the contemporary art market operates. He discovers the ascendant position that London has acquired as the hub of the global market in recent years, a market that is worth $22bn a year. And while the conventional wisdom decrees that this buoyancy must be a 'boom' or 'bubble', fuelled by the appetite of emerging economic superpowers such as China and Russia, it becomes apparent that this could be only the early stages of a much bigger economic explosion.

Centring on the mad bustle and excitement of Frieze Art Fair in Regents Park, the film examines the love-hate dynamic in the art world between art and money, how it frequently feeds the creation of art and asks why owning it has become the de rigeur status symbol for the rich. It used to be Gainsborough or Reynolds; now the expensive London home is more likely to sport a Damien Hirst or Gary Hume. Alan Yentob looks at why our artistic focus has shifted and the implications it has for everyone involved.

In the course of his inquiry, Alan Yentob meets artists, gallerists and collectors who explain their role in this seductive world and offer revealing insights into the practices that take place within it. He visits Turner Prize winner Keith Tyson in New York as he prepares for the opening of his spectacular new show, 'Large Field Array'. He experiences the uniquely transformative painting style of Boo Ritson; he is granted a audience with shooting-from-the-hip cult American critic Dave Hickey; and he follows the Bad Boys of British art, Jake and Dinos Chapman, as they perform their most outlandish stunt yet at Frieze. He tries his hand at buying at trendy auctioneers Phillips de Pury as they host a Russian contemporary sale. And, by the close of the Fair, he endeavours to spend £5,000 of his money on a piece of contemporary art for his home. Not as easy as you might think...

How To Get On In The Art World, BBC ONE, 22.35 Tuesday 20th November 2007

Monday, March 5, 2012

Great Artist Steal, By Jerry Saltz


Great Artists Steal

The Met’s “Pictures” show captures a moment when borrowing became cool.

Clockwise from left, Barbara Kruger's Untitled (You are Not Yourself) (1982); Robert Longo's The American Soldier (1977); Sherrie Levine's Untitled (After Walker Evans):2 (1981); Louise Lawler's Pollack and Tureen (1984); James Welling's And Should (1974); Paul McMahon's LOSS (from the series "Written-on Postcards") (1975).
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you’ll find it. It’s there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film. After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades—even if it’s now close to aesthetic kudzu.
The Metropolitan Museum of Art’s “The Pictures Generation, 1974–1984” is less a critical survey of a highly influential aesthetic than a feel-good class reunion. Rather than opt for scholarship and tough choices, curator Douglas Eklund cultivated a gang’s-all-here coziness. It’s a huge show, with hundreds of objects, books, posters, films, and videos, and works by 30 artists. Had a museum outside New York originated a show this baggy, it’s doubtful that the Met would have had anything to do with it. (Though it’s fantastic that the fuddy-duddy Met is finally thinking about recent art. It needs to do so, more often and better.)
But if you do pick your way through this hodgepodge, you’ll find a spirited introduction to a lively moment. In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned. In this charged atmosphere, artists braided together three recent styles. They made conceptual art more optical and snazzy. They returned narrative and figuration to minimalism while keeping the rigor. And rather than “liking things,” the way Warhol said Pop Art did, they were skeptical, especially regarding pop culture. This mix was laced with New Wave attitude, French theory, social consciousness, and raw material derived from everything from movies to logos. Pictures artists (as they were called) created a kind of anti- encyclopedia, looking at the world of representation and saying, “This is too good to be true.” They changed the way we look at images, ourselves, and the world.
Today, it’s hard to see two of the most radical things about Pictures art. First of all, most of it came out of photography. Back then, photographs were entirely separate from the elite fine arts such as painting (which was going through one of its near-death experiences). Even so-called fine-art photography was inexpensive and, by comparison, nearly disposable. It was certainly seen as a separate art with its own history and traditions, and critics and theoreticians didn’t much bother with it. The Pictures artists realized that photography could therefore be a theoretical free zone—that they could create their own approach there. Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled. It makes Jack Goldstein’s footage of the roaring MGM lion someone’s take (and not necessarily his) on what the MGM lion stands for; Richard Prince’s Marlboro men went from familiar and bland to dangerous and funny; Cindy Sherman’s dressing up like a model became as strange as dressing up like a model really is. As participant James Welling observed, “Images compose our perceptions of the possible.” If widely reproduced pictures are often lies, artists, in Prince’s words, wanted to “turn the lie back on itself.” These artists did that with a vengeance.
Which brings us to the other, less visible radicalism of Pictures art: the great representation of women. Back then, it was instinctively understood that the doors of painting and sculpture were all but closed to them. In self-defense, women took up the devalued medium of photography, and much of their work breaks down the visual conventions of gender construction. They were feminists who didn’t want to be stuck in the “feminist art” ghetto, so they forged an art that was forceful, insistent, and seductive. Sarah Charlesworth tore up magazines to show us why we desired what we desired; Louise Lawler was a spy in the house of art, taking pictures of work by male artists installed in posh collections; Laurie Simmons created sicko domestic interiors; Barbara Kruger performed shock therapy on advertising; Sherrie Levine, who said, “Appropriation is not all that different from wanting to appropriate your father’s wife or your mother’s husband,” rephotographed famous photographs.
The criticism that grew up around Pictures art was authoritarian if almost unreadable, written in tight knots of language. Painting was called regressive, exhausted, mined-out; graffiti artists like Keith Haring and Jean-Michel Basquiat were written off as lightweights. Sometimes the Pictures artists fought with even their supporters. Adrian Piper (an artist on the fringe of the movement, left out of this show) wrote an open letter to critic Donald Kuspit saying that his writing “dehumanize[d] artists.” David Salle, whose work looks outstanding here, dismissed critic Craig Owens’s ideas about the way Salle “mystified information” as ludicrous.
Pictures art was never the feel-good fun portrayed here; it was influential, but it was also self-policing and insular. (Salle was essentially cast out of the inner circle for the sin of painting and for using photos of naked women—that’s how conservative the liberal art world was.) But it was a crackling time, and appropriation is too nice a word for how potent this style still is: Stealing andransacking convey the atmosphere much better.

Monday, February 13, 2012

America’s Identity Crisis in an Age of Consumerism and Spectacle

America’s Identity Crisis in an Age of Consumerism and Spectacle

Context is essential to sanity. Cognitive dissonance is rising to new heights. What follows is a book review containing an analysis of our condition that rings true on many fonts. It appears we may be nearing the end of a cycle of greed that promises a better world. Our greatest challenges lie in the transition. NPD is a guide to a possible future based in integrity, justice and a sustainable world that works for the many rather than for the few at the expense of the many and the environment which sustains us all.

Our goal at NPD is to focus on the individuals, organizations and navigational tools that can support our journey toward a sustainable world recognizing there is no guarantee we will arrive there. It’s not the destination but the journey that’s important and leaving behind our wisdom of what went wrong, our efforts to correct course and a map of how to build a sustainable world for future generations. In 2010, I will explore these ideas in a new book.

consumption

From statesman.com

By Brad Buchholz, AMERICAN-STATESMAN STAFF WRITER

Chris Hedges sees, in America, a nation that has lost its way. He sees a country that places prosperity above principle, celebrity above substance, spectacle above nuance and introspection. He sees a “timid, cowed, confused” populace disconnected from language, governed by consumerism, ambivalent toward the common good, enamored by an American myth that has no basis in the American reality.

“We are a culture that has been denied, or has passively given up, the linguistic and intellectual tools to cope with complexity, to separate illusion from reality,” Hedges writes in his new book, Empire of Illusion: The End of Literacy and the Triumph of Spectacle. “We have traded the printed word for the gleaming image. Public rhetoric is designed to be comprehensible to a ten-year-old child or an adult with a sixth-grade reading level.
“Most of us speak at this level, are entertained and think at this level. We have transformed our culture into a vast replica of Pinocchio’s Pleasure Island, where boys were lured with the promise of no school and endless fun. They were all, however, turned into donkeys – a symbol, in Italian cutlure, of ignorance and stupidity.”

Hedges paints a bleak picture in this book – all the more sobering when one considers that this Pulitzer Prize-winning journalist has spent decades covering violence and war around the globe, in Africa and the Balkans, South America and the Middle East. He states, plainly, that the age of American eminence is over. Our standard of living is going to drop. Our consumptive tendencies are going to change. Yet the biggest problem, as Hedges sees it, is American denial – an eagerness to cling to the good-times, anything-we-want illusion, “the the dark message of corporatism,” at the expense of this perilous end-of-empire reality.

For all his years in journalism, Hedges has never been hesitant to step outside the lines and draw conclusions in a pointedly “progressive” point of view. He lost his job at the New York Times, in fact, for speaking out against the war in the months before the U.S.-led invasion of Iraq in 2003. Nationalism and myth were at the heart of his breakout book, War is the Force that Gives Us Meaning, which was a finalist of the National Book Critics Circle award for non-fiction in 2002.

The son of a Presbyterian minister, Hedges attended divinity school before embarking on a career in journalism. An avowed socialst, he claims to have voted for Dennis Kucinich in the Democratic presidential primary of 2008 and Independent candidate Ralph Nader in the election. He does not associate the word “hope” with the word “Obama.” He does not own a television. As a gesture of protest, he once wrote he would not pay federal income taxes in the event of a U.S. invasion of Iran.

Last month, three days after the Fort Hood tragedy, Hedges spoke at St. Andrews Presbyterian church in a program moderated by University of Texas journalism professor and peace activist Robert Jensen. Fort Hood didn’t come up in the conversation, or the question-and-answer session that followed. But these topics, from Empire of Illusion, did:

American Illusion

“You strive toward a dream; you live within an illusion. And societies that cannot distinguish between illusion and reality die. If you look at the twilight periods of all great empires – Roman, Ottoman, Austro-Hungarian – there is, in those final moments, not only a deep moral degeneration but an inability to distinguish what is real from fantasy.

“During the election between McCain and Obama, we were waging two wars, pre-emptive wars that under post Nurmberg laws are defined as criminal wars of aggression. We were running offshore penal colonies where we openly tortured individuals stripped of all rights. We had suspended habeas corpus. We had engaged in warrant-less wiretapping and eavesdropping on tens of millions of Americans . … And yet we spoke of ourselves as the greatest democracy on Earth – and that as the embodiment of the highest values, we had a right to deliver it to others by force.”

American Values

“We talk about (the importance of) American culture. (But in truth): American culture was destroyed after World War I, with the rise of Madison Avenue and the implanting of mass corporate culture which sought to instill new values into the American consciousness. Instead of the values of thrift, communitarianism, modesty (and) self-sacrifice, we developed, courtesy of the advertising industry, this cult of self – this deep narcissism and hedonism that disconnected us from others and gave us mass corporate culture.

“So it’s not American culture that we embrace for the moment. It’s not American culture we export. It’s corporate culture. And I think that altered situations will force us back into a moral system that defies the dark ethic of corporatism. And hopefully reconnects us to those values within our past that I think were brought us closer to fostering the building of common good.

Vocational America

“Education in the United States has become vocational. … Many of the state universities, community colleges and online for-profit universities – that are growing faster than any other university sentiment – have no use for the Humanities, literature, history, philosophy, classics, art. Why? Because the Humanities ask the kind of broad questions of meaning that those systems that prize above all else vocational workers do not want to ask.

“The problem with our vocational system is that it measures and rewards a very narrow kind of intelligence, a kind of analytical intelligence to create legions of systems managers – people who have a drone-like ability to work for very long hours, and (have) a kind of penchant or capacity for manipulation, but don’t know how to question assumptions or structures.”

The Liberal Church

“I come out of a liberal church. The liberal church has failed us, and they’ve failed us on two levels. (First), they have defined spirituality as ‘How is it with me,’ which is a form of narcissism. Martin Luther King preached a great sermon called, ‘Jesus didn’t come to bring us peace of mind.’ And secondly, they have failed us because they did not stand up to the Christian right. The Christian right is a mass movement, I think the most dangerous mass movement in American history – and they are Christian heretics.

“They have acculturated the Christian Gospel with the worst aspects of American imperialism and American Capitalism. Jesus did not come to give us a Cadillac and to make us rich and to bless arm fragmentation bombs being dropped all over the Middle East. It was an utter perversion of the message of the Gospel. And because the liberal church lacked the fortitude and the spine to renounce this movement – leaving it to repugnant figures like Christopher Hitchens or Sam Harris … at a time when the culture so desperately needs a moral voice, the church sadly to me has become in many ways morally irrelevant.

Capitalism

“Capitalism is probably ingrained in human nature. But there are different kinds of capitalism. The kind of penny capitalism that I saw at the farmer’s market in the town I grew up in is not a dangerous form of capitalism … but corporate capitalism is something else. Corporate Capitalism is cannibalizing the nation.

“Karl Polanyi, in 1944, wrote a brilliant work called, The Great Transformation, in which he talked about the inevitable totalitarianism and wars and breakdown that was caused by a system that permitted unregulated capitalists to flourish. When everything becomes a commodity, including human labor, when the natural world becomes a commodity that is valued only by its capacity to generate profit, then you commit collective suicide, because you exhaust human beings and human resources, you deplete them, until they die. And that’s precisely what’s happening. Look at the oil and natural gas industry, the coal industry, our permanent war economy. …”

Capitalism and Celebrity

“The ethic of celebrity culture … is the ethic of unfettered capitalism. What are the values promoted on reality television programs like Survivor? A capacity for manipulation. Building false friendships (with) those you betray. A destruction of real community and solidarity. Basically: the traits of psychopaths. And what do you get in return? Fleeting fame and money.

“Well, that is the ethic of Wall Street. That is what allowed the titans of large corporations to fleece their shareholders, people who had put month by month small sums aside for their retirement, for their college, destroy these institutions like Lehman Brothers, and then like Richard Fuld did, walk away with a severance package of $45 million. The ethic of celebrity culture is the ethic of Wall Street. And the crisis that faces the country at its core is not so much an economic crisis or a political crisis as it is a moral crisis.

The Bankruptcy of Liberalism

“I fear more the bankruptcy of liberalism than I do the fanaticism of the right. … I think the book for our times is probably Dostoyevsky’s Notes from the Underground(1864), in which he writes about a defeated dreamer who becomes a cynic at a time when liberalism is bankrupt, and who descends into a state of moral nihilism … which understood precisely where his country was going.”

The Failure of Democrats

“Those of us who care about the working class in this country – and much of my own family comes from the working class – should have walked out on the Democratic party in 1994 when they passed NAFTA. That thrust a knife in the back of the working class in this country – followed by Clinton’s so-called welfare reform, followed by a Democratic party that quite consciously did the bidding of corporations to receive (campaign) money. That was the intent. So by the 1990s, the Democratic party had parity with the Republicans in terms of corporate donations – and of course now they get more.

“The bankruptcy of American liberalism is that it continued to speak against war, continued to speak on behalf of the working class, continued to support constitutional rights, and yet backed the party (the Democratic party) that betrayed all of these values. This wasn’t lost on the working class. The anger of the working class toward liberals in this country is not misplaced, because liberals continue with that type of hypocrisy. They continue to espouse values and yet support political parties that tear down those values. And that’s very dangerous. . . .

“The progressive movements in this country rely on the working class to propel our democracy forward. (But) our working class has been decimated. It doesn’t exist any more, because there are no jobs, no meaningful jobs. And so that rage and frustration which you’re already seeing leaping up around the fringes of society – and of course America is a very violent nation, that undercurrent of violence runs very deep – is presaging, I fear, a backwash. But a right wing backwash. And that is largely because the liberal class in this country became gutless.”

Health Care

“Any discussion of health care in this country should begin with the factual acknowledgment that the for-profit health care industry is a problem and must be destroyed. This is an industry that’s not only responsible last year for the deaths of 20,000 Americans who could not get proper health care, medical coverage. But it (is) legally allowed (to) hold sick children hostage while parents bankrupt themselves to try to save their sons and daughters. This is a system, in theological terms, of death.

“Our for-profit health care system makes money off of death, the same way our arms merchants make money off of death. And the inability within our country to face this reality, the inability in a corporatized media to even have this discussion, is, I think, evidence of the power of the corporate state, which drives debate, which permits institutions that are morally bankrupt to have a seat at the table. And that is symptomatic of a society in deep decay.”

Violence

“When you push a populace to violence, you unleash a poison that infects everyone. I don’t believe in the term “A Just War.” … And the longer we continue to speak to those in the Middle East through the language of violence, the more we empower those who are only capable of speaking back to us in the language of violence. When you look at 9/11: huge explosions and death above the city skyline, nihilistic violence as a message. Where did they learn that from? From (Secretary of Defense Robert) McNamara of ’65, when he justified the bombing of North Vietnam, which left hundred of thousands of Vietnamese dead (in the name of) delivering a message to Hanoi.

The perpetrators of 9/11 simply learned to speak the language we taught them. … You cannot promote a virtue through force. … You cannot implant democracy through force. Because once you use force, you speak in a language in which the very concept of human rights is an absurdity.”

Faith

“I’m a Christian Agnostic – which means, and I think that’s probably biblically accurate, that I know nothing, and I believe I can know nothing about God.

“God is a human concept. God has been given by various theological systems – our own and others – numerous attributes, some of which are morally repugnant. But the reality of the transcendent is something that artists and religious thinkers – who of course in early history were fused into one – have struggled to document.

“Marcel Proust wrote that the real news of our lives never appears in a newspaper. The most powerful forces of human life are non-rational – not irrational, but non-rational: grief, love, beauty, search for meaning, struggle with our own mortality. You can’t empirically measure these forces. The Buddhists say you can memorize as many sutras as you want, it will never make you wise. If you’re not in touch with these forces – and Paul Woodruff wrote a great book about this, Reverence – you’re not a complete human being.”