the show is over

Galleries or places
1. The box
-Va beach/ Oceanfront
-Do a live art piece/ or hanging up in the bar

2.North Tahoe Art Center
• 380 North Tahoe Blvd., Tahoe City, CA 96145
• The Tahoe Community Center, a facility of the TCPUD Dept. of Parks and Recreation, is the home of the North Tahoe Art Center in Tahoe City. The 1930's building is located lakeside. The Center is dedicated to supporting artists and developing awareness and appreciation of the arts to the community.
• Open Daily 10am to 5pm - closed Tuesdays
3. Museum of contemporary art (Virginia Beach, VA)
-Used to be the Contemporary Art Center
-Aspirational!!
4. art attack gallery
-Christmas tree village, Incline Village

Potential Venues

1. Jack Rabbit Moon (Restaurant, Incline Village)
2. Monkey Cat (Restaurant/Gallery, Auburn)
3. 49 Geary Art Galleries (Gallery, San Francisco)
4. Un-Wedged- Pottery Northwest (Competition/Show, Seattle)

Venues to show work:

1. Comma Coffee

312 S. Carson St.
Carson City, NV 89701
submission request form

2. Artsy Fartsy Gallery [Carson City]
220 W. Telegraph St.
Carson City, NV 89701
not very helpful facebook page

3. Gallery 16 [San Francisco]
501 Third St.
San Francisco, CA 94107
website
Contact:
katy@gallery16.com
griff@gallery16.com

Kickstarting...

1. Participation- I can see people at an art opening stepping up to the plate and voting- there is a comfort level at an art opening that allows for interaction. What about 'drop off' locations?  Are you ok with people merely viewing the sign...is that enough?
2. Demographics- why no Northwestern States...Montana, Dakotas etc?
3. Why are you packing up the sign between cities. Why not have it moving across the country on the back of a truck so it is visible constantly?
 4.You say that past work has been in 'international news,tv,print and online' and that you have advanced to a point where you are turning down opportunities. You probably have a strong network and great exposure already so why Kickstarter?
5.Once you post on Kickstarter...what then? You tweet, facebook, blog and email directing followers and network  to site and then wait for rolling stone effect?
6. Ditto to Kristy's #2 question
7. Do you have a diologue that goes beyond 2012 ?
8. Are you positive toward the future of the arts in the USA. Do you think there will the imbalance will shift again?

http://www.kickstarter.com/projects/rorycoyneart/solo-show-in-san-diego

Rory Coyne 'Hare Cut'

Questions for Steve

1. Do you think that, in the long term, reliance on crowdfunding will make it even more difficult to secure public funding for the arts?

2. If that is the case, what do you think the solution would be? Crowdfunding is obviously a great short-term solution, so how can we make use of it without negatively affecting the long-term chances of government funding?

3. What can we, as individuals, do to push for and secure public funding for the arts?

Kickstarter & Steve

1. Has being part of the kickstarter community changed your work? If so, how?
2. Are you able to fully support yourself as an artist?
3. Would you recommend kickstarter for an aspiring artist post-grad?


http://www.kickstarter.com/projects/elizabethanne/alone-in-a-million-poetry-of-a-digital-generation?ref=search

1. How did you go about picking the city's you project is going to

2.Do you think you will keep asking questions like this in your work to come? Do you see more billboards in your future?

3. What are some pros and cons about using kickstarter? Would you recommend this site?

http://www.kickstarter.com/projects/611885176/you-were-almost-extinct-too-a-solo-exhibition-0?ref=search

http://www.kickstarter.com/projects/2134252432/western-pleasure-an-installation?ref=search

http://www.kickstarter.com/projects/1520751392/mapping-the-body?ref=search

Questions for Steve and Kickstarter Projects

1. Does your art fully fund you? If not, what else do you do to make money?
2. You say that you're "not concerned about the quality or types of projects supported with this funding model." Do you think that there needs to be/ or should be a kind of filter, or do you think that will be taken care of on its own?
3. What is the next project you want to work on and potentially put up on kickstarter?

http://www.kickstarter.com/projects/877810948/nelumbo-nucifera

http://www.kickstarter.com/projects/kiwimonk/view-finder-project-finding-inspiration-w-disposab?ref=category

Similar work of Mine on Kickstarter.com

http://www.kickstarter.com/projects/183801348/speakeasy-dollhouse

Questions for Steve Lambert

1. How did you hear about Kickstarter?
2. What jobs have you done besides being an artist?
3. What inspires you to keep working? ( what keeps you motivated?)
4. What work do you enjoy most?
5. Any last words for aspiring artist?

3 Potential Galleries for the Future

1. Student Show (999 tahoe blvd. Incline Village Nv, 89451)

2. 2012 NICHE Awards competition (http://ArtistFront.lwcr.com/artcontest/billboard/?id=2044) 
3.  The International Exposition of Sculpture Objects and Functional Art (schttp://www.sofaexpo.com/) (http://www.sofaexpo.com/gallery/app_request.htm) (The Art Fair Company, Inc. 372 West Ontario St., Suite 303 Chicago, IL 60654)

2012 NICHE Awards competition (Posted: 5/25/11) -- NICHE magazine announces a call to artists for its annual NICHE Awards. Winners receive a spread in NICHE magazine, trophy and press as well as an opportunity to display their work in a special exhibit at the February 2012 Buyers Market of American Craft (BMAC) at the Pennsylvania Convention Center in Philadelphia, PA. Students: Must be enrolled or just graduating from an undergraduate, graduate, or certificate arts program. Professionals: Must produce their own work in a North American studio and actively be selling their work through galleries and craft retailers. Both student and professional enterers must reside and produce their work in the U.S. or Canada. $40 for professionals, $18 for students. Deadline: September 30, 2011. Visit website for prospectus. Questions? Please contact Erin Hartz at erinh@rosengrp.com

John Natsoulas gallery in Davis California. I would contact John Natsoulas. This would probably be a venue that I would need to have finished my BFA show for and probably would not get a solo show, it would be good to do some sort of a group show or maybe show a few pieces during CCACA. Because he uses his gallery as somewhat of a center for the conference.

Fat Cat Café show in Tahoe city. I would re contact Jaclyn wonznicki (530) 414-1541 and tell her I am ready for another show . very realistic during the next 6 months

Venues

Venues and/or places I want to show my work:

1. The Arts Factory

107 East Charleston Boulevard

Las Vegas, NV 89104

(702) 383-3133

website

2. 8-Ball Bail Bonds

1114 South Main Street

Las Vegas, NV 89104

(702) 545-0888

(1 and 2 are a part of the first friday event that takes place in downtown las vegas. it's basically "gallery hopping, free exhibition spaces for artists, live entertainment, street entertainers, shopping food, beverages, and more.")

3. Nylon Magazine

110 Greene Street, Suite 607

New York, NY 10012

(212) 226-6454

Photo Director: Stephen Walker

Art Director: Evan Campisi

website

Assignment for Thursday (9/29)

On Thursday's class, we'll have a Kickstarter day. Before that class, I want you to do a few things:

1. Go to kickstarter.com, and look at their summary of how to start a project here.

2. Look at Steve Lambert's project "Make Capitalism Work For Me," here. Make sure to check out the "updates" tab in addition to the main page. Steve will be Skyping in to the class on Thursday.

3. Read the handout I provided, which is an interview with Steve about Kickstarter that hasn't been published yet. He has some interesting things to say about the Kickstarter funding model in relation to other arts funding infrastructures.

4. On this class blog, post at least three intelligent questions for Steve. They can be about his experience working with Kickstarter, specific questions about the "Capitalism" project itself, or more general questions about arts funding raised by his interview.

5. Look through Kickstarter to find a project that seems similar in scale and format to a project you could potentially launch on Kickstarter, and post a link to that project on the class blog.

Aspirations...

I will start with my aspirational venue where I would one day like to see my work.

I would like (love!) to enter something into the Dobell Prize for Drawing that is held in Australia-  'Unique work on paper or other suitable support in any medium or combination of media. This includes those media and materials traditionally associated with the practice of drawing (pencil, pen and ink, charcoal, etc.) and those which are part of contemporary drawing practice, including pastel, watercolour, collage etc.’

It is held in conjunction with the Archibald, Wynn and Sulman Prize… all very prestigious. It is an award that was started in 1993 and the winner now receives $25,000. It is held through the Art Gallery of NSW. The winner's piece becomes apart of the permanent collection of the NSW Art Gallery! Artists must be a resident of Australia or must have been born in Australia.

To enter- have balls and download an entry form  www.artgallery.nsw.gov.au/about-us/opportunities-for-artists/prizes/dobell-prize/    

2010 winner 'Derangement'. Suzanne Archer

A viable, obtainable and realistic venues in the not so distant future would be First Fridays at Riverside studios in down town Truckee. Riverside is a co-op of five women artists whose emphasis is on unique, handcrafted, predominately local art work. Every month they host a rotating month long art exhibit of a local artist- Mary Kenny has been one of their guest artists. They are avid supporters of practicing and emerging artists and are always looking for new artists to show. Their website is still under construction but they can be emailed at http://us.mc817.mail.yahoo.com/mc/compose?to=riversideartstudios@gmail.com or you can find them through Facebook http://www.facebook.com/pages/Riverside-Studios/141729272521031. For consideration to be a guest artist a portfolio of work or images need to be submitted to the co-op to review. Heather River is one of the co-op artists and a previous student of SNC.

A step between local and high end aspiration would be Stremmel Gallery in Reno. They profess to  'specializing in contemporary paintings, drawings and sculpture by mid-career and established American and European artists.' I have seen successful local artist showcsed as well as emerging artists.

There website has detailed contact information http://stremmelgallery.com/ but the bold could waltz in there with work - the direct approach!

John Randall Nelson- 'prickelbarb' (from current show)

Things to Listen to and Do Before Tuesday's class

For Tuesday, come prepared to show and talk about your JAPR/BFA work-in-progress. Also, per our discussion in class, bring a list of three venues (galleries, juried shows, etc.) where you could potentially show (and sell) your work. Two should be places you realistically think could show work in the near term -- the next 6 months or so -- and one should be more "aspirational" -- maybe you don't yet have the portfolio and track record to set up a show now, but it's a place where you'd like your work to end up. Do research to find venues that you work would be a good fit with, and figure out who the contact person for that space/event would be. If galleries are not your target venue, then pick a publication, contest, or some other place where your work would find exposure to an audience, where that audience would have an opportunity to actually purchase your work.

For those of you who had to leave for the Art History class, or who missed today's class, please watch the following Lucas Murgida video, and the new Maurice Sendak interview.



Listen to the Sendak interview here.

Schedule-September 22-November 4

Week One (September 18-24)-
- Start on copper wire sculptures.
- Start new vessel forms.
- Research Raku glazes and Patina for copper.
- Have seven new vessels done and ready to fire by 23rd.

Week Two (September 25-October 1)-
- Research more glazes, do samples.
- Start more vessels, carve them. (different sizes, shapes).
- Have total sixteen vessels done by 1st.
- Introduce wire to the pots, see how the sculptures will work/fit with vessels.

Week Three (October 2-8)-
- Write a few pages on my theme, subject matter, etc..
- Start Glazing vessels.
- Practice patina on copper.
- Work on more vessels.

Week Four (October 9-15)-
- Glaze as many pieces as possible.
- Finish patinas.
- Bisque all finished pieces.
- Be done with wet clay.

Week Five (October 16-22)-
- Glaze pieces.
- This is mistakes week. Start new vessels if something goes wrong.
- Bisque.

Week Six (October 23-29)-
- Research galleries to get ideas for how to show my pieces.
- Put sculptures and wire together.
- Go back to the paper and start writing my speech, practicing.

Week Seven (October 30- November 4)-
- Freak out.
- Drink wine.
- Have all pieces done and ready to stage.
- Make stands?
- Present.

Matt Mattsons Japr Timeline

Week 1. Sept. 19^th -25^th

Keep making pieces that I have a good I idea for and form new ideas for more pieces.

Week 2. Sept. 26^th-Oct.2^nd

Still making sculptures. Fire test clay with glazes to decided on colors for pieces

Week 3. Oct.3^rd-9^th

Finishing textures on most of the pieces. Figuring out which ones I will show and how I will show them

Week 4. Oct. 10^th-16^th

^{Start firing first pieces with glazes. Remake pieces if they break in the firing}

Week 5. Oct. 17^th-23^rd

Finish glazing and firing the last few pieces and get final concept for display. Alter pieces with metal or wood accents. Figure out what the hell im going to say

Week 6. Oct. 24^th-30^th

Finalize piece placements and show. Practice what i will say a few more times

Timeline!

* kiln sign up coming soon!

Week 1. Sept. 19^th -25^th

Figure out what my concept really is. Also start making full sized women. Figure out what the rest of the installation will be

Week 2. Sept. 26^th-Oct.2^nd

Shoot and edit video, and find a sensible way to project it. Keep making full sized women. Also start on the installation.

Week 3. Oct.3^rd-9^th

Still making women and Start think about pedestals or a different way to show women.

Week 4. Oct. 10^th-16^th

Bisque women and plan out glazing and installation

Week 5. Oct. 17^th-23^rd

Glaze women, plan talking points,

Week 6. Oct. 24^th-30^th

Obtain projector. Install in hallway. Find the perfect outfit.

Interview -- Easton Schirra by Kasey Hartsock

7 Week Stretch...

7 week Schedule for JAPR (Wax Traveler and Prints)

Week 1

Keep collecting bits and pieces for dollhouse. Should be receiving box from grandma of old dollhouse parts

Week 2

Idea has changed and the new project forms (wax, molds, dollhouse parts, prints)

Create 2nd mold for traveler. 

Week 3

All wax cut down and ready for melt
set up molds and dollhouse pieces and get ready to poor 

Week 4

Finish first 25 travelers
buy more wax

Week 5
choose colors for prints

Work on prints (3x)
finish prints
wax comes in

Week 6

frame all prints 
finish last 25 travelers

Week 7

Wrap up

pre- assemble for JAPR (get comments and questions from others)

Set up for JAPR

6 weeks JAPR schedule-- Kasey Hartsock

fake rocks and botox.

i wasn't able to go to the lecture the night the tahoe gallery opened but i was able to see the work with the class and after our discussion i'd have to say maybe i was a little disappointed too but not just by the work itself.
a few of the pieces i definitely didn't gravitate to especially being those from someone who's been through the MFA program but then again i didn't know what their work was like in school.
after listening to some of the other students it seems as though listening to the lecture was either too much reality for them or the artists themselves weren't "succeeding" as much as they thought they would after graduating.
but i don't see why everyone assumes they're just going to be an artist because they graduate... it seems to me as though you'd have to find some kind of creative job or outlet, a steady way to make money, and then keep your connections to galleries and programs like ours that would let you show your work.
one piece in general that i actually did like was the 3d sort of paintings of buildings... incorporating the photos in such an interesting layering while the background pushed and pulled those images in, creating such a unique space.
-Kasey Hartsock

Book timeline

Week 1: Carve lino plates and stamps

Week 2: Continue carving lino plates, start on silkscreen images

Week 3: Continue silkscreen images, get screens ready

Week 4: Proof screens, gesso collograph plates, start on collograph images

Week 5: Week off for side project

Week 6: Finish and proof collograph plates

Week 7: Print week: proof all plates, create print matrix

Week 8: Print week: print lino/collograph base images, silkscreen mylar layers

Week 9: Print covers, assemble books

Line of time....

week one

print 3x3 images of dead birds and hands (reference)

work on large panel crows

scratchboard crows 

week two

set of crow imagery- flying, on telephone wires (layered/ blue black), printmaking relief crows (wings), 2 large scale crows, scratchboard crows

photo-  correcting mutton birds from development error

print mutton birds/ hospice (large format?)  

week three

sketch of ferry seats roughed out ; block in 

week four

set of small black and whites of shadow pics/ space and light for reference

(3x3? 4x4? 3x4?)   ‘Between Spaces’ 

 week five

find a telephone pole and wires

imagery for mail out cards….

 week six

design mail out cards (Lexi/ Thomas collaboration)

week 7

order mail out cards?

START PIECING THE PUZZLE….

week 8

ummm.... 

week 9

mail out cards, facebook (?), posters (?) etc…

 week 10

finalize food/ bartender

put together images and talk- power point

 week 11

to gallery- artist statement, CD of works

week 12

Help Lexi get the heck outta the space ...

install show ! *(oh my)

my JAPR calendar

WEEK OF SEPTEMBER 19^TH:

Take photos, film

WEEK OF SEPTEMBER 26^TH:

Make some images, print some images

Watch film Chris lent me

WEEK OF OCTOBER 3^RD:

Play with transparencies (light boxes?)

Take and/or make more images

Research dreams further

WEEK OF OCTOBER 10^TH:

Try and finish up projects (layer images, put images together-physically)

WEEK OF OCTOBER 17^TH:

Start some framing/installing

WEEK OF OCTOBER 24^TH:

Finish framing, be prepared to install

WEEK OF JAPR!:

Prepare!

interview transcript with heather protz

http://www.heatherprotz.com/

HOW DID YOU GET STARTED IN ART?

In the fifth grade she learned how to process black and white film. From there she was hooked. She wanted to keep exploring and playing. In high school she put together her first darkroom and over the summer between high school and college she took classes at Parson’s school of design, where she took her first real intro to photography class. She then went on to attend the University of Akron in Ohio, where she received her B.F.A. in photography and an M.F.A. in ceramics from Ohio University.

WHY PHOTOGRAPHY?

It’s a great way to describe our world, and our environment. It can be descriptive, experimental, or fantasy. It helps her to express her inner thoughts and they can be shared in so many different ways. She enjoys not only straight images, but compositing images as well. She has done lots of mixed media work in which she combined her photos with ceramics, wood, plexiglass, and installations.

WHERE DID YOUR PHOTOSHOP SKILLS COME FROM?

As a grad student in 1991, in the printmaking program at Ohio University, they had two computers with Photoshop version 1.5 (the first commercial version of Photoshop). At the time, there was no internet, or books, out about Photoshop. The instructor brought them into the classroom and showed them the computers, how to work them and launch Photoshop, then sent them out on their own to figure it out. They only had a simple scanner and printer, not the Epson printers like we have today. She used her composite work as a way to figure out how to make images last and not fade away by adding different layers and materials to them.She currently uses Photoshop daily at work and is always discovering new things and reading things online.

WHO INSPIRES YOU?

Everything inspires her. Other people’s creativity, students, her favorite photographer Lee Friedlander, her undergraduate professor Andrew Borwick, and her former student Brian Ulrich. She says that, “basically anyone who has an idea, and is passionate about what they do, inspires me.” The Las Vegas landscape is also a very inspiring thing for her, although, she enjoys the opposite of the “typical” landscape. It’s the cityscape, blue skies, construction, loss of yesterday, and this new slick scene.

WHAT DID YOU DO/HOW DID YOU GET OFFERED YOUR JOB AS A PROFESSOR AT THE COLLEGE OF SOUTHERN NEVADA?

Like most graduate students that want to teach, you work as an adjunct for many years, hopefully get lucky, and find a full time gig somewhere. Ideally this would lead you to a tenure track position. She looked weekly and paid close attention to all the places where colleges post such as: higheredjobs.com, the Chronicle for Higher Education, and the SPE jobs posting website. You need to be ready to go, and act. Have your resume up to date, portfolio, and website. It’s important to stay current.

WHAT DO YOU THINK YOUR WORK SAYS?

As far as her straight work goes, it’s about the juxtaposition between the old and the new: documenting, defining, and looking at urban landscapes. She wants to show people something new; that there might be something hidden in what they see everyday. She says, “it’s about looking at something in a new way. It’s about going back time and time again and how it’s never the same.”

HOW DO YOU LEAVE TIME TO DO WORK FOR YOURSELF?

She leaves time to do work for herself everyday- she has to. Whether it be processing a few images, posting something to her blog, or going out and shooting. She says that it’s too easy to make excuses; you just got to do it. She suggests, “adapting the work to meet what and where you are at that point.” Recently she has been using her camera phone to explore and has been meeting new people while doing her own work. Meeting people is important, as it provides networking and possible opportunities, as it has for her.

HOW DO YOU MARKET AND SHOW YOUR WORK?

She is constantly traveling and while doing so, she checks out the galleries in that area. She suggests making appointments to go talk with people and show them your portfolio. It’s important to have your work handy and with you, no matter what form it is in. For her, it’s ideal to be able to show people prints, as the process of printing is very important to her. She says that her work look different as a print and there is nothing like the quality of holding a print. The texture and depth of a print is very important and creates a different impact.

WHAT IS THE NEXT PROJECT YOU WANT TO WORK ON/ WHAT ARE YOU CURRENTLY WORKING ON?

She is working on a new series called Habitat where she is photographing vacant storefronts, while also working on combining her photographs with her friend’s drawings that will be published into a book. She works on multiple things at once.

IF YOU WEREN’T A PHOTOGRAPHER WHAT WOULD YOU BE DOING?She has been in photography for so long now that she has no idea what she would be doing. There is no question in her mind about doing something else.