Hazel Dooney's Enamel Studio

Hazel Dooney was kind enough to send us images of her art studio space and fill us in a bit on her process of art making. Read Below:


My main studio these days (one of two), actually belongs to the painter who works as my assistant but over the past few months, every part of it has been overtaken with my commissioned enamel works, ranging in size from 1.5 sq metres to over 3 sq. metres. It is a large, well ventilated space – essential when working with a toxic, carcinogenic paint – in a dense, industrialised suburb about an hour's drive west of the centre of Sydney.



I spend up to 12 hours a day here, working with Jim on up to four paintings at a time. It's slow, painstaking, precise labour aimed at achieving a high gloss, flawless surface on each work, removing any trace of human – let alone artistic - intervention, an art in itself and demanding a high level of technique.



The contrast between the studio and its environs and my home, on a cliff-top right above the Pacific Ocean, about 20 miles north of Sydney, couldn't be more stark. And yet, somehow, I need both. My art is driven by the stress and clutter of the urban and it does my imagination good to take a break from the endless, blue ocean horizon and the half-moon of orange sand that fringes it below my home. The saline air flushes my nostrils of acetone and paint but it also, sometimes, flushes the intensity of my drive – and I'm not altogether sure that's a good thing.

Thanks Hazel!

Ode to Vincent

As a painter I often wonder about my artistic ancestors and their space. They were a lexon of their time. Did they know that? Do we? Where did they create? what was the energy of their space? and if we I were to visit it today could we still feel their creative syntax? Check out this fab book called Artists in Residence: A Guide to the Homes and Studios of Eight 19th-Century Painters In and Around Paris Paperback with slip case which totally explores artists and their space.









At Rodin's house now a Musee in Paris I felt the syntax and I felt this was a very sacred place. Does creation and pilgrimage create a sacred space?
I could not stop sketching when I was there, I was truly inspired. This is a must to experience in your travels.
Hey, I just found out the absinthe with worm wood has been legal in US since 2007. They called it the 'Green Fairy" "CLICK HERE" I always wanted to try it. Ode to Vincent. Maybe tomorrow I will indulge and paint.

I would love to hear all your stories about the artists spaces you have visited. Please e-mail us or just comment.
Namaste, Lisa

Bohemian Hoods and Me

I do have the luxury of living in the Bay Area it is such temperate and beautiful place. My small work/live space is in the hills. Not a trendy place at all. My house is also my studio and I have huge garden with redwoods and tons of foliage. Which secludes me from the chaos of the city.
Hilarious Don's friends sister stopped by this morning to pick something up at our space and the place is disaster. In jest I said we are living in squalor. She scuffed it off and said ..."no problem it is the artist thing." You can tell an artist lives here.
For me this is one of the perks with being an artist. Your house/studio can be a mess. You can have paint all over your clothes and it is just an artist thing. There are some under tones there, but I love it! Creative folks get a leeway in society for being a little disheveled.
The image is above is the my tree shrine that I created on winter solstice for the majestic redwood that lives in the garden outside my place;

Daily Space:
(Every day in my morning tea ritual I gaze into the garden watching Griffen and Maya my cats bliss out in the morning sun. My other giant cat Paulo purrs beside me. I relish in leaving the door open to dissolve the separation of the interior and exterior. From nature and my self. The seclusion in my space gives me a safe place to create.) More on my space later.

The garden studio video in Lauren's post was dreamy! Hey I do live in a garden studio.

My grand vision is to live in a greenhouse studio over looking the cliffs of northern coast of California with no neighbors in site. When I need my social and cultural fix- I can just drive into the city.
ahh...I love the romantic notion of being an artist! Aesthetics abound...

Check out this amazing book on how ones "home" really defines ones "work"
Where Inspiration Lives: Writers, Artists, and Their Creative Places

An artist and her studio space

Lauren's Studio Space

What a relationship an artist can have with their studio space. No two art studios are identical...each having the unique artist's touch. But, I do see a great many similarities. It seems to me that studios exist on extremes. They are either really clean or really messy. Super organized or full of a bunch of stuff (that looks like crap, but will eventually be turned into a masterpiece).

I think it is pretty obvious which extreme I fall under.

Since my word of the year is ORDER, I am on a quest to make my studio space shiny and easy to maneuver around in. At the moment 3/4 (it's supposed to only be 1/2, but I have a super sweet and understanding fiance who lets my art space grow over time almost to the point of burying him) of my garage is what I call my art studio. I feel that I am one of the lucky ones because I can roll out of bed and make art. And I don't have to pay ridiculous amounts of extra money each month in order to make my work.

Having a studio space in my house also works well for me because I'm a total loner when it comes to making art. I don't know why, but I have never been keen on working in a large space/warehouse with a bunch of other artists. I LOVE working and collaborating on projects with groups of people, but when it comes down to making my own work I like to be alone.

My art making routine is pretty consistent. I try and make art every week day. I'm usually working on more than one project. Since starting the gallery I have felt an extra push to produce work because there is a new show each month. I try and have one work in each show. It's nice because it guarantees that I will have 12 new artworks by the end of this year! I used to be the type of artist that worked long hours in the dark room (when I photographed), but now I only work a couple of hours at a time. My work has changed quite a bit. There are a great many tedious parts about my art making process so I have to take it a bit slow. I do a lot of repetitious movement that can get a little brain frying at times. So I go in and out of my studio in the morning and in the afternoon. It's pretty awesome. I'm probably most relaxed when I'm in the midst of making work.

I have found a couple of artists who were willing to share their studio space with the cyberworld, so I thought I would pass it on to you all. If you have images of your studio, send them our way and we will post them. artismoving@gmail.com And tell us a little bit about your art-making routine (if you have one).


Video provided by hannahgoldstein


Video provided by MikeBayouth

This last video is inspiring to me. She looks extremely organized and her art studio is in the middle of a yard and so so so quiet (:


Video provided by Milliande

Art Workshop

Lisa and I are going to be co-teaching an 8 week Creative Art Workshop starting in February!

ART STIMULUS

The class is great for professional and non-professional artists alike. The class concentrates on personal and artistic transformation using different techniques and mediums to encourage creativity. Check out the class schedule below. Classes begin February 19th. If you sign up online you pay $50 less! This is a great way to start your new year!

Art Stimulus Schedule of Classes

WEEK ONE: Letting Go
Freeing Exercising (20 minutes)
Getting to know the students’ creative impulses
Mediums: Painting, Drawing, Collage
One song for each Medium
After the exercise Group discussion. What was discovered about your own and others' creative impulses? Any recurring themes?
Remainder of Class: Choose a medium and a theme and work with it.
Introduction of "Works in Progress Piece" that will be presented during the last class.
Homework: Send Lauren an image of yourself
Start writing/drawing/painting/collage in journal about your dreams, thoughts, reactions, ideas...


WEEK TWO: Discovering Yourself
Printmaking (Linocut/Monotype)
One Layer Self Portraits
Homework: Focus on one of your dreams and write as many details as possible. Choose one dream to focus on next class

WEEK THREE: Dream Work
Group discussion about everyone’s dream of choice
What are the themes, colors, shapes, etc.
Paint for an hour focusing on your dream of choice
Homework: Keep writing in your journal about your dreams

WEEK FOUR: Dream Work II
Continue working on Dream Painting, Present your painting
End of Class Discussion: Did your dreams change after you began to make art around them? What did you learn from painting and paying attention to your own and others' dreams?
Homework: Collect old letters, memories, fabric—write old experiences you want to let go of on paper--bring them to class

WEEK FIVE: Transformation
Paper making with old memories
Discuss and decide on a theme (as a class) to work on during the week.
Homework: Collect anything to add to the final collaboration piece that works with the theme. Journal about the theme.

WEEK SIX: Transformation II Collaboration
Painting on Paper--Collaboration with the whole class
Homework:Research Eco Artists, Bring in supplies that you want to create work with

WEEK SEVEN: Community
Eco Art in the Neighborhood
Homework: Finish Works in Progress Piece


WEEK EIGHT: Final Presentation and Celebration
Exhibition of Works in Progress Pieces--PARTY!


If you are in the Bay Area, you should join in on this awesome experience.

Check out our website to sign up. Deadline is February 5th, so don't miss out.
Our Website is HERE. Click on the STIMULUS WORKSHOP link to sign up.

"Art establishes the basic human truth which must serve as the touchstone of our judgment. The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist."
- John F. Kennedy

Thank you John Sanders for passing this nugget of truth on to Art Is Moving

Here is some more of our conversation with Gail Weissman. We got into an interesting conversation about how to make timeless artwork. Listen to Gail's response and see if you agree.

It seems to me that we live in such a fast paced society that most people don't want to stop and smell the flowers anymore. Do think the economy will change this attitude or maybe force some kind of adjustment as activities become more expensive and jobs keep getting cut? It'll be an interesting time to keep an eye out and witness.

I love what Gail said about the ACT of art-making being timeless. It's this urge that humankind has had forever and, I believe, always will.

What keeps you looking at a work of art? What would an artist have to do for you to consider his/her work timeless? Is it taste that determines this?

Somethings to consider as viewers and as artists.

In the end, the funny thing is...most artists don't think about anything else but making the art while they are in the act. But, after-the-fact and before the art making we can sometimes get consumed with how our work may be judged.

--Lauren

This is hilarious and kind of sad but true

"CLICK HERE" to check out the seven levels of being and artist. The top is being dead. What is that saying about the art world.

Our Conversation with Gail Weissman

This interview we had with Gail last month got me thinking about the artist and gallery space relationship.

I have had to work on having a positive relationship with my work being in a gallery. Don't get me wrong, I love it. But, I also dread it--as it forces me to explain my work, have confidence in my skills and concept and answer questions. This may seem odd coming from one of the two co-founders of a blog that is meant to encourage dialog about art. I LOVE talking about art--but not so much about my art. It just makes me nervous. It's the stupid little dwarf on my shoulder that keeps telling me I'm making no sense. I do think I have improved.

What was nice about my final show at JFK (Gail was interviewed during her show) was that I got to see all of my work as it was meant to be shown all at once. It was a great way to learn about my work and sort of have a conversation with it. So, as an artist-in terms of ideas-I grew. My opening reception really made me see how absolutely terrible I am about speaking with confidence about my work. I was so sweaty, red, shaky and speechless. I wanted to be invisible. The more shows I have and attend, the better it gets.

I guess, like a great many things in art, I have a love/hate relationship with the gallery space.

Here's Gail talking about her art, experience, and ideas...



I know Lisa has a different relationship with her gallery space. Lisa, tell us about it!

And anyone else out there, what is your relationship with the gallery space--as a viewer and as an artist?

This Artist was CERTAINLY in his Space....

Paul Flores charmed both Lisa and I on the First Friday of this month. He was the featured performer at our opening reception for Art and the Body Politick at The Red Door. Talk about a guy owning his own space.

Everyone knows someone who gets the attention of almost the entire room when they put one foot through the door--Paul Flores is one of those people. What a PERFORMER. He gave us just a hint of his works in progress and it left me wanting to see it when it has been completely worked through. I think I saw about 5 of his 20 or so characters. And a puppet show with beer cans to top it off!

I often get entranced with performers because I wonder who they really are. Will I ever meet the real person? Do they know who they are? Do they ever "turn off?" When you embrace an identity on stage night after night doesn't it become harder and harder to shake it from yourself at the end of the night? How does that separation occur or does it just get all mixed up inside you and there isn't a way of pulling it apart?

I have many more questions...

Check out some of the highlights from Flores's performance.



It is interesting to think about a performer and his/her space. His performance would have felt so different in my living room or on a street corner. I'm sure it would have felt different for him as well. I think space might be almost number 1 on a performer's priority list.

I also noticed that Flores took over a minute pacing in front of the stage area sort of getting in the groove for his performance. I found myself wondering "Is he getting into is head or out of it?" The mind is one of my major art spaces...

Enjoy!
I would love to hear about your favorite and least favorite art spaces.

--Lauren

Its the End of the World as We Know it...

Don my partner in crime said this song keeps on racing through his mind. REM's iconic song.





Yes! Things are definetly changin--the paradigm is shifting. I think that this song or mantra is dancing within the collective unconscious of the world. I was looking at Obama's choice for his official White House photographer-- artist and photo journalist Peter Souza "CLICK HERE" to check out his website. Wow!! he is an outstanding photographer. His photo was just released of President Barack Obama's official portrait -- the first of a U.S. president ever taken with a digital camera.

"CLICK HERE" to check out the newly released photo

.
Also, check out Souza's amazing photography book called The Rise of Barack Obama. He is a fantastic photographer who captures a powerful narrative through his extraordinary compositions. I love how Souza successfully uses emotion,form, texture and light in all of his work. I am a fan!
Which is your favorite photo?
Are you comfortable with the end of the world as we know it? In art, photography, and beyond?

Press for our Oakland Based Gallery--The Red Door

Hey Readers, Our most recent exhibition at The Red Door Gallery and Collective has just gotten some press today in the East Bay Express. It has been posted on the Gallery's Blog, Check it out HERE!

Hard work pays off!

As some of our posts of the past have probably alluded to, Lisa and I have put a great deal of time and energy into this gallery since it's beginning point (which was only 5 months ago). I am so proud of the speed in which we have organized some awesome exhibitions and performances! And if we keep it up it can only get better!

One of my Art Spaces

So, instead of answering the question of the week today--I don't feel like it because it is about rejection and it feels too early in the day to talk about that--I am going to talk about one of my many art spaces. I hope to cover all of them in the next few weeks.



In the past 2 years of so, my computer has taken up about 80% of my art time.

Here's a list of just a couple of reasons I use my computer

I use it to email Lisa new ideas and such.
Email The Red Door Collective almost everyday.
Educate myself about art history as well as contemporary art.
I use it to promote myself. I have a personal website and a personal blog.
Several art projects--Art is Moving being one of them.
Organize documentation of my art work.
Organize shows to apply to.
Apply to art exhibitions.
Networking.

I find that the computer and the internet, although it has been used in the fine art world since the early to mid 90's is just now becoming a part of the everyday artist's world--especially with the popularity of blogs in the last few years. Having a website is almost entirely necessary to be successful. I find it interesting that if I look up artists who are around my age (25-35 years old) there is almost always a personal website. If I look up artists in their 50's there is information about them online, but almost never a personal website.

The times they are a changin'

I don't think the need for the computer and the internet in the artist's world and space will go away anytime soon. I have met several artists who do not want to embrace this movement. I have to say--if you don't have a website or at least a knowledge of the internet your chances of being a successful artist are slim to none.

On another tangent, the computer and internet space for me is a very different space then my studio space. I get sucked into it as much as I do with my studio space, but it is hard to see the changes I make. It is much easier to see progress when I am making a new piece. It changes shape and grows larger. But, when it takes me hours to update my website and change one little detail that I PROMISE does make a difference, the change overall is so minimal it can sometimes be a bit aggravating and exhausting.

Both the studio and internet space are almost equally important. I am still struggling with how much time I spend on my computer. It does take away from my creative time. But, I do get ideas for new art works when I browse around the internet. It is always a give and take with everything.

I do think I will have to start setting a timer when I'm on my computer.

Are there other artists out there whose art space is taken up by their computer and the internet?

Do you agree or disagree that the internet is the place to be for the contemporary artist? Tell me why or why not.

ART THOUGHTS: Muzeffer's response to Art and The Body Politick Part 2

As I made my way across the gallery I found the artworks pertaining to organized religion relevant since our society has drifted more toward religious fundamentalism for the past thirty years.American Family: Landscape of Dreams illustrates the mega church movement of Christian fundamentalism within the last three decades. The churches tend to be located in the suburbs, a part of the nation’s suburban sprawl, which reflects the culture’s desire space and independence regardless of its impact upon the environment. The mega church is meant to create new communities for persons who are now disconnected from urban or township spaces and their connection to an extended family. The theology of these Christian institutions is profoundly individualistic and focuses upon the continuing financial success of both the membership and pastoral leaders, neither of whom are concerned about the welfare of the whole. The ideology of these institutions centers around the goodness of the followers contrasted with the evil of outsiders. The artist illustrates how this is similar to Islamic fundamentalism or any other religious fundamentalism. A section of this piece of art shows a Quran toting Muslim who recites prayers to Allah while being simultaneously consumed with hatred for those of another faith.
Patriarchy II – Terror By Jais Booth (to left) made me aware of how one’s understanding of faith is determined to a large extent by one’s sex. I assumed that the artist was conveying the existence of a life of fear or anxiety determined to a large extent by the fundamentalist assumptions of one segment of a community against fellow members. Because the image was presented in an anti-Islamic society, as witnessed by the smear tactics of the recent election, it developed a disturbing quality. The image became one of a “foreign, inferior” culture that does not deserve membership in “our community.” This well meaning and correctly illustrative artwork became sour for me as I listened to the negative comments certain viewers were making about the “other” culture that is also a part of our collective society. Overall, the reaction of others and myself is determined by our understanding of sex/gender and culture.
Machine Gun Jesus vividly illustrates the frightening level of intolerance that often accompanies fundamentalism. The crucified Christ is attached to a firearm as a way of conveying how far many are willing to go in order to bring the other to their way of understanding the world. Ironically, our understanding or reality often determines our ultimate identification with a certain segment of the American “community.”
United Sepulchers is a reminder of a leadership of war criminals who the artist has buried behind prison walls. This is an image that most Americans need to witness in order to understand the similarity of this with the American imagination of Africa, Latin America and the Middle East. This leadership or ruling class relied upon the manipulation of religion, the Judeo-Christian faith, and American nationalism in order to coerce the population into allowing the ruling class to achieve its goals. A large segment of the goals are the connection of American financial and military sector. The achievement of financial rewards via a military is to be accomplished by any means necessary. Will Americans have the courage to “bury” the visible members of this class behind prison wall before they permanently bury us into perpetual silence?

This wonderful presentation of political art was interspersed with poetry reading as well as a reception. The poets made continuous references to our political era and its issues. They gave a collective voice to the issues that so many are yearning to have addressed in this moment of national anxiety. The reception, a time for dialoguing with the artists and other lovers of political art, gave me a feeling of being within an emerging community of those who have hope that some form of changer is possible if we can hear what are saying visually.





Muzeffer Abdul el-Hakim is an historian, a theologian, and a political
analyst of contemporary politics and culture. He is a native of
Shreveport, LA and a graduate of Morehouse College. Muzeffer is presently
an educator in the East Bay.

This post is part of our on going series "Art Thoughts," which reveals what non-artists and non-art related folks really think about the art that they see. The dialogue is expanding.

Please check out the Art and Politick exhibition it is up till the end of January. Also, come to the Inauguration Party on 1/20/09 from 6-9 p.m. Celebrate CHANGE!

LOCATION: 416 26th Street Oakland, CA

HOURS: Always Open on the First Friday of every month for the ART MURMUR (6-10PM)
Also OPEN 12-4PM Thurs.-Sun (EXCEPT Thurs. before 1st Friday of the month)
If moved by the show...let us know what you think. E-MAIL us your insights

ART THOUGHTS: Muzeffer's response to Art and The Body Politick-- Part 1

As I entered the gallery, I was greeted by contemporary pieces that made me, a former cynic, look forward to the future or 2009. My eyes were immediately drawn to the work If Capitalism Can Cross Borders, So Can We. by Jesus Barraza (below)

This was so appropriate because a major fear among some Americans is that NAFTA (the North America Free Trade Agreement) will become the North American Union, or borders will disappear between the United States, Canada and Mexico. This will lead to freedom of movement between the citizens of the three nations. The artist’s message is that capital has been crossing borders before the agreement went into affect. Therefore why should citizens remain trapped inside national borders ruled by governments that are no longer concerned about their people? Besides, this will allow Americans to move into the other nations as well in pursuit of more economic opportunity or lower living costs.


This Is Not Torture by Guy Colwell (to the right) made me ponder about how are we as Americans going to address the issue that our national leaders are war criminals. However, the artwork Consummation by J.C Garrett (below) made me temporarily forget about the nationalized oppression of the last eight years and focus upon the emerging era of Obama. Did the recent presidential election portend a new era of American history?
The future will reveal this query. The work illustrates how Barack Obama renewed the spirit of hope among a majority of Americans with his message of change. This renewed spirit of hope among the citizenry, or Obama’s political base, expects some form of change from an Obama presidency. They were hopeful for a deliverance from the evil of the George W. Bush administration. Evil as defined by an immoral quest for selfish greed of the financial elite by any means necessary, regardless of its impact upon other human beings within the United States or the global community. Obama’s message resonated within a nation in search of a messiah “to liberate us from devil.” Maybe the American spirit reawakened by the election of 2008 will lead to a society depicted by Resist U.S. Imperialism. The piece encourages the viewer to develop a passion for the masses of people as opposed to a nation-state, nationalism, which is committed to the interest of an elite. However, that community of people might mean different things to different people such as Sarah Palin community of proud “rednecks” or a community with a regional “value” system as illustrated by a dialogue between grandmother and granddaughter of the piece Oh Grandma by Heidi Forsell (above). The latter is a visual illustration of how the term “people” produces different images for different people.
Furthermore, the interest of the elite might also include the interests of bourgeois bohemians. I was intrigued by the work That One, Mr. Jefferson and Mr. Obama by Annie Hall (to the left), even if I could not understand the connection between Thomas Jefferson and Barack Obama.







Muzeffer Abdul el-Hakim is an historian, a theologian, and a political
analyst of contemporary politics and culture. He is a native of
Shreveport, LA and a graduate of Morehouse College. Muzeffer is presently
an educator in the East Bay.

This post is part of our on going series "Art Thoughts," which reveals what non-artists and non-art related folks really think about the art that they see. The dialogue is expanding.

Please check out the Art and Politick exhibition it is up till the end of January. Also, come to the Inauguration Party on 1/20/09 from 6-9 p.m. Celebrate CHANGE!

LOCATION: 416 26th Street Oakland, CA

HOURS: Always Open on the First Friday of every month for the ART MURMUR (6-10PM)
Also OPEN 12-4PM Thurs.-Sun (EXCEPT Thurs. before 1st Friday of the month)
If moved by the show...let us know what you think. E-MAIL us your insights

I was thinking

whether Lauren might take her word of the year "Order" a little to far...















Just kidding. :-) But this instigated my weird Far Side thought. 'CLICK HERE" for more Far Side thoughts.
This video below seems to be an animate Far Side. It is one man's obsession with ORDER.
This is funny. But fare warning ---- he does get a little irritating. Below is a talk by Ursus Wehrli in which he shares his vision for a cleaner, more organized, tidier form of art.




Any thoughts? When Ursus makes the art orderly, do the forms and color lose their ART? What is the artist's relationship between chaos and order?

Aside, Lauren I so appreciate the order that you create in Art is Moving and at the Red Door Gallery! This is why this collaboration is so awesome!
What is My Far Side? I thought I would bring some humor into our intense art curatorial experience.
I think now I could actually write my own. Maybe I will.
Namaste, Lisa

ART THOUGHTS: A response to the exhibition Art and The Body Politick

This is the current show that Lauren and I have curated at our gallery, The Red Door in Oakland. http://reddoorgalleryandcollective.blogspot.com/ It is a powerful show and is making people talk. In my book that is what it is all about!

A response from eBU:
Her Website Here.

i saw it early. it was on the wall as i came in--as i entered--and there, spotlighted above the beer can puppet show when paul flores did his hbo worthy thing. it was the art of politicks show at the red door gallery. it was friday, january 2. it was a room full of friends and others who have graduated, are graduating or are facilitating the graduation of jfku transformative artists. it was a show in response to censorship. it was a show that showed censored artists--allowed them their proud spot under the spotlights that one could not help but fall into as the gaze, so penetrating and accusing, allowed each viewer to find their indictments and culpability. it was a moment of horrific recognition. i have been that girl. i am that girl. i am that damn blonde girl in the story carrying all the presents past the line of brown people, old people, impoverished people, homeless people, mothers and fathers and others who are shameless enough to stand in line while the blonde girl continues to pretend to have enough of what she can have enough of--that still is not enough. that is never enough. that will never be enough as long as there is a line of brown people, white people, old people, young people, mothers and fathers and others disenfranchised and standing in line. guy colwell and his damn bread line--is haunting me. the image, so perfectly captured--the vantage point, so like gods--seeing from just above the thing what the thing really looks like--eternity in the form of highway overpasses, bridges to nowhere that link this scene with a thousand other scenes just like it--with a thousand other blonde girls just like me--with a million other brown people, white people, old people, young people, mothers and fathers and others standing in line for bread--for bread--the kind to eat--the kind to be credited with--the kind to spend--the kind to exchange--for presents--for presence--for how it is when it is somehow--when the line breaks and the scores take place and the pretty giving makes its way through the system of disenfranchisement that leaves us all culpable in the other guy colwell painting showed in the sanctified gallery space at the red door gallery on friday, january 2, as part of the oakland art murmur--that one painting, that censored painting, that hate provoking painting, that magnificent, horrible, comic rendition of what has been happening while we’ve been shopping and standing in line in a land not so far away in a place we’ve heard of somewhere over some rainbow of arcs in time--the never, never land of abu ghraib--and the abuse--the titillation of the painting or the joy? on the faces of the men and women--the american soldiers--doing their nation’s best to humiliate and torture--to ridicule and disregard the humanity of the beings under the bonnets of the anonymity...

(image of the abuse)

i’ve been reading, researching, what others have said--the gallery owner spit on and threatened and closing her doors, the artist, himself, the work of the team of others that gathered together to flank one another with their daring acts of patriotism--the audacity to display their sentiment--their outrage--their true feeling for real people who have really been fucking us up on a national scale for a long ass time while we were shopping and standing in line--while we were shopping and standing in line--while we were shopping and standing in line--while i was shopping--while “they” were standing in line--while the soldiers, honorable, were defending our cuntry--while the leaders, powerful, were attending to their public appearances and war crimes, while we were shopping and standing in line--while i was shopping and they were standing in line, while they were torturing the disenfranchised in a country where the dicktator had already been toppled, the mission of missionaries in missionary positions had already been accomplished--while we were shopping and standing in line their were defending our right to shop and stand in line by torturing the human flesh--the human dignity--

i am writing to sort this out--to unravel this revulsion and culpability--i am doing that crow bar thing, to answer the rhetorical performed question of the evening uttered in reverberating stillness by the magnificent paul flores and his performed poetic observations that haunt, like guy colwell’s story and painting, that haunt, like that reflection, on canvas---so many others made use of the time magazine photographs and images they could take of images--and yet guy colwell, his comic? recitation of a holy view of that which we are doing while they are doing what they are doing--who is the we? who is the they? what, of this, is mine? to be responsible for? to recognize? to do something about? to heal? what of this belongs to me? but the words? i write? to work out what is mine?

ownership, property--there you are, again, paul flores--with that sweet poet character--that beautiful power in her true voice--the bone in her hair, spear throwing fishbowl wannabe living, breathing, being--i got your revolution right here--i am that body--that white girl body--that blonde girl body--of the revolution--right here.

oh, yes--when one begins telling the stories--one always has more stories that open. another time? perhaps? in the stories spinning out of the same night? to share the holding hands in the coven circle around the stones shattered with red pigment and the healing? for the women, buried to their breasts, before they could be stoned...

oh, lisa rasmussen, what have you invited me into?

and who, really, is the witch? here?

learn more about guy colwell, his art, its availability and power by visiting his site: Click Here.

see the flickr stream of the art of democracy’s posters and other pieces, some of which are currently displayed as part of the red door gallery’s show: Click Here.

Please check out the Art and Politick exhibition it is up till the end of January. Let us know what you think.

Question of the Week-What are the stereotypes assigned to artists?

Nina Katchadourian
Self-portrait of the artist as an artist, 2002
C-print
6 1/2 x 4 1/2 inches
11 1/8 x 9 1/8 x 1 1/2 inches framed
Edition 1 of 3 +1AP

Nina's Website


Some say that stereotypes exist for a reason. Lisa and I started this blog in order to shatter the current stereotypes assigned to the artist. The ones that pop into my head at the moment are: flaky, undisciplined, self-obsessed, and not motivated. I AM HERE TO SAY unfortunately I have met a great deal of artists that fit that mold.

BUT, not all artists I SWEAR are like that. A great many artists are extremely self-conscious, self critical, hold more than one job, and meet several deadlines at a time.

I have to stop here. I feel as though I am trying to sell myself or maybe I am getting a bit defensive. I know I have given this same speech several times over and I am tired of doing it. I'm tired of trying to prove that artists work really really hard; that there is no other way to make it. I guess what I really want to know is: Will these stereotypes ever go away?

NO.

There are still too many artists that fuel the stereotype fire. As Lisa and I work our asses off trying to make the Red Door Gallery and Collective successful I am learning more and more about why artists are seen as flaky, undisciplined, unmotivated and self absorbed. A lot of them are. And I have had to deal with a great number of them these last 5 months.

On a positive note, in the last 5 months I have also met so so so many artists that fit my mold of who an artist should be. Genuine, supportive of other artists, honest, challenging, experimental, involved, community oriented...


I despise negative stereotypes, but even more, I loathe those who keep them alive.

Artists in Space

Happy New Year!

ART IS MOVING into 2009!

This month's discourse is about artists and their space.
We hope to create a dialog and to reveal the experience of artists in their space. May it be in their studios, in the non-art world, in the art world, in the universe and beyond.

I feel LEONARDO DE VINCI'S "Vitruvian Man" is a perfect starting point for this conversation.

To research Leonardo's inspiration and life"CLICK HERE"
Leonardo's art and vision point to the external universal truth of sacred geometry as well as our internal subjective perceptions of reality; the microcosms and the macrocosms.
At what point do we as human beings engage with reality? How do artist engage in space and time?
It is no mystery.
For me this month is all about the revelation. Interior Space in all ...might be our last frontier.


What do you think?

The WORD of the Year

Lisa introduced me to this concept this year and I have decided to continue using it.

My word of the year for 2009 is ORDER!

For the past couple of months, beginning when Lisa and I founded the Red Door Gallery along with a group of prospering artists, my life has fallen into a bit of chaos. I would so much rather be busy than bored, but feel that I can accomplish so much more if I take a few seconds per day to re-organize my life, thoughts, self, art, what-have-you. So, this year and for the rest of forever that is what I will be doing.

I am OBSESSED with routine and am going to fully embrace it starting today. I will start to leave time per day to take care of myself as a person, artist, woman, and everything in between.

The gallery, as totally awesome as it is, has taken me away from myself and my true passion. I am going to get to the point where I can do both--help run a successful gallery and be a successful exhibiting artist. This will take a ton of energy, but I'm young and stubborn and know I can make it work.

So, here's to 2009! On we go...

What's your word of the year? Make a promise to yourself and keep it.

I know I will.

I want to thank you, our wonderfully loyal readers, for sticking with us as we drudge through our lives as artists. I know that we will come out the other side having changed the Art World for the better. I'm enjoying the ride thus far and feel it can only get better from here.

Thank you.
Lauren