Why does the public feel so estranged from contemporary art?

I love the article that Lisa posted yesterday. Makes me want to buy the book.

The question that stuck with me the most was

Why does the public feel so estranged from contemporary art?

I would like to leave it at that and encourage anyone who may have some insight to post in our comments.

It's Not Pretty, and It's Not Art

It Hurts Click here to check out this book. It looks like a good read for all-without the pomp and circumstance.Below is an interesting review of 'It Hurts' from the NY Times.

I am curious is the author an artist? If so yeah, but if not.
Here is my question do people who do not create art have the right experience to critique it?
I do feel everyone should always talk about art in the subjective sense. Always!!


September 26, 1999
It's Not Pretty, and It's Not Art
By Deborah Solomon

IT HURTS

New York Art From Warhol to Now.
By Matthew Collings.

Matthew Collings is a smart and clever British blabbermouth, and for that I am grateful. His new book, an informal overview of the New York art scene, contains not a single syllable of jargon. In an age when art historians turn out books bloated with theory and critics writing for the art magazines favor prose that sounds like a poor translation from Russian, Collings just wants to sit and chat. Reading his book is like hearing the history of American art in a coffee bar in SoHo.

''It Hurts: New York Art From Warhol to Now'' is the fittingly rude title of his chronicle. Like his previous book, ''Blimey! From Bohemia to Britpop: The London Art World From Francis Bacon to Damien Hirst,'' his latest effort is an acid farrago of anecdotes, capsule biographies and pithy critical assessments. The book is highly entertaining and informative, and you may come away from it deciding that Washington politics, compared with the art scene, is a model of civility and moral rectitude.

In some ways, Collings is hard to figure out. He's the kind of guy who stays up all night writing about art he hates but can't wait to go out the next morning and visit more artists in their studios. Like Giorgio Vasari, who traipsed around Florence in the 1540's collecting vignettes for his epic history of Renaissance art, Collings is a painter himself who craves the company of fellow artists. On the other hand, he is sorry he ever got into this mess. Where Vasari used words like ''divine'' to describe his favorite artists, Collings titles one chapter here, somewhat frantically, ''Oh Please Let It All Mean Something.''

His skepticism is understandable at a time when the art world seems to exist in its own shiny bubble. Museum attendance may be skyrocketing, but only a smallish circle of people regularly go to galleries and keep up with the current scene. When New Yorkers spend an afternoon in SoHo, they're more likely to be shopping for a new couch or a post-modern lampshade than checking out the latest exhibition of Richard Serra sculptures. Why does the public feel so estranged from contemporary art?

The problem, in Collings's view, lies not with the ostensibly philistine masses but with artists. He bemoans the rise of critical theory and the abstruse, problem-solving art it has produced since the 1960's. Minimalists with their gray cubes and grids, conceptualists who put words inside frames, appropriation artists who recycle past art, video artists who recycle their own footage, scatter artists and neo-geo artists and butchered-animal-in-formaldehyde artists -- all this belongs, Collings wryly observes, to ''an intricate, complicated closed-off system of values and ideas, which no outsider could possibly get. Art is separate. No one knows how it happened or if it will stop one day.''

Does he have any heroes? Curiously enough, Clement Greenberg, the tough formalist critic, is at the top of his list. Collings believes, to his credit, that Greenberg ''should be anybody's favorite American art critic'' and affectionately recalls visiting him in his ''idiosyncratically non-air- conditioned Central Park apartment.'' Greenberg answered the door ''looking really hot'' and then laid into Willem de Kooning, the prodigious Abstract Expressionist, insisting that his only great work was done in the 40's. ''Maybe there was some good blue in one painting,'' Greenberg said of his later work.

Any critic is only as good as his taste, but Collings signals the ascent of the post-Greenbergian critic. He has no interest in labeling artists major or minor, subjecting nearly everyone to put-downs. Some of the material in his book is fairly tasteless. There are too many cheap shots and adolescent tantrums, too many swipes at fickle art collectors and permanently sun-tanned art dealers. Yet the book is larger than the sum of its jabs, in part because Collings is a shrewd judge of esthetic character. When he singles out Paul Feeley as an underrated color-field painter, or notes that Frank Stella's work ''goes for vigorous vulgarity in a weird high-energy but completely emotionally flat way,'' you know you're in good critical hands.

Moreover, Collings deserves points in the frequent-flier department. The most peripatetic of chroniclers, he is willing to travel thousands of miles for the chance to get a whiff of a scene. He heads out to Texas to see Donald Judd's sprawling museum, visits Bruce Nauman on his ranch in New Mexico and meets up with Alex Katz in Maine. (Of Katz's work, he notes: ''It's supposed to radiate spiritual shallowness. If shallowness can radiate.'') He travels to New Hampshire to see Jules Olitski, the esteemed abstract painter; together they go boating on a lake, where Olitski ponders the culture wars and offers a defense of elitist art. He exclaims, ''You don't find a heart surgeon in the Yellow Pages!''

One of the strengths of Collings's book is that it captures precisely the looping and sometimes loopy feeling of art-world conversations. His glancing, deliberately slight tone is true to the spirit of artists' shop talk, which typically abounds with the kind of information that textbook authors prefer to keep to themselves. Art talk isn't just a matter of passing the time. It is one of the reasons artists move to New York; they want to meet people who won't stare at them blankly when they say, for instance, that they think Rembrandt was a bit of a ham.

In truth, quality art talk is one of those New York specialties that are getting harder to find every day. It still exists, but now it has to compete with so much distracting noise. The buzz of Acoustiguides, the screechy claims of publicists and the resounding thump of auctioneers' gavels serve to remind us that the story of art since Warhol may be the story of how art has been displaced by the global art industry.

Collings is aware of this, but he doesn't allow it to spoil his good time. He writes about the art world as if it were a horror show produced expressly for his own amusement. This is not to say that his book provides a complete overview of the New York scene; too many key artists are missing for his portrait to qualify as definitive. Moreover, his catty asides at times detract from the seriousness of his arguments. Collings has written a rather wicked book -- and an indispensable one as well. It coaxes from the art world something rare and vanishing: the small, endearing art of gab.

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Tom Shannon - Gravity Defying Art

Tom Shannon's artwork is breath taking and makes me feel like I'm in a science museum. I am immediately drawn to it and have question after question. His work is a wonderful way to visually teach some phenomenal relationships in nature - moon/earth, earth/sun, earth/sky.

The last few minutes of the video he speaks about a project that is at the beginning stages. It would be one of the greatest interactive artworks I have ever seen.

I love the work because it is beautiful, carefully thought out, educational, interactive and inspiring.

Take a look and see what you think.

Grimanesa - "Art means I can do what ever I want to do."

On my quintesstial quest to open the doors of the art world, I stumbled upon the work of Grimanesa Amoros on the WEAD artist directory, "Click Here" to check this great resource out. I was instantly wowed and I had to create a post about her interesting work.
I love the web of connection that is formed from the internet. On the Blog, Grimanesa made a comment on her post and I instantly responded with that AIM would love to interview her. Graciously, she said yes!!
I am always awed by the YES!

Thank you Grimanesa!!
Your words and insights give so much to our ongoing dialogue.


What is your art story? When did you know you were an artist?


I was obsessed with maps when I was very young. I drew them and reproduced them over and over again. As a consequence, my mother enrolled me in art classes. I attended the Miguel Gayo Art Atelier in Lima Peru. In 1984, I had the opportunity to study at the Art Students League in New York City. This was the beginning of my career as an artist. I started off as a painter and eventually moved on to create three dimensional works of art.

Who inspired you?

I would say that the people who have most influenced my career as an artist have been Miguel Gayo and Knox Martin. They were both teachers of mine from Peru and also New York. They encouraged me to pursue my career and for that, I’m grateful.

Being a world traveler and artist I am very interested in space and time and its effect on creativity. I am also so inspired by archaeology and the world views of many past civilizations. As a Peruvian do you feel your ancestors influence your art and its development?

Yes, I carry Peru everywhere I go.

It seems like much of your work is about direct experience for the audience. Can you talk about why and how?

The spectator is important, especially when I create an installation or a public work of art. How the viewer moves around a space I create is very critical to the experience. Location and audience are two of the major factors I would consider first. History, community and environment are the things I would research, since it is something that interests and inspires me.


Can you speak about the notion of relationship in your work?

Relationship was one of the major concept for “You Cannot... I Wish You Could”. When I notice my husband was curious about my experience of nursing and tried to nurse our daughter, I begin to imagine ways to bridge this experience. Male pregnancy was something I thought could be achieve with modern science and medicine.

What is the intention behind your work? What do you hope to accomplish with your work?

I use the human form, in its varied natural expressions, to express universal truths about humanity, some of which can be considered sexual or culturally taboo vis a vis certain cultures, yet my intention is more explorative than controversial.

Have you had any direct responses or validations?



As we know from your work, "You Cannot Feel It...I Wish You Could" came from your personal experience of being pregnant. Has bearing a child and becoming a mother influenced your most recent work?

Yes it still has.


You seem to want to create environments in your work. If this is true, how do you go about planning and creating those environments?

I think the most recurring aspect in my work has been the influence of social anthropology and environment.

How I choose the media I use, depends on subject matter, context, environment and sometimes it's relation to modern day. I think that the philosophical premise or the employment of certain organic elements such as form, has been quite consistent in my work. In choosing the appropriate medium for a new project, I look for properties that will maximize a desired effect.

What does environment mean to you and how do you think it effects your audience? And, why create an installation/environment rather than something else--what does it contribute to your intention and/or concept?

The physical space for my installations are extremely important. Especially since many of my installations are designed to be site-specific and interact with the spectator.

What potential do you feel art has in terms of social–environmental justice, understanding, and/or exchange?

I think that personal politics in art, generally, are a big theme in the artist community. I don't feel that pushing these boundaries is a personal obligation of mine. My work may be politically suggestive at times but messages I would like to convey through my work never feels like an obligation.

What are your future goals as an artist? What are presently working on?

I will be showing and traveling to upcoming art-fairs. “You Cannot... I Wish You Could” will be showing at Artspace Raleigh, North Carolina in July. I will be having a solo show with Slag Gallery at New York later this year.


Lastly, this is a question we ask all of our artists. What does ART mean to you?

Art means I can do what ever I want to do.



Please check out more of Grimanesa's work on "CLICK HERE"


Thank you again Grimanesa. Any comments or insights on her work?


Image credits
Top image from Wikimedia
Middle image from Downtown Express Photographer, James Vlahos for the Downtown express photo.

Art and Ego - Does the Battle Ever End?

Lisa brings up a subject that I feel only gets joked about in casual conversation. I'm not arguing that the ego in itself is not a funny thing. Most of the time it is. But, I do think that there is a softer, more serious side to the ego. That I would pin to PRIDE. I think when Lisa asks, "Is art just a dream for sale?" she is hitting on something big. Unfortunately, all too often our brains and bodies are full of necessary, but annoying and stifling ideas. I could make more art and better art if I could only make a living doing it. So many people have expressed a desire to make art, but they "just don't have the time" or "it doesn't pay the bills."

Those are the statements that hurt. And they hurt everyone.

As a fine artist, I got over selling my conceptual work to actually make a profit a long time ago. I decided it caused too much pain and suffering and I stopped producing art that I liked. But, what I did change my mind on is making art at other people's request. Art that I myself wouldn't normally make, but otherwise can produce. The art that actually sells, and makes people happy and purchase it. Do I have either foot in two sides of the art world - the fine art and the craft art? The conceptual and the aesthetic? Yes I do. The work I get commissioned to make helps pay for the crazy work that people only want to look at--the stuff that I LOVE TO MAKE! So, in my opinion, its a win-win. Everyone gets what they want.

As a person and an artist, I had to let go of my ego as well. It is obviously still there, but I recognize it when it creeps up every once in a while. I just think when you start thinking about the fantasy side of being an artist, the fame, fortune, freedom and money to make whatever you dream of, you lose a great deal of yourself. I think a great deal of THAT kind of success is luck and networking. It's also a waste of time to sit around thinking about where you wish you were. If you really want it, go and get it. But, if it really is just a fantasy, get back to work. I would advocate concentrating on making the work you are meant to make and if fame comes, it comes. If it doesn't, it doesn't. But, perhaps I'm more of a journey person than an end goal kind of person.

I think Lisa is also touching on acknowledgment. Purchasing an item in a capitalistic society is acknowledging that it holds value. So a great many of us get trapped in measuring our success through the amount of work sold and for how much it sold. We forget all of the walkers-by that saw the work and were inspired by it or changed their outlook.

No matter what, in the end, making artwork that has a positive effect on you as a person, will have a positive effect on the world you live in. And, that's a start.

I would also like to add that I'm not trying to pretend that this whole part of being an artist is easy. And I'm not trying to put down the art that sits on museum walls. I mean, that is the art that made me who I am today. So, it certainly needs to exist. I just think there is a great deal of art out there that is just as powerful that doesn't happen to be on those walls. And that getting on those walls isn't the only way to influence the world via art.

I would love to keep this dialog going, as I feel as though my thoughts on this issue are always challenged and changing. I'm sure Lisa feels the same way.

Your comments are always appreciated.

Begging Curators

"Click Here" to check out this interesting article in the NY Times it puts a different twist on the relationship between the patron and the artist. Or does it?
Is art just a dream for sale?

Is your art just a dream for sale?



I personally have had dreams of having my work in museums. Right know I do not know what the means anymore. I am on a philosophical fence not knowing were does my art fit and do I have to define that. Can art ever not be tied to ones Ego?






image is from the NY Times article

Not feeling so pretty...

I'm feeling a bit under the weather today. It has influenced my selection for a post. I have been searching the words "art and health" "art in healthcare" and the like and have found a few interesting projects.

The Foundation for Photo/Art in Hospitals is a non-profit organization that consists of a group of artists who photograph serene and calming images to be placed in hospital hallways and rooms to make visits a bit less stressful for patients.


Photo by Elaine Poggi

I think this is a great service for the healthcare industry. No one really enjoys being sick, injured, etc. The white walls don't lend themselves to relaxation, so getting the opportunity to get lost in a photograph is a wonderful alternative.


I kept on searching the vastness of the internet because I wanted to find an art project based around the healthcare system. I discovered artist Evi Numen instead.



Here is her statement for her most recent project/exhibition.

My work consists of portraits of people with medical disorders that are invisible to the casual observer. I‘m trying to photograph the intangible beauty that comes from the mental and physical suffering that often plagues the human condition but, is scarcely recognized and even more rarely explored. The series is informed by the work of contemporary portrait photographers like Andres Serrano, Nan Goldin and Thomas Ruff.
Over the course of a year, I photographed twenty individuals who described themselves as being gravely affected by their psychological and/or physiological illness. Each sitter‘s bust is positioned against a dark background with no visible signs of clothing. Each image is stripped bare, so that nothing distracts from the subject’s often piercing gaze. The images, printed larger than life, loom over the viewer, reversing the power relations that usually exist between the viewer and the viewed, inviting scrutiny at the same time.

Andrew Thompson, one of Numen's volunteers was not so impressed with his photo or the outcome of the project.



He writes:

Numen's choice to strip her subjects bare and set them against a backdrop black as the death their conditions are supposedly pushing them toward seems unnecessary. In such a setting, anyone looks sick; it might have been more poignant to show the subjects in their natural environments, be it a sunny park or a hospital, to make the point that the sick are all around us. It may have even been better to let me keep my smile to show my own emotional triumph over illness. Conversely, Numen could have conversed her subjects back into sullenness by having us talk about past experiences during the shoot. Instead, the setup of the shot and doctoring of expression (which, going by my own experience, I assume occurred with others) make the subjects look helplessly weak.

Read the whole article at citypaper.net

Interesting comments lay below the article.

I think the project is interesting. I also think it may be one of those projects that is more effective in person (as they are larger than life) and when the viewer sees several photographs at one time. My impression of the work is that Evi Numen is attempting to show that sickness isn't necessarily something that is "written on our faces."

What do you think?

Edible Arts and Consciousness

This is pretty gruesome work, but it makes me think about what we eat and how we are so unconscious of where are food comes from when we buy it in the market. Also, for me it is a reference to our unconscious mass consumption and our failure to acknowledge the animals that are slaughtered are really being tortured and they live their short lives in anguish. All of these animals show love to their young, feel emotions and suffer great pain to fill our bellies. There is the old phrase "you are what you eat."


"CLICK HERE" to read about artist Kittiwatt Unarrom's edible art

Unarrom himself is almost charmingly candid about his art…

“Of course, people were shocked and thought that I was mad when they saw the works. But once they knew the idea behind it, they understood and became interested in the work itself, instead of thinking that I am crazy.”

Inspired and informed by anatomy book and visits to forensic museums, he makes sure that none of your various body part bread desires go unfulfilled: he also makes feet, hands, and internal organs which come displayed impaled on hooks. Made from dough, raisins, cashew nuts, and chocolate, all of the works on display are totally edible. (insert cannibalism joke here). (insert “eat me” joke here). (insert “put your foot where your mouth is” joke here).

“When people see the bread, they don’t want to eat it. But when they taste it, it’s just normal bread. The lesson is ‘don’t judge just by outer appearances.”

Right. That’s the lesson…
--http://shapeandcolour.wordpress.com



Does this work provoke anything for you?

Aside:
Edible art is on my mind. As The Red Door Gallery (Lauren and my gallery/collective) "CLICK HERE"is hosting a fundraiser this Thursday featuring an exhibition of edible art. Stop by and feast you Art out. I will be making a Vegie Shrine. It will be no where near Unarron's skill, but it will be art.
We hope to see you there.

NOT Pretty, but necessary

1,000 Ghost Bikes is based out of Chicago and began as a project to bring awareness to the number of fatalities caused by cars hitting bicyclists on the road. Artist Kat Ramsland was inspired by many broken bikes that have been spray painted white and mounted at the sites around Chicago where bicyclists have been killed.

According the the blog http://bikemonument.blogspot.com/

1000 miniature ceramic bikes will be arranged for public display in June 2009. You can dedicate a bike to someone who has been killed or injured in a cycling accident! Just send me the name and the date of the accident. you can dedicate as many bikes as you want and its FREE! This is a monument of love and safety.

To read an interview with the artist, visit votewithyourfeetchicago.blogspot.com

What a powerful way to take a symbol of loss and turn it into a symbol of hope and change.

Art that is not just a pretty picture, but a self decomposing laboratory

Check out this amazing and thought provoking artists work. I think it is brilliant how is co-creating with dynamic forces in this world.

"CLICK HERE" to check out the work of Georg Dietzler on the Green Museums website.


(picture from the Greenmuseum.org)

"In retrospect my work is still a kind of exploration of art & nature and ecology. Developed from sculptural works, interior related to architecture and site specific exterior, from environmental to conceptual pieces and current interdisciplinary biotechnological environments and interactive sculptures."
Georg Dietzler

Any comments?

More Controversial Art?

Wanted to follow up on Lisa's June 4th post, Art Attack in Freaka Springs--Controversial Art in Arkansas! as it seems that there is more art causing some controversy. We received an anonymous comment in reference to a work entitled, "The Divine Mother" completed by Michelle Levy of Eureka Springs. Click HERE for the artist statement. IMAGE OF WORK BELOW:


photo provided by www.thearterysite.com

COMMENT by Anonymous below:

I was hoping that you would have included the other panel from this project that has garnered interest:
'Does this halo make my face look fat?' by the artist Michelle Levy.

I wanted to offer some observations. There is nothing offensive in Levy's painting itself: it is a beautiful depiction of a classic image that has been repeated thousands of times over the centuries: it is instantly recognizeable as the Madonna and Child.
Levy states in her painting description that the woman depicted is NOT the Virgin Mary, but some fictitious figure that represents a merging of Mary with some Egyptian goddess Isis. That sounds great, but no one viewing this painting will identify it as such: what she painted, irrespective of the token Egyptian iconography surrounding the figure, is the universally recognized image of the Mother of God and Jesus Christ.
It is in that recognition that the text above Mary is considered offensive: 'Does this halo make my face look fat?'
Anyone with any knowledge of popular culture will instantly recognize where this comes from.
The more recognizeable version of this phrase is: 'Does this dress make my ass look fat?': the question all men dread to hear from their wives/girlfriends.
The image Levy painted, irrespective of what she chooses to call it, is classic iconography of the Virgin Mary nursing Christ.
This image is worshipped in Eastern Rite (Orthodox) Christian communities, and the image of the Madonna is revered by Catholics alike.
Associating this icon, by definition a sacred religious image, with such a stupid, profane statement, having no conceivable connection to the image, is what is offensive, and this is clear to anyone viewing this painting.
The painting ITSELF is not offensive, neither is the act of nursing.

Does anyone else have an opinion about this work they would like to share? Does it offend you? Why or why not? Do you believe it should hang on public walls?

Thanks for sharing. Dialog is always the best answer.

Art Attack in Freaka Springs--Controversial Art in Arkansas!

(photo provided by thearterysite.com)

Beth Post is the artist. "CLICK HERE" to view her artist statement.

I love this article.'CLICK HERE" to check it out.

The Ozarks are my haunting ground. My family transplanted their in my late teens and that is were I got my undergrad University of Arkansas Fayetteville. Eureka Springs was the first place I ever showed my artwork in a gallery. The gallery was in the Cresent Hotel a haunted landmark in the Ozarks. 'CLICK HERE" It is the place were I began living my dream to become a professional artist. It is also the place were I began my Transformative Art Teaching career.

I guess I love the article because Arkansas is really really conservative, like everywhere in the US within these regions there are pockets of artists, edgy subculture, and alternative lifestyles. For me it is my foundation. I will be going to the Ozarks in July to visit. I think a trip to Eureka Springs will be in order.





Freaka Springs as my very conservtive Rush Limbo loving brother (unless he has grown out of him) calls it. He also vocally calls me a "freak" as I live on the west coast and I am an artist and I have some crazy pan psychic views and I perch way on the far left.

(above photo provided by destination360.com)

Eureka Spring is called a mini San Francisco it is quite beautiful with its victorians and winding streets. Eureka Springs attacts tons of artists and tourists. Also, the Ozark's are smack dab in the Bible Belt."CLICK HERE" and the headquarters for the KKK is a short distance away in Harrison AR.
What really excites me about this happening is that art has a breakthrough force that exists in all parts of our society. The desire to create and to challenge, to stir up controversy via visual storytelling is so powerful. I look forward to see what happens in Eureka Springs. Will this work be censored? I would love to contact Beth Post for interview.

Any thoughts?

Here/There

photos provided by gillmanandkeefer.com

I often drive by this public art piece that sits on the border between Oakland and Berkeley. It makes me think of the struggle for "territory" that has caused a great deal of problems in American history. It also makes me think of "the other" that Lisa and I have been talking a bit about lately.

According to the proposal written by Here/There Project artists Steven Gilman and Katherine Keefer,

The eight-foot high powder-coated steel plate letters spell “HERE” and “THERE," marking the border between Berkeley and Oakland. Because the site is mainly seen by passing motorists, the sculptured letters form a poetic message of hello and goodbye and provide a sense of place. This project is in keeping with the literary and narrative history of Berkeley reflected in other recent public art projects such as the Addison Street Poetry Walk.

The rest of the proposal is available to read HERE.
More projects completed by the artists HERE.

I wonder what the work means personally to the artists...and does that really matter? Obviously, I am a believer that there is no "right answer" in art, but it doesn't mean we can't have a dialog about what art does and does not do.

Does this project "work"? Do drivers, riders, bikers, walkers, notice it? Does it make sense to them, do they take the time to process it?

I love this art project because it makes me think. It is aesthetically simple and conceptually complex. Perhaps I am reading too much into the words and the art, but I do think it is loaded. Tell me if I'm wrong.

PostSecret

photos provided by postsecret.blogspot.com

I thought I'd start this month sharing one of my personal favorite community art projects.

PostSecret.

Frank Warren, the artist behind this project started the PostSecret Website in 2005. It gets more and more popular everyday. According to the website,

PostSecret is an ongoing community art project where people mail in their secrets anonymously on one side of a postcard.

People have also begun emailing their secrets to the artist. There has been a bit of controversy behind this project. Read about it HERE.
And HERE is an interview with the artist himself.

I LOVE this project because it does so many things. It gets people to make art around their emotions, it empowers people, makes people realize they are not alone when they read a postcard they relate to. It creates a strange kind of community, I admit, but a community nonetheless.

For me personally, there is a special place in my heart for this project because it combines everything I'm obsessed with. Strangers, who people really are behind closed doors, showing people they are connected to those they have never met, using art to create a dialog...

What a fun way to spend your artist time. Feeling connected to someone you will probably never meet because they are trusting you with their deepest darkest secrets.




Frank Warren's Books:

I have this one and I LOVE IT!
PostSecret: Extraordinary Confessions from Ordinary Lives

A Lifetime of Secrets: A PostSecret Book

My Secret: A PostSecret Book

The Secret Lives of Men and Women: A PostSecret Book

Art is Moving-Art Auction

Happy Summer Solstice

This months theme will be about "Art that is not just a pretty picture." Basically the conversation will be centered around Art that has meaning and all the ways that can be interpreted. Please comment at will. We love to read your insights.

An update of how Art is Movin along.
Lauren and my collaboration began over an year ago. Thus far the ride has been amazing and as an artistic team our relationship continues to grow and flourish.

Lauren and I have some big projects on our plate for 2009. One is a very exciting project with James Anderson who is an artist who is on death row. "CLICK HERE" to check out James artwork. In August we will be having an exhibition called "The Other" with James Anderson at our gallery (The Red Door) 'CLICK HERE" to see the gallery website. The exhibitions intention is to create dialogues between various "others" and to explore the dissolving perceived boundaries or differences between those that were separate. The exhibitions hope is to create a connection or a common ground between individuals or systems. Also, we will be continuing to do our street art interview series and videos, as well as a series of other powerful projects.

As AIM is expanding we are wanting to transform into a non-profit and we need your help!
For the month of June we will be having an art auction so we can raise money so we can apply for the non-profit status. The starting bid will be $50.00 To post your bid please send us an e-mail at artismoving@gmail.com Happy bidding. Shipping will be included for the winning bidder. Below is our works for you to bid on.


Our first auction piece is by Lisa


Tree Shrine in the Barranca del Cobre
Artist; Lisa Rasmussen
Medium: Photo Documentation of Site Specific Eco Installation
Limited edition print 33
Starting Bid $50.00







Our second auction piece is by Lauren




" Harvest Moon"
Artist: Lauren Odell Usher
18 x 24 inches
Monoprint

We thank you for all of your support. If you do not want to bid, but want to help our cause please just click the Pay Pal button the Blog.