#artswriter

[jdmathes]

(via Writing for UCR Arts)

[sikegeist]

I AM SO DANG EXCITED Y’ALL to have arrived at @fuseboxfestival and to get my hybrid art on. I’ll be writing for the festival over the next couple of weeks and can’t wait to share all the spectacularities on display this year! You can find these ditties on the blog (https://www.fuseboxfestival.com/written-spoken) and I’ll post some links hurr. Here is a shot of the set of the first show I’m seeing—Manuela Infante’s “Estado Vegetal”—and it is basically the same set as my show which opens in less than two weeks! Plant, stool, mic and loop pedal, check. Good omen? Double check!! #fuseboxfestival #fusebox2019 #austintheatre #atxevents #hybridart #latintheatre #latinart #liveart #artswriter #manuelainfante #estadovegetal #getyourplanton https://www.instagram.com/p/BwYRBnulx1q/?utm_source=ig_tumblr_share&igshid=8tff0n9zm28c

[berrycampbell]

Mom gets a tour of @berrycampbell by @ericdever11976 ! #ericdever soloexhibition #familyvacation #gallerytour #artisttour #nycart #chelseagalleries #abstractart #livingstoncounty #hamptonsart #lcn #artswriter #berrycampbell (at Berry Campbell) https://www.instagram.com/p/BszJBYml8hJ/?utm_source=ig_tumblr_share&igshid=1ogdg9f9irk59

[whitnei-writes]

Atlanta had an anime convention this weekend. Lol. It was pretty dope as you can see by the look on my face. The most amazing Saturday! @wowwowbear1 and @justgigathings gave me mad energy with their costumes! #cosplay #atlanta #cumberlandmall #anime #animegirls #cosplaygirls #blackcosplayer #blackcosplayersrock #animerocks #animeforever #dreambigger #writingcommunity #artswriting #nerdcommunity #atlantaartist #atlantaartscene #atlantacosplayers #thingstodoinatlanta #animefestival (at Cumberland Mall) https://www.instagram.com/p/B4Y1Eo-A9xj/?igshid=13l9jms9zrj4l

[curatorialandco]

Thank you so much @janiealbert @louiedouvis for the fabulous feature in @financialreview - link in profile • True, I am not one to follow the herd! Opening an ‘anti-gallery’ during COVID times? Crazy maybe but utterly necessary to continue to support our artists and the arts community in general during this time. Join us for our opening exhibition HERE WITH ME from 14 August at our new Redfern space. Bookings essential - link in profile. Painting by Isabelle de Kleine. #art #afr #curatorialandco #artswriting #artgallery #sydneygallery https://www.instagram.com/p/CDkbscijXxy/?igshid=1mc01kzxo1to8

[timesothercompany]

I’ve been collecting articles in preparation for a community workshop I’m giving on reading art criticism. 

This Op-Ed by Elizabeth Mendez Berry and Chi-hui Yang on culture-writers of colour is from July 2019:

“Think of cultural criticism as a public utility, civic infrastructure that needs to be valued not based just on its monetary impact but also on its capacity to expand the collective conversation at a time when it is dangerously contracting. Arts writing fosters an engaged citizenry that participates in the making of its own story.”

[artintheageofblacklivesmatt-blog]

About the Archive

This archive is a culminating project for the summer 2017 course, “Art in the Age of #BlackLivesMatter,” at the University of Virginia. It is a curated window into the views and discussions we have developed during the course. In conjunction with the Black Lives Matter movement in the U.S., we have learned how to analyze works from a variety of artists across a range of mediums, looking closely at art produced since 2012 that addresses contemporary black American social life.

This digital archive contains some of our best analyses and observations concerning key pieces and artists featured in our course material. In analyzing paintings, photographs, collages, films, poems, short stories, graphic novels, and popular music, we formed arguments focused on racial injustice and its persistence in America. We also saw with greater visibility the legacy of slavery in the United States, and how structural oppression permeates the politics of representation. With this project, we have become historians, curators, and creators of contemporary art and culture. By compiling our arts writing in this way, we have catalogued selected works made in the age of Black Lives Matter, and have historicized them in doing so. Our posts are categorized based on medium and genre, and where there are multiple posts on the same art object, we have featured different perspectives. Scrolling through, you will also get a sense of our individual voices, cultural sensibilities, and stylistic tics. We see this archive as a digital platform that facilitates mindful and ethical discussions surrounding so-called political art, providing insight into the relationships between art, race, protest, and representation.        

- Et. al.

[newsworthyindc]

It's magic hour Doing it 'til the sunrise I live my life in the sunshine.- T. Kweli Thinking and working on the next story for this arts fellowship. Nothing like a quite pre-dawn house to groom these ideas. Kweli was this morning soundtrack. #Magichour #VampierHour #Artswriter

[allegorypr]

Northern Italian Red & Night Writing 🍷+ 📝= #perfectpairing | #PRLife #deadlines #nebbiolo • • • • • #dolcetto #barbera #piedmont #italianwine #marketing #publicrelations #artswriter (at Sunshine Ranches, Florida)

[gamezombietv]

The @dubaiwavepodcast returns with our @ArtDubai special - celebrating the biggest #international #artfair in the world! https://goo.gl/kxjtiY​ ​This week we bring your our #exclusive #conversation with the newly appointed #Director of #ArtDubai, @MyrnaAyad For the 11th edition of the biggest art fair in the #MiddleEast, Art Dubai has appointed the multitalented Myrna Ayad to lead the #popularevent to the #nextlevel. Born in #Beirut #Lebanon, Myrna was an independent #artswriter (and #artnet news contributor), as well as an #editor and consultant based in the #UAE for the last 30 years. She was previously editor of #Canvas, a magazine focused on #artsandculture from #theMiddleEast and the #ArabWorld, and has also written for publications including the New York Times, the #ArtNewspaper, #Artsy, and #Artforum. In our far-ranging discussion, Myrna talks about her #education; her #biography and deep passion for art; and of course, all the amazing things to look forward to at this year's Art Dubai, which takes place March 15-18, 2017, at @madinatjumeirah #MyDubai. #podcast @audstudentactivities @audsga @aud_aa @aud.visualcommunication #letsrock SS (at American University in Dubai)

[toddodowd]

The latest edition of Weekend What's What is up now. Here what I & the rest of the @letoilemagazine family have to say about what to do this weekend. http://letoilemagazine.com/?p=70136 * * * * * * #art #arts #music #fashion #theater #theatre #performance #performanceart #film #dance #nightlife #culture #parties #style #latenight #minneapolis #stpaul #twincities #letoile #letoilemagazine #weekendwhatswhat #letoile #letoilemagazine #blog #blogging #clultureblog #artsblog #artswriter #culturewriter #editoreditorinchief

[gocacolospgs]

“On Regional History & Potential” | by Kealey Boyd

GOCA reprinted this important essay by art historian, writer, and museum educator Kealey Boyd - a written response to Tilt West’s roundtable on the topic of Regional History and Potential. Tilt West is a nonprofit organization based in Denver whose mission is to promote critical discourse focused on arts and culture, and seeks to “provide platforms for inclusive community discussion and debate on a range of issues relevant to cultural production in Colorado and beyond”. Inclusive community discussion and debate is right up our alley at GOCA - so it made natural sense to invite Boyd’s writing into context with our GREAT EXPECTATIONS exhibition. On view at our downtown gallery through November 11, the exhibit features ten emerging artists from up and down the Front Range of Colorado. Boyd’s writing - while centered on Denver specifically - sparks dialogue around critical issues of place and identity that ring out for artists based across Colorado - including those who are part of this exhibition. Take a read and share your thoughts with us in conversation with three of the artists this Friday, November 3, 5:30 pm start time at our downtown Colorado Springs gallery space.

“On Regional History & Potential” | Kealey Boyd

In 1881, Paul Gauguin wrote to Camille Pissarro, “There is a theory I have heard you profess, that to paint it is absolutely necessary to live in Paris, so as to keep up with the ideas.” The artist who ultimately paints his greatest work on an island in the South Pacific, pondering if he needs to be among art masters to become one himself, is beyond ironic. Historically, however, primary markets — both economic and intellectual — were highly centralized. Propinquity allowed critics to argue, enabled artists to see the work of contemporaries, and turned collectors into patrons. Ideas were produced in places like New York or Paris and diffused outward. Is this still true today? Can an artistic community feel isolated in a virtually connected world? Certainly, even a city dweller hiding behind a smart phone can feel as isolated as an artist in the Roaring Fork Valley. It boils down to the phenomenological claim that one does not really exist unless acknowledged by an outside source. In a 2011 New York Times article about the California arts festival, Pacific Standard Time, an art critic and university professor called the festival “corny” in its title, scale, and extended time line, ending with, “it’s the sort of thing that Denver would do.” The general exclusion of the Rocky Mountain region from the national art market discussion does affect more than the psyche of artists in Denver.

Denver may not be as isolated as Tahiti, but the city’s creative contributors are marginalized when one considers who actively participates in the international art world. In Sarah Thornton’s book Seven Days in the Art World, she notes that the art world is not just a place where people work but reside full time, “a ‘symbolic economy’ where people swap thoughts and where cultural worth is debated rather than determined by brute wealth.” As Thornton highlights, “great works do not just arise; they are made.” How an artist moves from a small Denver art gallery to a museum wall is not simple or a matter of luck. That promotion requires the support of dealers, critics, curators, and collectors.

So when only a few Denver art galleries participate in one or two mid-size international art fairs, that is a concern. When many of the top art collectors in America have homes in Aspen, and the world-renowned Aspen Art Museum never shows a Colorado artist, we have a problem. When editors based in New York City, like those at ARTnews, voice concerns on professional panels about disappearing local reporters and papers from periphery art cities, killing the informational pipeline, we should pay attention, because these are the reasons our artists worry. Artists see the growth of Denver and maneuver through the consequences of urban development, but the benefits to our creative community are lagging.

According to economists Uri Gneezy and John List, people support the arts and give to charities for three reasons: the warm-glow of helping others, self-interest (tax benefits or investment), and a motive called follow-the-leader. An example of follow-the-leader is when a potential donor is incentivized to donate due to a charity starting a fundraising campaign with a high seed level. This seed money motivates the next donor for many reasons: presumably the initial donor did the research into the legitimacy of the charity; a donation places the individual in a desirable social circle; and the presence of the seed money appeals to donors who are risk-averse. Despite the recent population growth that places Colorado as one of the top seven fastest growing states and despite the increased wealth that accompanies such growth (have you seen home prices?), artists continue to complain about the lack of funding through typical avenues such as government grants, private foundations, and corporate sponsors. According to the Colorado Business Committee for the Arts, artists are right. Nearly one-fifth of new money coming into the state’s cultural sector last year was in the form of federal grants. Philanthropic giving to the arts increased in 2016, but only enough to put us on pace with national trends. That means in Colorado there is no follow-the-leader impact…yet. How does the cultural sector reach new audiences in a measurable way to grow the purse?

One solution proposed at the Tilt West roundtable on Regional History and Potential was a renewed focus on the work. As the theory goes, when the art has substance and is worth protecting, the money will show up. Tell that to van Gogh. It is a shared principle in the art world that nothing is more important than the art. As author Sarah Thornton points out “some people believe this; others know it’s de rigueur.” What I hear — and agree with — is that we should embrace solutions like developing Aurora as a potential art center and relax the grip on a neighborhood like RiNo that is pricing everyone out. We should also acknowledge that discourse does not occur when we use assumptions as evidence, and better discourse is the necessary foundation for Denver to be a formidable art force. Raise your hand if you want to read on Saturday instead of ski. That is what must happen if Denver wants to take the stage as one of the next great American art cities.

The 2013 book, Art Cities of the Future: 21st-Century Avant-Gardes proposes a broadening definition of an art capital with cities like Bogotá, Johannesburg, and Vancouver demonstrating successful and unconventional infrastructures. The text highlights the tremendous potential for a place like Denver while bypassing the problematic discussion of whether our city will be the next great version of a city that already exists. For example, Redline and Lighthouse Writers Workshop provide professional development and public service that many American cities find enviable. The money raised through the Scientific and Cultural Facilities District tax is one major reason Denver’s creative community quickly recovered after the great recession and continues to add jobs to our cultural institutions. Gallery directors testify that museum curators from the state regularly walk into local galleries to see Colorado artists. Curator Jose Roca in Art Cities of the Future notes that the emerging art capitals had “no outside intervention,” and the local scenes thrived without the pressures of the art market, not in spite of its absence. It is a powerfully persuasive argument that Denver does not have to follow existing urban blueprints; it may still carve an unexpected, yet smart and satisfying route.

Kealey Boyd is an art historian, writer and museum educator. She is a regular contributor to Hyperallergic, a lecturer in Art History at Metropolitan State University of Denver, and a museum educator at the Clyfford Still Museum. She earned her B.A. in Economics and M.A. in Art History from the University of Chicago. Her research interests include methodologies for interpreting painting and other visual forms as an integral element of political and cultural discourses.

[itsmisterdavid]

Kaywa, Francis Doku, Eazzy Are 'MTN Hitmaker' Judges

Kaywa, Francis Doku, Eazzy Are ‘MTN Hitmaker’ Judges

WHEN this year’s MTN Hitmaker sets off, the personalities who have the arduous task of judging the contestants will be sound engineer, Kaywa; artswriter, Francis Doku and singer, Eazzy. According to the Acting Chief Marketing Officer of MTN, Noel Kojo Ganson, the three were chosen because of the level of understanding of the music industry they exhibited in Season 6.

“We had Kaywa as a beat maker…

[strangerscollective]

Countdown. The closing reception for Marcus Zúñiga: Ya Veo is coming up this Saturday, June 10, 6-9 pm at NO LAND. We're also open throughout the weekend (Saturday, 12-4 pm & 6-9 pm/Sunday, 12-4 pm) as a satellite exhibition of the @CurrentsNewMedia Festival. Over the next few days, we're sharing some stellar reviews and other press the show has received. First up is @kelly__skeen's recommendation of Ya Veo for @visualartsource. Here's an excerpt: . “Ya Veo,” meaning “I see” in Spanish, is emerging New Mexico artist Marcus Zúñiga’s first solo exhibition, highlighting two years of work and a lifetime of cosmic exploration. New media projections and sculptures represent the artist’s perception of the universe contextualized through the filter of his Mexican-American heritage. While the vision is specific to Zúñiga’s ancestral roots, it’s also an accessible invitation for the viewer to contemplate their own ephemeral existence and conscious place in the universe. . Read more: http://ift.tt/2qRTttk . #art #simplysantafe #artworld #artnews #santafenm #artgallery #newmexico #nolandgallery #strangerscollective #kellyskeen #ksartsmarketing #marcuszuniga #artexhibition #artswriting #artreview #artcollective http://ift.tt/2sblcJs

[artsleaderuh]

@Glasstire : A Grant that Pays You to Write About Art: apply now! @artswriters https://t.co/LSXchwx3qq https://t.co/9GByCBTnih (via Twitter http://twitter.com/Glasstire/status/862021402165223426)

[lemmonheadstudios-blog]

@beautifulbizarremagazine interview with @margaritasampson for her inclusion in Bitter | Sweet group show at @19karengallery #art#artswriter#magaritasampson#magazine#interview#artexhibit