category: Uncategorized

Structures

ribs

Saguaro ribs, Saguaro National Forest

I owe at least two people posts, and apologize for not completing them in a timely manner as promised. I mention this not just as an acknowledgment of obligations I’ve yet to fulfill but because of an observation I made over the weekend. Sometimes some of the most important lessons have to be learned over and over again. To put it gently, not only are times extra challenging for emerging artists, it’s a rough go for most art professionals. I’ve been worried that the necessities of my life: a day job, a side business, freelance work, and the rest are taking up so much time that I don’t have enough left for the studio and it’s detrimental to my career. How to do more with less? How can I make adjustments to my way of working without making it something false? I was in Tucson this weekend for the opening of the Structures show at Conrad Wilde. This is my second visit, and each time I become more fond of the local art community, dear and supportive people, all at least as busy as I if not more so. Nearly all of us have secondary and tertiary sources of income. We are entrepreneurs, designers, teachers, writers, museum workers, and some of us are lucky enough to have family to support our endeavors not only emotionally but financially. This is why I am continually mystified as to how the romantic myth of the solitary creator persists. We are not alone, nor can we afford to be. We must care as diligently for our friends, colleagues, clients, dealers, critics, teachers, lovers, and families as we do our work. Without them none of our success would be possible. Thank you all. Here are few shots from the show. Apologies to the other artists, who I didn’t cover as well as I should have. There’s more information about them at www.conradwildegallery.com.

Opening reception, Structures, 9/4/10

Drawings by David Longwell. far left

Miles Conrad's encaustic sculptures

Miles Conrad's encaustic sculptures

A closeup on one of the units.

A closeup of one of the units.

Another view

Another view

Colony got a great spot

Colony got a great spot

Two drawings by Tim Mosman

Two drawings by Tim Mosman

Relief III

Relief III

Relief VI

Relief VI

A luminous work by Carrie Seid, not in the Structures show

A luminous work by Carrie Seid, not in the Structures show

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Picking up the Pieces at Conrad Wilde

Composition 7, John Rummelhoff

Composition 7, John Rummelhoff

I’m writing a brief post to let everyone know about an coming Red Dot event at Conrad Wilde Gallery in Tucson. Having recently moved into a shiny new space, they were burglarized, losing their electronics and several pieces of artwork. Fortunately some of the art has been returned.

In order to recoup some of the losses, the gallery is holding a benefit sale of donated artworks. If you’d like to donate, you’ll need to visit their website and act quickly: works are due there by 4/23. For those of you nonartists, here’s a great opportunity to purchase art at below market value.

Here are shots of the work John Rummelhoff and I are donating and I hope you’ll join in this effort if you can. It’s more important than ever to support independent galleries that offer interesting programming, promote emerging artists, and are vital participants in their communities.

John Rummelhoff, Composition 8

John Rummelhoff, Composition 8

All the works in the show will be no bigger than 16″ square for 2D; 16 cubic inches for 3D. Composition 7 and 8 are about 6 x 6″.

Study for Relief V, 2009 8.25 x 8.25 x 2

Study for Relief V, 2009 8.25 x 8.25 x 2

Burnout, 2007. Mixed media.

Burnout, 2007. Mixed media.

That’s it. Buy early; buy often. And if the burglars just happen to be reading this, shame on you. I hope you have some sort of conscience and bring everything back to the gallery in good shape this instant. As it says on the website, no questions asked. Everyone just wants their things back.

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Running up That Hill

Colony, 2009 mixed media (Kim Matthews)
Colony, 2009 mixed media

I’ve been spending an inordinate amount of time researching art promotion on line lately. Like most aspiring artists, I find this the least enjoyable part of the job and yearn for the day when I can turn the management of my career over to a highly competent, trustworthy professional who also happens to be psychic.

In the meantime, though, I feel like I’m sifting all the time: sifting ideas, trying to clarify my thoughts, taking in new information and leaving behind old ideas that aren’t compelling anymore.

As I mentioned some time ago, I decided to tackle minimalism as part of my art history education after being thoroughly entrenched in the first forty-odd years of the 20th century. It attracted me because I’ve always been so put off by it–the inaccessibility of it reminded me of being on the outside of an inside joke. And in looking–and seeing, I hope– I’ve found some useful things: the power of seriality to create objects or places of meditation and the potency of pure forms are two of them.

I’m still struggling with some very fundamental issues and have no idea how long it’s going to take to get through. One of the things I’ve realized over the past couple of years is that while it’s human nature to sort, classify, identify, and name, every time that someone says, “Oh, your piece looks like (X),” it makes me sigh inside. I’m not interested in narrative and I don’t want to make things that keep people’s thoughts at the surface. That’s what television is for.

And there are two other things of which I am pretty certain, at least for now and probably forever: I believe in making things, and making them to the best of my ability. And I want to make art that people want to really be with.

Guess that’s plenty for now.

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Joys of Design

When my friend John and I were in Tucson last month for the opening of the High Fiber show at Conrad Wilde, we noticed an amazing leather and steel chair in the window of an adjacent shop. Although the store is not quite open, we were able to get a better look at the chair and learn about its creator, architect Cade Hayes.

Tucson Chair TucsonChair Cade Hayes

In turn, Cade introduced us to the work of his San-Diego based friend, Dominique Houriet. Shortly thereafter, Dominique sent me photos of his chairs.

Sugar Rock
Sugar Rock By Dominique Houriet, San Diego CA
phantom flyerPhantom Flyer by Dominique Houriet

I feel very fortunate to have been introduced to these men and their work and look forward to seeing more and learning more about Cade’s former employer, Rick Joy architects. Stay tuned; more about them to come!
P.S. You’ll be able to purchase their chairs at San Diego’s Museum of Contemporary Art soon. For more about Dominique, visit http://www.oo-d-a.com/

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