Artists Unite Issue

This is a good year for composer/percussionist John Hollenbeck. His Large Ensemble received a Grammy nomination. His Claudia Quintet released a new CD. He received a composer commision from Bang on a Can. All this while he continues his role as Meredith Monk’s touring percussionist. Plus he picked up good art with a couple of my photos on the wall.
I got to hear John Hollenbeck’s Large Ensemble play the Kitchen earlier this month. John’s music is so literate-and literary. He’s the smartest composer I know. Keep an ear open for a broadcast of the Bang on a Can Commisioning Fund concert, which will be broadcast and webcast on WNYC in the near future. Besides hearing the composition you get to hear Bang on a Can All Stars perform the works of five composers also including Ornette Coleman. The All Stars rock my world: smart, funny, virtuosic, and souuuuulful.

Perhaps as an example of what Sky brings up in her post on curation, the Drawing Center has a pair of great shows up right now. The first is the first New York exhibition of Belgian Joëlle Tuerlinckx. Her exhibit walks the line between curation and creation. As the invite says, “…Tuerlinckx will create a new project filled with stretch drawings, floating forms, moving points, and flat shapes that index the measurements and scale of the space. [Materials] are tools for tracing the experience of The Drawing Center as processed through Tuerlinckx’s thinking.”

This show was like stumbling into a study in the house of a stranger and finding all her papers and books. I was moved to interact with one piece, which consisted of a piece of paper stating in French, drill a hole through the wall here to show what’s on the other side; and the hole.

untitled (thank you Joëlle Tuerlinckx), (c) Peter Ferko

The second show, Analog Animation, is of artists who use traditional methods of animation. Anna Kiraly’s “Mechanized Drawings” in the front window were brilliant: a grid of rolled drawings that moved in unison to reveal another drawing underneath. The two-panel animations were truly witty.

I’ve got another suggestion for the artist’s bookshelf, but this time it’s not artists on art, or about surviving as an artist. It’s more about your survivors. If you think estate planning is just for the wealthy, think again. Try to get a hold of Estate Planning for Visual Artists, from the Marie Walsh Sharpe Art Foundation. It will give you goosebumps.
Lawyer Robert H. Louis writes, “In fact, estate planning is important for everyone. It is simply a process by which people determine what will happen to their property after they are gone, and attempt to minimize the “bite” of taxes imposed by the federal and state governments.”

“Special concerns of artists: Anyone who leaves assets without a readily ascertainable value faces problems in determining date of death values and the amount of tax that is owed. Government taxing authorities, of course, want to use the highest possible values and have their own sources and resources for valuing art. Those resources are quite extensive in the case of the Internal Revenue Service. If a high value is placed on artworks, a large tax may be due, and what is the source for those tax payments? Artwork or other assets may have to be sold to pay taxes.”

Did you know that if you donate a piece of artwork you created to a charitable organization, you are only allowed a tax deduction of the value of the art supplies you used to make it, but if a collector donates that same piece from their collection they’d be allowed to deduct the full value of the piece? If you sell that artwork through a gallery, you will only receive a portion of the selling price (what’s left after your dealer’s commission). However, if you DIE, the government wants to tax your estate based on the FULL RETAIL VALUE of the piece, even though you would have never received that amount. In fact, they want to tax your estate on the full retail value of every piece of art you’ve created that is still in your possession (i.e. unsold) at the untimely event of your tragic demise. If you have any history of past sales, look out! You may have thought you were a poor, starving artist. You may have even starved to death. But in the eyes of the IRS, you may be worth a lot more than you thought, and they’ll want to collect.

Death is unpleasant to think about, but unavoidable. Educate yourself, and if you need but can’t afford extra help, consider contacting Volunteer Lawyers for the Arts.

Note, you lucky writers, musicians, and performers, in the U.S., these punitive laws seem to apply to visual artists only. And visual artists are left out in the cold when it comes to royalties too. That’s a subject for a future post… [but I'm thinking those Brits have the right idea.]

From a former client of mine, Public Forum Institute

The Internet and Social Networks

When the Internet first took off, some observers feared that it would contribute to a further weakening of social ties. “Bowling Alone” would be replaced by “Web-surfing Alone.” A new study from the Pew Internet and American Life project indicates these early fears were unfounded. The report, The Strength of Internet Ties, finds that the Internet is helping to build social capital. A new form of community, “networked individualism,” is arising. Via “networked individualism,” people no longer need to rely on a single community for social capital. Instead, they can reach out to different people and communities for different situations. Through email, individuals can maintain close contacts with a much larger and more diverse network. Survey respondents lauded the Internet’s role in helping them connect with other people, get needed information, and make important decisions. In fact, 60 million Americans reportedly have used the Internet when making a major life decision, such as issues around health care for loved ones, pursuing an education, or changing careers.

To view the January 2006 Pew Internet and American Life project report, The Strength of Internet Ties, by Jeffrey Boase, John B. Horrigan, Barry Wellman, and Lee Rainie, visit http://www.pewinternet.org/pdfs/PIP_Internet_ties.pdf

A perfect reason to come on uptown:
March 9, 2006 (runs through April 9, 2006) Invitiational Exhibition of Painting and Sculpture.

Work by 37 contemporary artists will be on view at the American Academy of Arts and Letters galleries on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 9 through Sunday, April 9, 2006. The participants were chosen from a pool of more than 150 contemporary artists nominated by the members of the Academy, America’s most prestigious society of architects, artists, writers, and composers.

A jury of Academy members will select from the exhibition to confer $210,000 in cash prizes.

Gallery Hours: Thursdays through Sundays, 1 p.m. to 4 p.m.
Admission: Free
Gallery Location: Audubon Terrace on Broadway between 155 and 156 Streets
Subway: Broadway # 1 to 157th Street.
Bus: M4, M5 to 155th Street and Broadway

The American Academy of Arts and Letters, 633 West 155th Street, New York, NY 10032. phone 212.368.5900, academy@artsandletters.org

EXHIBITION ARTISTS: Eric Aho, Brian Alfred, Ellen Altfest, Ben Aronson, Lynda Benglis, Matt Blackwell, Emily Brown , Charles Cajori , Nicolas Carone, Samara Caughey, Lisa Corinne Davis, Joseph Fiore, Linda Francis, Brenda Garand, Peter Halley, Elizabeth King, Margrit Lewczuk, Glenn Ligon, Chris Martin, Michael Mazur, John McCracken, Sarah McEneaney, Thomas Nozkowski, Jim Nutt, Roxy Paine, Andrew Raftery, Matthew Ritchie, Joyce Robins, Peter Rostovsky, David Sharpe, Gedi Sibony,Arthur Simms, Dean Snyder, Merrill Wagner, Carol Wax, Kelli Williams, Yuriko Yamaguchi.

Opening this Friday 3/3 at DCAC (reception 7-9pm):

H Y S T O R I A
curated by J.W Mahoney and Lisa McCarty
March 3-March 26 , Opening Reception Friday March 3rd 7-9pm
part of the curatorial initiative, funded by the Andy Warhol Foundation

Babel Revisited, Julee Holcombe- courtesy of Conner Contemporary Art

Featuring the work of:
Geoff Bell
Julee Holcombe
Betsy Packard
Jeffrey Smith
Champneys Taylor

The anxieties that the present course of history induces in artists are often most creatively bourn indirectly. The social chaos, and the pressure of information, the “wreckage,” is monumental. Turning aside offers peripheral vision a full scope. And turning around to the Past offers a very different range of worlds than the one that ourpresent ceaselessly opens. All this data can feel useful, and strangely beautiful. These five artists in Hystoria present unfamiliar beauties emerging from our image and form-rich visual history –created in the context of the strong geopolitical uncertainties we’re witnessing right now.

or more info visit: www.dcartscenter.org/event.htm#Gallery

March 11th, 2006, reception 7-9pm

“Moments of Landscape,” Solo exhibition of photographs by Tad Mike at Lamarr Dodd Art Center, LaGrange College, LaGrange, Georgia, 30240. Show runs March 11 to April 15, 2006. (Black and white photographs, many taken in Inwood Hill Park, NYC near the photographer’s home and studio).

Without question, there’s a great deal of creativity involved in the curatorial process, as well as purely intellectual, logistical, and a myriad of other concerns. Curating an exhibition can be hugely demanding, and my appreciation of the difficulty of the task has only increased, having recently seen a few curated shows that just didn’t cut it (for instance “Skin is a Language” at the Whitney Museum). At From the Floor, Todd Gibson makes some good points about curatorial pitfalls in this post, and coincidentally, it’s another Whitney show he chooses as an example of problematic practice.

As a positive example, I’ve found that The Drawing Center consistently presents incredibly well-curated shows that keep the focus on the art and the artists. Albeit they always have the theme of ‘drawing’ to help it all hold together, but given the breadth and variety of the shows there, that’s clearly not used as a conceptual crutch.

It’s had some ups and downs, but in general, the New Museum has put forth some impressive and successful efforts too. Ten years later, I still gasp when I think of their jaw-dropping show A Labor of Love, organized by Marcia Tucker (which was my introduction to the work of Liza Lou, who has since won a MacArthur Foundation “Genius” Fellowship). The New Museum’s site offers an inside glimpse of the curatorial process in this interview with Trevor Schoonmaker, who guest-curated the show “Black President: The Art and Legacy of Fela Anikulapo-Kuti,” and who describes himself as “a facilitator.”

As a result, I find myself wanting to read this: Words of Wisdom: A Curator’s Vade Mecum to learn more about the subject.

Do any curated exhibitions come to your mind as particular successes or duds? Why?

Friday, March 3, 6-9pm, Opening reception,
Solo art exhibition by Meybol Ramirez, “Through My Eyes”

Rio II Gallery, 583 Riverside Drive at 135th Street, New York, NY

For Info: Tel (212) 568-2030 ext. 208, (646) 359-9537, or e-mail meybol777@yahoo.com

(Meybol Ramirez is an active Board member of the Union of Dominican Visual Artists - UDVA)

Tuesday February 28th, at Adobe Blues 63 Lafayette Avenue on Staten Island.

This year’s band is The Hoodudes:

Steve Alcott, bass & vocals,
Grisha Alexiev, drums & vocals,
Ed Alstrom, piano & vocals, and
yours truly, Harry Ettling, guitar, vocals & penny whistle.

These guys are amazing players and have a real knowledge and feel for this music. It’s been an honor and a pleasure to play and record with them since our first gig on Mardi Gras last year. So, put on your sailin’ shoes and your wildest Mardi Gras threads, and swing on by. Free beads and masks to all participants.

Adobe Blues really is a great club (see link below) with excellent food, friendly staff, dozens of esoteric beers and tequilas, and NO COVER. It’s always a great hang, and very musician-friendly–we actually get to rear back on our hind legs and bark with nary a thought to the neighbors or the constabulary.

The club is just a few blocks from the ferry (which is free and runs every half hour all night). There are plenty of taxis at the terminal (the fare should be less than $5). If you prefer to drive, call the club for directions: 718-720-BLUE. http://www.silive.com/sites/adobeblues/

Laissez les bons temps rouler!

P.S. As we have in the past, we will be also be accepting donations on behalf of the Red Cross for the Hurricane Katrina Relief Fund.

My earlier post about the artist’s bookshelf got me thinking about artists talking about art on film.

On the top of my list is Art City, the 3-part series by Chris Maybach and Paul Gardner. The footage and insights of many of today’s most successful contemporary artists such as Louise Bourgeois, Brice Marden, Ed Ruscha and so many more are enlightening and inspiring, as are the killer soundtracks. (Available at many libraries, and also on Netflix).

The following deviate from the pure theme of artists on art, and are really portraits of artists, but they make my list anyhow:

Rivers and Tides on Andy Goldsworthy

How to Draw a Bunny about Ray Johnson

Your turn: What’s on your list? The Instant Art Show with Morris Katz doesn’t count.

What would you say, given one free minute of anonymous public speech?

www.africanimagery.com Photo galleries by various artists.

Worth checking for more superb images like the one above by Bernard Descamps. (Copyright Bernard Descamps)

Monday, February 27th at SOB’s, 204 Varick at West Houston Street. Dominican Independence Celebration with amazing musicians, including local multi-talented artist Reynaldo Garcia Pantaleon from upper Manhattan! Reservations accepted but not required. No cover charge, but there is some food/drink minimum. Call club for details. 212-243-4940, www.sobs.com

Date Change for Poetry Series
The WaHi Poetry Series Kicks off it’s Monthly Event:
First Saturday of each month beginning March 4th, 2006 from 3 to 5 pm.

This Poetry Series welcomes:
All writers, Rap and Spoken word, Singers also welcome.
Everyone will get 5 minutes.

Held at:
The Cornerstone Center / Our Savior’s Atonement Church
178 Bennett Avenue (One block west of Broadway at 190th St.)
Washington Heights, New York City, USA

$3 contribution for the church
By train: A train to 190th Street (exit ramp and turn right one block) OR #1 train to 191st Street (exit ramp to Broadway)

Host: Joy Leftow
Contact: 212 569- 4048

Like whirling dervishes, we made it through the ADAA’s “The Art Show” at the Park Ave Armory (67th St) yesterday. The ticket price is big ($20) but so is the show, and well worth it, quality-wise (and for celebrity watching, if you’re into that). Artists, don’t forget to ask for a receipt so you can use it at tax-time! With 70 top U.S. galleries showing a total of what must be more than 1000 works of art, we were ready to collapse after a couple of hours. This year, there was greater representation of contemporary (i.e. still breathing) artists alongside 20th century masters. I didn’t get many good photos, but will post a random selection of goodies:

(Victor Obsatz, Mummer’s Day Parade Float Driver, Phila, PA” 1963, 11 x 14″, Achim Moeller Fine Art Ltd.)

(Michael Gregory, “Sierra City” oil on panel, 43 x 55″, 2005, Nancy Hoffman Gallery.) He has a show up now at the gallery until March 14th. Something about Gregory’s powerful barn paintings was evocative of the photgraphs of Bernd & Hilla Becher)

As usual, there was a paucity of work by non-white artists, but there were some gems by Romare Bearden (1911-1988) like this one from Hirschl & Adler Modern
(left: Romare Bearden, Baptism, Collage of various printed and unprinted papers with paint, graphite, and ink on wood panel, 22 x 17.75″, 1967). June Kelly Gallery also had a couple of exquisite Bearden collages. Mary-Anne Martin, Fine Art is known for showing high-level Latin-American art, and tucked in a corner were four fantastic drawings by Matta, studies for prints for a Cuban cigar box.

Sikkema Jenkins & Co had a nice selection by Vik Muniz (like this image of Durer’s praying hands made of sculpted cotton). Muniz was well-represented throughout the show. We arrived at Lennon, Weinberg to see the ear-to-ear smile on Jill Weinberg’s face seconds after the dazzling Joan Mitchell piece below had sold. (Joan Mitchell, Untitled, oil on canvas, 1959, 60-3/4 x 62-7/8″)

There’s so much to see that I can’t begin to scratch the surface. It’s up until Monday the 27th, so go if you can. Be sure to stop by McKee Gallery’s and John Berggruen’s booths.

[artfagcity takes a tougher stance in their wry and entertaining look at the ADAA show.]

Retouching tips, anyone? From EyeBeam’s reblog:

As my mind quickly glazes over when I’m considering whether Brahms might have known Jackson Pollack and who was president that year?, I’ve been meaning to construct a timeline of artists, musicians, and well-known political figures, mapped along with historical events. In other words, the history of (wo&)mankind. I think I will start it on this site, so people can add their faves and the chart can live and grow.

I’ll get on it…

Of course, if someone’s already done this and you know where it exists, could you let me know? Thanks

I’d just like to give a big congrats to Harley Fine, 207Records, and all the participating musicians who made the CD release party for Upstate Manhattan such a great evening. We heard the folks at Keenan’s Piano Lounge (204th St & Broadway) where the event was held, were particularly fabulous to work with. Hope there will be more events like this in the future, and with so much talent around here, it’s more a matter of when than if!

Also, here’s a little plug for one of the hot local groups who performed that night, the Dixie Bee-Liners:

Roberta Smith’s review in the Feb 24 NY Times addresses issues about the Exit Art exhibition “The Studio Visit” that is of interest given that we are interested in including visits as part of this forum.

She starts with “Make art, not video…” which clues us in to the fact that this show is of video visits. Her descripition of studio visit is worth hearing: “… the time-tested ritual of artists inviting friends, art dealers, critics or collectors to their studios to look at their art. It is often a form of audition for all concerned, as well as a way to make contact, gather data and get your work on the information highway that still matters the most: word of mouth.”

While she seems to enjoy the fact that this show was taken on as a concept, the execution seems to need tweaking,: “At times it all feels dismayingly in step with present-day trends in narcissism, voyeurism and attention-deficiency. ¶The videos are usually four to six minutes in length, but even the good ones seem way too long…”