June 16, 2013
With the upcoming artist in residency at the de Young museum shortly approaching in September, research is still in order. As a result, made a trip to Dominus Estate winery in Yountville to see the stunning building designed by the same architecture firm that designed the de Young Museum: Herzong & de Meuron. During the month, I’ll be working on a 42×360 inches paper installation based on the architecture and/or art collections. As a result, wanted to take photos and draw sketches for possible future drawings.
I adore the architecture and the textured copper panel façade of the de Young museum and undoubtedly had to see more of the amazing duo’s work. Diana Ketcham (author of the de Young in the 21st Century): “As an alternative to the initial consideration of wood siding and glass, the architects proposed a more unusual surface, copper mesh. The mesh scheme triggered interest in the design community, where many admired Dominus Winery’s façade of wire mesh and rock, and the filigree of light and shadow it produced in the interior.” After reading Ketcham’s book, wanted to visit the inspiration of the museum’s surface.
Dominus Winery in Yountville is a short and more enjoyable drive compared to the Bay Bridge rush hour gridlock. The winery only allows limited facility tours once a month with an advance reservation. On my visit, a collection of New York City architects, local landscape architecture students, and admirers were in attendance. Regina Feiner (tour guide) discussed the history, wine, and architecture details. There was no wine tasting involved because Dominus doesn’t have the proper permit for that use.
According to Dominus Estate’s website: “Completed in 1997 by the visionary Swiss architects, Jacques Herzog and Pierre de Meuron, the Dominus Estate Winery is perfectly integrated into its landscape, offering panoramic views of the vineyard and hillsides. With its gabion façade, the winery seems to dissolve into its surroundings, an intentional effect, underscoring the importance of the vineyard in the production of a great wine. The winery was Herzog and de Meruon’s first project outside of Europe. From Basel, Switzerland, the architects have since constructed numerous renowned buildings, including the Tate Modern in London, the Allianz Stadium in Munich, The PRADA Boutique in Tokyo, the de Young Museum in San Francisco and the ‘Bird’s Nest’ stadium in Beijing. In 2001, they were awarded the Pritzker Prize, contemporary architecture’s highest award.”
The surface of the winery is very intriguing and after the tour wanted to research the reasoning behind its design. From the Herzong and de Meuron’s website: “In front of the façades, we placed gabions, a device used in river engineering, that is, wire containers filled with stones. Added to the walls, they form an inert mass that insulates the rooms against heat by day and cold at night. We chose local basalt that ranges from dark green to black and blends in beautifully with the landscape. The gabions are filled more or less densely as needed so that parts of the walls are very impenetrable while others allow the passage of light: natural light comes into the rooms during the day and artificial light seeps through the stones at night. You could describe our use of the gabions as kind of stone wickerwork with varying degrees of transparency, more like skin than like traditional masonry.” The shadows/textures created by the combination of stones and wire containers, created amazing shadows and dynamic lines.
Would love to share photos from the visit but the winery informed all visitors that no images of the building could be used. As a result, emailed the winery hoping to utilize and reference some of the images for the upcoming residency. Dominus Estate responded saying I could use the images for reference but they can’t be published. Honestly, it’s disappointing to not be able to post photos with sources on this blog (below is a youTube video featuring the winery). However, being an artist I understand the frustration and disgust of seeing my art being exploited on websites, publications, and etc. without my permission. Either way, Herzong and de Meuron’s stunning architecture will continue to encourage and hopefully elevate the expectations of artists like myself. That is the magic of truly stellar art.
June 9, 2013
The beginning of June was supposed to be a road trip starting in Oklahoma City and ending in Springfield, Missouri with my grandfather and father. We were going to revisit my grandfather’s childhood in Oklahoma and meet relatives for the first time. However, my grandfather’s health declined and a massive tornado ripped through Oklahoma City. As a result, flew down to Tucson to visit and investigate family roots with my last living grandparent at the age of 85.
In Alicha, Oklahoma, my grandfather Tom Balisle was born in a logging town that no longer exists. According to him: “…no hospitals and only half assed doctors would help deliver babies.” He was the third child out of 6 children in a poor family. At age 14, he witnessed from a school bus his brother John trying to save a young boy that had fallen through ice over a small creek. Unfortunately, his brother fell in also. It took my grandfather 40 minutes desperately trying to rescue them. It was too late and his brother died at the young age of 12.
David Balisle was my grandfather’s father, a French and Irish man, who originated from Nova Scotia. He moved to West Virginia then to Kentucky when the Civil War broke out. David left the army after getting shot in the hip. He got some land and created a homestead in Oden, Arkansas. The bullet was never taken out of his hip and it ultimately killed him 10 years later. He was eventually buried in the National Cemetery in Little Rock, Arkansas.
My grandfather’s mother, Nora Mae Nash, was half Choctaw (Native American). Nora’s father died when she was 1 1/2 years old and her mother passed when she was only 11 years old. As a result, she went to live with her Aunt who treated her like a servant making up beds, doing laundry, and cleaning the house. Nora moved out when she was 19 to get married to my grandfather’s father when he got back from World War I.
Nora Mae Nash had a great big garden of veggies and left the door open for the neighbors to get food at their convenience. She was a loving mother who also took care of chickens, hogs, and cows. Nora made good fried chicken from scratch by wringing the neck, plucking it, and frying it. Being a vegetarian, have to respect the fact she raised the meat she prepared.
Overall, it was wonderful to discover some of the missing pieces of my family history. Spending the time with my grandfather and father came to the realization how much we’re alike- quirks and all. We talk and grumble to ourselves unknowingly, forgetful to the placement of objects, love watching CNN, MSNBC, and baseball, hate bad drivers, love sweets, and homemade food.
The road trip that was supposed to happen most likely won’t occur in this lifetime. The voyage would have been transformative. However, getting to know my grandfather and father better and building positive memories was priceless. Wouldn’t trade the experience for anything.
June 2, 2013
- In front of the Golden Gate bridge in San Francisco’s Crissy Field, stands eight towering and magnificent outdoor sculptures from artist Mark di Suvero. They are amazing and kick some aesthetic ass. But of course, the art is creating controversy. Neighbors say their views are being obstructed.
The sculptures with varying heights up to 50 feet high and 40 feet wide will be on display until May 26, 2014. According to SFMOMA: “Presented by SFMOMA in partnership with the National Park Service and the Golden Gate National Parks Conservancy, eight monumentally scaled sculptures by Mark di Suvero rise at historic Crissy Field this May for a free yearlong exhibition. Set against the backdrop of the Golden Gate Bridge, a structure that has inspired the artist throughout his career, di Suvero’s dynamic steel sculptures frame and reframe the surrounding landscape in surprising new ways. The exhibition brings together works from across the country, dating from 1967 to 2012, celebrating five decades of work by the acclaimed artist.”
In my humble opinion, there is no bad view from the installation from up close to far away. In a SFMOMA video produced to supplement the exhibit, di Suvero: “Next to the Golden Gate Bridge, all those pieces that I’ve done will be miniatures. And I’m glad to be next to a giant like that and to be a miniature.” In 1941, the artist immigrated to the United States from Shanghai, China and traveled underneath the same bridge his works proudly rise in front of. He also survived an accident and was told he would never walk again. Today at the young age of 79, Mark di Suvero proudly stands and is still creating art.
The first piece encountered on the beautiful sunny day was Figolu created from 2005-11 and made of painted steel with steel buoys. From the outdoor placard: “Di Suvero often incorporates cast-off industrial objects in his work. Here, three round sea buoys are suspended from a diagonal I-beam. Their forms are echoed in the cluster of circular disks that joins the arrangement of diagonal beams that extend ouward, up, and back to varying degrees depending on the viewer’s position. In the context of the work’s delicately balanced asymmetry, the buoys read as a nautical reference and as a guide, modeling the lightness and buoyancy to which even di Suvero’s most imposing sculptures aspire.”
According to SFMOMA in regards to di Suvero’s Dreamcatcher sculpture (image below): “…The tension between the earthbound solidity of the I-beams in the lower half of the structure and the floating motion of the top suggests the balance of hard work and aspiration that enables dreams to take flight.”
Mark di Suvero: “It is the reformation of material which is what art is all about… we reform it to where it does that tuning fork to our knowledge of form within.” Here’s some other pieces featured in the outdoor exhibit:
To the haters of Mark di Suvero’s art and presence, the sculptures inspire and expose the public to new ideas and experiences. In fact, my husband and I drove in specifically to see the outdoor exhibit, paid two bridge tolls, went out to dinner locally, and patronized the Golden Gate National Parks Conservancy Park Store. Without the exhibit, our dollars would have gone elsewhere. Bottom line: the art will attract tourism, add to the unique cultural diversity of the Bay area, and spark creativity. Instead of bitching about the art, the neighbors should embrace what it has to offer. Imagine how Mark di Suvero felt and dreamed as an immigrant child traveling underneath Golden Gate Bridge for the first time. Today to see his work realized is truly a once in a lifetime opportunity…
May 26, 2013
Recently, I purchased Powerball lottery tickets when the jackpot was close to $600 million dollars. Only one of the tickets matched a number, resulting in a $4 dollar return. Not enough to purchase a beautiful Hung Liu painting but perhaps in another life. As a result, the next best option was to visit the artist’s retrospective at the Oakland Art Museum currently on display until June 30th, 2013.
According to the Oakland Art Museum’s website: “The exhibition Summoning Ghosts: The Art of Hung Liu is the first comprehensive survey of the artwork of Hung Liu—one of the most prominent Chinese painters working in the United States today. Featuring approximately 80 paintings, as well as personal ephemera such as photographs, sketch books, and informal painting studies from private and public collections around the world, the exhibition celebrates Liu’s career accomplishments and includes work completed in China before the artist arrived in the U.S. The exhibition explores the evolution of Liu’s artistic practice, and investigates the complex interactions between individual memory and history, and documentary evidence and artistic expression, among other themes.”
Last week Tuesday, “tried” to visit the exhibit. However, the Oakland Art Museum was closed. Yes, I should have doubled checked (eye roll). Also, the unfriendly parking attendant wanted me to pay the $2.50 parking charge for being there for only 11 minutes and yelled at me to drive throughout the entire garage to leave. BTW, the garage didn’t take credit cards and the total change found in my truck totaled $2.21. The parking attendant took it and told me to leave. As a result, my exhibit viewing was delayed, left highly irritated, and tried to summon my inner restraint to keep calm.
Not wanting to give up, I made another journey to the museum on Thursday. Second try was a success to view the amazing exhibit. The space was packed with various groups of young students sitting on the floor in front of specific paintings intently listening to a teacher or curator. It was wonderful to see a new generation being exposed to an important and influential artist.
Unable to take photos inside, I was able to take images outside of glass doors looking in and of an interesting gigantic video installation that greets visitors.
After the exhibit, made my way into the gift store to view creative trinkets, gadgets, and books. Fortunately, didn’t have to purchase an exhibition catalog from the Museum. The Kala Art Institute in Berkeley had an auction recently featuring a signed book donated by Hung Liu. Luckily, won the bid since a painting of hers would have to include a massive infusion into my bank account. The book goes into depth about Liu’s process and the pieces included at the museum.
On the way to the parking garage, I noticed Hung Liu texting away on her phone. Visitors were walking pass her discussing their “expert” opinions not knowing the artist was present. She stood stoically and silently in a shadowy corner like a ghost.
Going back the second time to view the exhibit despite its challenges justified the time and effort. It was wonderful to see the artist being present, the thoughtfulness of the piece’s placement, and engaging dialogue created within the retrospective. According to Liu: “History that repeats and forgets itself…” Fortunately, her art leaves a lasting impression that is worth revisiting. Overall, left feeling like I won an unforgettable visual feast for my mind…
May 19, 2013
It’s art fair season in San Francisco again. artMRKT San Francisco is one of four fairs including Bridgehampton, Houston, and Miami organized by Jeffery Wainhause, Max Fishko, and additional “unnamed” art dealers. The fair this year was held at the Fort Mason Center-Festival Pavilion from May 16-19th. In the spacious building, I counted 77 participating galleries (give or take one or two).
According to the venue’s website: “artMRKT San Francisco, the Bay Area’s premier contemporary and modern art fair, will feature 70 galleries from around the globe, bringing some of the world’s most intriguing artists and galleries to San Francisco. In showcasing historically important work alongside relevant contemporary pieces and projects, artMRKT will create an ideal context for the discovery, exploration and acquisition of art.” Thankfully, I received numerous free V.I.P. (very important person) passes avoiding the $20 a day charge. Being considered a “ V.I.P.” allowed access to attend all four days of the fair. However, my schedule only permitted for one visit on Saturday.
Overall, the art varied at the fair to match diverse tastes. If my bank account allowed 3 purchases of fabulous art without the all mighty dollar being a factor, here they are in no particular order:
It’s hard to not be cynical in regards to the art fair circuit. Amazing art critic Robert Hughes loudly and proudly displayed his anger at the commodity of art in a movie titled The Mona Lisa Curse. Andrew Pettie of The Telegraph: “In The Mona Lisa Curse, Hughes traces the pernicious rise of the commercial art market back to 1963, when Leonardo da Vinci’s most famous portrait was exhibited in New York. The Mona Lisa, says Hughes, was treated as thought it were a film star. People came not to look at it, but to say that they’d seen it. This ‘feeding frenzy’ over a single painting marked the start of a process by which works of art became celebrities in their own right. And from the 1960s onwards, as Hughes recounts, acquisitive collectors started buying works of art not because they liked them, but because they expected a financial return.”
When the downturn happened in the economy, I had clients contact me to make sure that their investment (my art) wouldn’t go down in price. Could Robert Hughes be right that art has now become an investment to trade like stocks and bonds? Hey, I’m not putting down making money and buyers. Because without those two elements, I wouldn’t have a pot to piss in to buy art supplies and feed my big dog. However, the art market has become so very trendy and chic that for this artist- I can’t compete and/or don’t want to.
Anyways, I’ll stick to what I know best and create. Let the V.I.P.’s hedge their bets on the hottest artist today. I’m an artist for the long haul and will collect/produce art that inspires, engages, and raises some good old-fashioned hell…
May 12, 2013
This upcoming September 4th-29th, I’ll be an artist-in-residence at the de Young museum’s Kimball Education Gallery in San Francisco. Being methodical, precise, and an anal-retentive artist, I’ve been planning for some time for the opportunity. Will do my best to make the exhibit the finest possible. An artist friend of mine declared “…no one will care about your art more than you.” Consequently, understood that message loud and clear.
During the residency, I’ll be exploring the patterns of the de Young museum through its artwork, architecture, and beautiful park setting. The diversity of the collections ranges from a ceremonial mask created in Mabuiag Island, Australia to Andy Goldsworthy’s Drawn Stone. It will be difficult and enjoyable to research and edit inspirations down to a workable number within the 293,000 square feet museum.
The stunning architecture of the museum was conceived by the dynamic Swiss firm of Herzog & de Meuron. Adelyn Perez of arch daily: “Known for their experimentation with materials in their designs, Herzog and de Meuron contributed a modern structure that allows original artifacts to remain, works successfully as a museum, and is a monument in its area just like the original museum. Their choice of natural materials, such as copper, wood, stone, stone, and glass allows the design to become part of the land it occupies. The landscape design includes pathways that lead into the four entrances of the museum, allowing visitors to enter from any side of the building. Inside, wood flooring and finishes create a warm atmosphere that lead visitors from room to room. Large ribbon windows continuously remind art lovers of their exterior surroundings, blurring the lines between inside and outside.” No doubt, the lines of the museum will inspire the drawings created during my residency.
Recently, had the opportunity to photograph reference images of the architecture, artwork, and Kimball Education Gallery. Met with Dana Morrison who is the de Young’s Museum Educator of the Public Programs and Cynthia Inaba of the Docent Council Office. Had a list of questions that both women graciously took time to answer. Wanted to know if I could hang installations from the ceiling or wall, the opening/closing dates, how much time was available for the install, and other useful information. Details are everything.
From the de Young’s website in regards to the residency: “This program enables museum visitors to meet artists and gives artists an opportunity to work with the public. By watching an artist work, talking with an artist, and engaging in art-making activities, visitors will learn more about various techniques and processes, thus gaining a greater understanding and appreciation for the art on view at the Fine Arts Museums of San Francisco.” Have a feeling this opportunity will forever change the perspective of my art practice and attitude. The inspiration will most likely transcend the walls and sheer scale of the museum. If my art motivates and engages one person, it will be a success…
May 5, 2013
Is there art just south of San Francisco’s border? Staying in Carmel for a few days, I decided to explore what the beautiful area had to offer besides the sun, ocean, and marine wildlife. Some art was interesting, thought provoking, and masterfully crafted while other pieces of “fine” art were neon pet portraits, naked idealized figures, and tourist trap nightmares.
Overall Carmel, CA is a golden gem near the ocean. First stop was Dawson Cole Fine Art to admire the art of fellow Academy of Art University professor Zhaoming Wu. Unfortunately, that gallery location didn’t carry his works and thought I was talking about artist Jian Wang. The work that stood out at the gallery were two prints by Chuck Close.
The second artist that peaked my interest in the sea of Carmel galleries was Cassandria Blackmore. It was confusing if the artist owned the gallery, if her art was on display 365 days a year, or if the venue displayed additional creatives beside Blackmore. Anyways, according to the San Francisco Chronicle: “Artist Cassandria Blackmore, who is dyslexic and sometimes finds it is easier to read backward than forward, has a fascination for imperfection that led her to her medium: shattered glass.” The gallery attendant told me that the Oakland Art Museum was acquiring one of her pieces. True or not, the broken glass was an interesting texture and element in Blackmore’s work.
Because the sales associates in Carmel didn’t want my husband, golden retriever, and I to leave any gallery we stepped into- time was of the essence to get to our next stops. As a result, we jumped into the Pruis to drive to UC Santa Cruz which is situated in the tall redwood hills with peak-a-boo views of the Pacific Ocean. First stop was the Eloise Pickard Smith Art Gallery featuring artist Bonnie Stone in an exhibit titled In Her Place: Visual Narratives. Ms. Stone’s watercolors are a commentary of women in various domestic or alternative activities. Her education includes the University of Illinois and The School of the Art Institute of Chicago.
UC Santa Cruz also has the Mary Porter Sesnon Art Gallery. Searching through a maze of campus buildings, I finally arrived at the gallery with 30 minutes to spare before closing time. According to the gallery’s website in regards to their current exhibit: “Award winning and leading chefs and artists in the Bay Area come together to expose the link between art, agriculture, community and experience. The Sesnon Gallery will feature an exhibition of artists’ installations and documentation reflecting this trend between food and art….The Sesnon Gallery will present an overview of the international movement around food and art coming together and forming a greater sense of community.” Thankfully, the exhibit was engaging and interesting.
Stopped by the Cabrillo College Gallery in Aptos but unfortunately they were closed installing an exhibit. Made it past the ladder blocking the door to get a sneak peak but couldn’t see the entire space. The next exhibition looked interesting but would be out of town for its opening date.
On the way back into the Bay area, decided that my aesthetic brain needed to see some good art. As a result, stopped by Cubberley Open Studios in Palo Alto to view the amazing art of Nancy White and Sharon Chinen. Ms. White’s clean lines, precise craftsmanship, and deliberate colors result in amazing pieces of art. Sadly, Ms. Chinen’s studio was closed and we missed her organic goodness of innovative installations. Overall, it was the best way to end the trip South.
Back in Point Richmond, it felt good to back. While Carmel had highlights of interesting art, it doesn’t match the galleries in the San Francisco Bay area. UC Santa Cruz had some thought provoking exhibitions due to being an academic institution. No surprise that back in the Bay area in Palo Alto that Cubberley Open Studios was the art highlight of the trip. Reinforcing the notion that there is really no place like home…
April 28, 2013
Being a creative nerd, attending artist talks is a must. I’ve been to a lot of art discussions over the years. Some have been at artist galleries, museums, studios, public spaces, sidewalks, backyards, parks, restaurants, and perhaps in the future on the moon. Some are slow, boring, and similar to watching paint dry. However, last week’s artist talk at the Berkeley Art Center featuring artist Ann Weber hit it out of the ballpark.
To be honest, I didn’t know what to expect and was pleasantly surprised.
Ann Weber is known for her large-scale cardboard installations, sculptures, and drawings. She finds cardboard in trash or recycling bins, cuts pieces into long strips, staples them together to create large voluminous shapes, and uses polyurethane as a binder. Take a look at The Wedding Party at Dolby Chadwick Gallery in San Francisco:
Ann Weber started the discussion in 1980 describing her educational experience at the New School for Social Research in New York City. She studied under instructor Viola Frey who is known for large ceramic figures of men and women dressed in 1950’s fashions. This Frey quote left an impression on Weber: “You’re a beginning artist for the 10 years after school.”
Inspired by Frank Gehry’s cardboard models, Weber has been working with that medium since 1991. Weber: “Cardboard allows me to make monumental, yet lightweight forms, and eliminate the cumbersome process of clay…My abstract sculptures read as metaphors for life experiences, such as the balancing acts that define our lives.”
Ms. Weber’s journey in life and art is inspiring overcoming many challenges and various love affairs. Her studio burnt down in 1995, received numerous rejection letters for public art opportunities, had to find creative ways to support her art and child, and survived cancer. Also, after 3 hours of stapling the cardboard strips together her hands hurt. Weber: “When in a crisis, being an artist and being to be able to create- saves you…”
Recently, Weber just got back from the American Academy in Rome as a visiting artist, fell in love with the city, and a handsome Italian. Not to mention that it had a dumpster of cardboard at every corner. Weber: “Rome is a city with more sculpture than any other city.” After the talk, the audience left appreciating the creative endeavors and adventures of Weber the Artistic Gladiator. Her bravery and courage inspires us all to love each day just a little bit more.
April 21, 2013
Last Tuesday night, I spent the evening at Pro Arts Gallery in downtown Oakland part of the Community Advocacy Alliance group. Walking over to the gallery, there was a gathering of activists on the steps of Oakland City Hall protesting the Keystone XL Pipeline Project. It’s never a dull moment in Oakland without the political activity, freedom of speech, and diverse opinions.
This was the group’s second meeting at the nonprofit exhibition space. According to Pro Arts Gallery the objective is to: “establish scalable training program organizing for change that benefits real people in their lives; encourage learn to navigate across political systems; focus on the allocation of public resources that reflect community in and trough the arts; Develop arts advocates committed to fair and equitable public processes.” Sounds like a noble cause to me.
The speaker for the event was 3rd generation Oakland native Harold Lowe. He’s a financial planner, advocate, former Oakland Planning Commissioner, community leader, and more. The goal of the seminar was to promote the arts in the political community, understand the function of government, defining budgets, building allies, and other good stuff. The two-hour seminar only skimmed the surface.
During the talk, Mr. Lowe stressed the importance of following the money trail in government. The group was showed an Oakland City budget that was multiple inches thick with numbers, charts, and overwhelming information. Bottom line: look at the top expenditures in government to understand its priorities.
What are the government’s top priorities? Does education rank in superiority to military? How can art receive the attention and merit it deserves? Honestly, our priorities in government seemed to be so far removed from citizens, disenfranchisement seems to be the prevailing option. However, not engaging should not be an alternative in our democracy.
My priorities are to be part of a community that fosters artistic expression, creates solutions that engage instead of disrupt, and invests in education. My first artist studio was in the Tenderloin in San Francisco and I shared two studios in West Oakland. Both areas are infected with poverty and crime. In fact, the school near my West Oakland studio looked old, tired, in need of repairs, and straight out of a war zone. Is it illogical to invest more in education and less on destruction?
Lowe: “Artists must work to get supporters in key decision making roles.” The goal is to effectively communicate how art can positively impact a society by building healthy and productive citizens. Bitching and complaining won’t cut it anymore. A future with hope, promise, and action are in order.
April 14, 2013
A month ago, I wrote a blog entry titled AN EXHIBITION THAT WILL MAKE YOU FAMOUS (
). It was inspired by a “vanity” venue that has relentlessly emailed me numerous times over the years with interest not in my art but money. A vanity venue is an exhibition that charges artists to display work and makes most of their profit from artist fees instead of public sales. FYI, when a wave a cynicism comes over me in today’s entry, this warning will appear: CYNICISM ALERT.
Since my last entry, I received additional emails from the venue with my name misspelled on the same sales pitch letter. Fed up and disgusted by another “spam” from the artist blood-sucking venue, I questioned their sincerity. Quoting from the offender’s letter: “The International Selection Committee of the EXHIBITION THAT WILL MAKE YOU FAMOUS have given their approval to your artistic production and, for this reason, would like to extend the opportunity to take part in the EXHIBITION THAT WILL MAKE YOU FAMOUS that will be held in the historic whatever sounds good to get your money…”
Since the committee has given the approval to my artistic production, I should be able to pick the pieces for exhibit. Right? CYNICISM ALERT: Hey artists, if you’re paying the bill then you should choose what will be displayed at the venue. Time to get empowered! Doubting the exhibition’s standards, the venue will most likely display anything to get cold hard cash.
To prove my theory, a continuation in discussion with the predators was in order. In the first email response from the vanity exhibit, the venue only wanted to display my paintings. I sent a follow-up email stating that my drawings and installations were only available for the exhibit. Of course they said yes to that request, they want my money. As a result, I sent them an email informing the AN EXHIBITION THAT WILL MAKE YOU FAMOUS of a new series of photographs based on vanity consumption and the lengths predators will go through to achieve “success” titled: Hot Mess.
This was a sample image of my new “series”:
Did the vanity venue bite at this amazing opportunity to exhibit my photos? Well, so far no response after several emails. CYNICISM ALERT: Could they be sick of my “spam”? Don’t they know the doggie poop photos will make me famous in the EXHIBITION THAT WILL MAKE YOU FAMOUS. How dare they not respond! My “photos” are just as legitimate as the “opportunity.”
But wait, the sales pitch emails will continue because I’m just another artist in a sea of potential profits. CYNICISM ALERT: This saga will continue like the Twilight movie franchise, and never die, and go away. Here’s to AN EXHIBITION THAT WILL MAKE YOU FAMOUS PART 3…