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Art News and Updates from Gallereo

All the latest news from the art world, as well as what's happening here at Gallereo. If you've built a gallery at Gallereo, let us know about your experience and you and your site could feature in our blog in the coming weeks.

Friday 22nd August 2014Artist Spotlight: Ansel Adams

Often when we zoom in on an artist to learn more about their career and their accomplishments, we tend to focus on the up and comers. This week, however, we're going to take a look at a truly accomplished photographer who has inspired entire generations of photographers: Ansel Adams. While known and revered among photographers the world over, Adams is not always known to those outside of the photography sphere - at least, not by name, although many would recognize some of his most iconic images of the American landscape.

Definitely known as a landscape photographer first and foremost, Adams travelled around America in the mid-1900s with a station wagon and a large format camera, which he'd often mount on the roof of his car to get the perfect shot. It sounds like a photographer's dream, really. He brought the beauty of the American wilderness to the people, even if they didn't know who had taken the picture.

Adams wasn't just a consummate landscape photographer, although that he certainly was. He was also extremely talented in the darkroom, which in those heady days before digital photography, could often make or break a photograph. Along with fellow photographer Fred Archer, he developed a system of image retouching still used today (albeit in digital form) known as the Zone system, which is entirely dedicated to ensuring that an image has the optimal contrast ratios and exposures. An early proponent of dodging and burning (lightening and darkening sections of an image in the darkroom, respectively), his proficiency helped push his images from beautiful to downright stunning, with a depth and clarity that was rarely matched by and photographer of the day.

Considering that he worked exclusively in black and white, his works had an incredible impact, and not only inspired a generation of photographers but also a generation of environmentalists, who saw the beautiful spaces of America and felt moved to act to protect their wild beauty. If every artist and photographer could have such a powerful impact on so many people, the world would be a much, much better place. Art is a powerful thing, and should never be underestimated in its ability to inspire and change the world. Ansel Adams passed away in 1984, but his dedication and vision will live on forever in his work and his passion for protecting the planet we all find so beautiful.

Posted on August 22nd 2014 on 12:56pm
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Wednesday 20th August 2014Art Animals

We sure do seem to get the strange ones, don't we? Just after we posted our recent Artist Spotlight on Cai Guo-Qiang, a piece caught our eye from the very same artist, although with a slightly more argumentative tone than our own. The famous Chinese artist has recently debuted an installation piece at the Aspen Art Museum in Colorado, and it's not the ire of the Chinese government he's aroused this time, but rather that of some American animal rights activists. The installation piece, has some rather unexpected components: namely, three tortoises. Three tortoises with Apple iPads attached to their backs. Yes, you read that correctly.

The piece is entitled 'Moving Ghost Town', and the tortoises wander around with the iPads in tow throughout the rooftop sculpture garden, a feature of the museum which has been added as part of a $45 million dollar building that has recently opened, designed by celebrated Japanese architect Shigeru Ban. The tortoises are African Sulcata tortoises, and they appear to be in perfect health, despite the protestations of the animal rights activists who want the trio of tortoises to be trucked towards a shelter. However, it has transpired that the three were rescued (though from what is not mentioned) from an Arizona breeder, meaning all are captive-bred and not wild caught specimens. The tortoises are regularly checked by an accomplished veterinarian on a regular basis, and the local Turtle Conservancy has apparently been consulted as well.  

And so what, do you ask, are the iPads showing, exactly? They're showing footage of three ghost towns - film that was shot by the tortoises themselves. Or, rather, shot by cameras mounted on them as they wandered through the empty streets and decaying buildings under the watchful eye of Cai Guo-Qiang. Presumably, the cameras were mounted using the same non-toxic silicone adhesive that is used to hold the current iPads in place, as it leaves no residue and causes no damage to the shells once removed. The animals appear to be in perfect health, as the negligible amount of weight to carry doesn't inconvenience them in the slightest.

Regardless, it's interesting to see how this will play out. Art and activism often go hand in hand so regularly, it will be curious to see what happens when they come to blows. A petition from concerned activists has gathered over 1000 signatures at the time of writing, but the Aspen Art Museum seems unmoved, and simply appreciates the extra publicity!

Posted on August 20th 2014 on 03:04am
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Friday 15th August 2014Taking Art Classes

One of the staples of night school and weekend classes, art classes for adults can be incredibly rewarding experiences that open up new bodies of technique, new connections, and new realms of creative possibility. They can, on the other hand, also be boring, pointless, and depressing - it all depends on how you go into the experience, who the instructor is, and how you interact with your classmates. Many of us artistic types are fairly introverted, and rarely ready to show off our first attempts at new styles or techniques to total strangers - but at the same time, showing total strangers as opposed to friends and family can be liberating. After all, if you choose, you never have to see any of those classmates again. It really does depend on what you put into the situation.

In order to make sure you don't waste your time (and maybe your money, depending on where the class is and what supplies you might need), take a bit of time to explore the program before you sign up. Naturally, looking at the instructor is essential. See if it's possible to speak with them before class, to get a sense of their teaching style, personality, and general skillset. Do they specialize in a medium you've always wanted to try? Don't just sign up after meeting the instructor, though. See if there are examples of the work the past students have created - if they were able to create something they were pleased with, they would no doubt take it home when the class ended, but the teacher would likely want to keep photographs or copies of digital files in order to showcase the works their students have completed under their tutelage.

If you go into the class with an open mind, ready to experiment and to learn, then you're going to have a much more rewarding experience than you would if you go in afraid of what might happen. Take it as an opportunity for growth, not an opportunity to show off how much you already know. Experiment with media that you otherwise wouldn't get a chance to use. Talk to people with an artistic inclination you otherwise wouldn't meet. Broaden your horizons, and you never know what could come of it. Maybe the person at the next easel over is starting up a gallery!

Posted on August 15th 2014 on 10:06pm
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Wednesday 13th August 2014Do You Compete?

Competition isn't usually one of the first ones a person thinks of when they're thinking about art. It's generally high-flying ideological pursuits, pretty pictures, and maybe the whole starving artist thing. But there is a whole world of art competitions for those who are ready to start taking their work out of the studio and putting it in front of the world. Many artists have no desire to do so, and that's a perfectly acceptable choice - but for those that do, we're going to take a look at some of benefits and pitfalls of the art award, whether it's having your work up in a local library or something a bit more prestigious like a juried competition.

First of all, it's important to point out that many artists go their whole careers without winning awards - even the world-famous masters that have many works in galleries around the world often went unappreciated by the artistic sensibilities of their peers. If you have no desire to join an art competition, don't feel bad! Art is fulfilling on many levels, and adulation is not a prerequisite. Even if you do enter but don't win, don't let that discourage you - try to use it to motivate you to work even harder on your next piece.

The juried show is probably the most prestigious type of competition that is run in the art world today. Typically, a number of accomplished members of the art community - gallery owners, museum directors, and even a couple of more well-known artists - will make the final decisions about the winning entries. Even if you don't win, it's often a great way to start building exposure for yourself as an artist, and if you do win, then you'll obviously get a great exposure boost, and probably a nice little award in the bargain.

That being said, don't hesitate to get your art out into the world any way you know how, whether it's on a crowd-sourced platform online that lets the viewers vote or some other channel for getting exposure. The only route to exposure that's a bad door to open is to do commissioned works for free on the simple promise of "getting exposure" - that tends to be code for "someone is trying to take advantage of you because they don't think they should have to pay for your work". Steer clear of that, and stick to methods that give you and your work the respect deserved.

Posted on August 13th 2014 on 10:04pm
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Friday 08th August 2014When Museums Sell Their Artworks

Unless you've been living under a rock for the last 6 years (and nobody foreclosed on your rock), you're probably aware that the world has been going through a serious period of economic turmoil that has rocked industries from one side of the globe to the other. Despite what we hear about art auction prices and record sales numbers, the art world isn't immune from this economic instability, and some of the most venerable museums in the world have had to variously tighten their belts, whether it comes in the form of reduced hours, smaller collections or, in the case of one recent museum, actually beginning to sell off parts of their collection.
Needless to say, it must be a fairly difficult decision for a museum to decide to sell off some of its collection - even a single piece, hard-won, can be difficult to let go of. The cautionary tale of the troubled and essentially bankrupt city of Detroit and its museums should have given some idea of what the backlash would be like when selling assets, but as it turns out, the directors of the Delaware Art Museum weren't paying such close attention.

In fact, they recently sold what is arguably one of the most famous pieces in their collection at auction in order to help their financial situation. William Holman Hunt's 'Isabella and the Pot of Basil' was sold at auction by Christie's. The museum claims that the it was all to settle a debt that was incurred by expansion that had no other solution, as well as adding the museums endowment coffers. The Association of Art Museum Directors was so enraged at this flagrant sale they formally sanctioned the Delaware Art Museum in June, preventing any other member museums from loaning works to the Delaware and preventing them from helping with any exhibitions.

Amusingly - or irritatingly, depending on where you stand - Christie's had valued the painting between 8.4 and 13.4 million dollars US - which would be quite a substantial part of the $19 million debt they wanted to settle. However, Christie's only managed a $4.25 million sale, just barely over half of their lowest valuation. Embarrassing for all concerned.  

However, the Delaware hasn't learned its lesson, as it has announced plans to sell an additional two works from the collection, Winslow Homer's 'Milking Time', and Alexander Calder's 'The Black Crescent'. Admittedly, their membership is down nearly 50% compared to 2001 levels, but still, it's hard to see how reducing the collection is a sustainable strategy for building membership numbers for the future.

Posted on August 08th 2014 on 05:30pm
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Wednesday 06th August 2014Because 'Art', That's Why!

 
Many people, both artists and non-artists, fall into one of the following categories: those who love modern art, those who are confused by modern art, and those who are confused by modern art but pretend to play along so that other people won't think they 'just don't get it'. Sometimes, it can be hard to tell which category you fall into, and it's possible to transition fairly rapidly between groups, especially when artists seem consistently trying to one-up each other with even more bizarre and conceptually ridiculous projects. It should perhaps come as no surprise, then, that 4chan, those internet superheroes/villains (depending on who you ask, and which day it is), has recently played a vital role in what has to be one of the most ridiculous art sales of all time. Assuming, of course, that the whole thing isn't a hoax.

A 4chan member took a bad digital photograph of a computer screen displaying a post from the 4chan message board, and subsequently sold that photograph on eBay for almost $100,000. Yes, you read that right. Titled, 'Artwork by Anonymous' (anonymous being the appellation given to users of the message board who refuse to provide any other name), the piece sold for $90,900 USD on August 1st, 2014. The seller, named xhacker02, has been a member of eBay since 2007, and has generally positive feedback, and the person who bought the artwork appears not to have retracted the bid. As a sideline of the eBay system, however, it is possible that if the buyer and seller discuss the matter and for whatever reason - say, if this whole thing was a joke/hoax - decide not to go ahead with the transaction, we the lowly viewer will never know that the sale never actually happened. As if that wasn't enough, now there is a similarly styled post entitled Artwork of Artwork By Anonymous, although that has yet to receive any bids.

Does it really matter if the sale happened, however?It's important to realize that much of conceptual artwork happens within us the viewer, rather than that which is projected by the 'artist'. In that case, literally anything is art if it causes us to reflect on the world and our role in it, the role of other actors and objects and life, the universe and everything. Kudos, 4chan. Welcome to the art world.

Posted on August 06th 2014 on 05:53pm
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Wednesday 30th July 2014Artist Spotlight: Cai Guo-Qiang

Most of us in the art world have heard of Ai Weiwei, a famous Chinese artist slash dissident who's been making headlines with his challenges to the dictatorially smothering cultural atmosphere in the world's most populous nation. But perhaps fewer have heard of Cai Guo-Qiang, however unfairly, since he's equally controversial and has a remarkably distinguished artistic career. Born in Quanzhou, Fujian Province, China in 1957, he has been living and working in New York City since the mid 1980s, and has a decided penchant for grandiose works of epic scale.

Perhaps inspired by his firsthand experiences of the Cultural Revolution as a teenager, where gunpowder was a common sight and explosions a common sonic backdrop, he experimented early on in his career using gunpowder as an artistic medium, which also earned him his first nods for his multi-part work, Projects for Extraterrestrials. In one especially notable entry in the series that took place at a section of the Great Wall, a stretch of gunpowder six miles long was used to engrave a section of the Gobi Desert with a dragon motif that was a salute to traditional Chinese culture and heritage.

Recently, however, he has begun to become slightly more critical of the current state of affairs in China, specifically with regards to the environmental impacts that the nation has experienced as a result of its rather monumental and incredibly rapid industrial growth over the past 20 years. One of his latest works, titled The Ninth Wave, is being hosted in Shanghai at a gallery named the 'Power Station of Art', and features a moored barge that is populated entirely by taxidermied animals in various poses of sickness and distress. A dig at the Huangpu River's pollution (which grabbed headlines last year over the dumping of 16000 pig carcasses from a farm), the work is intended to raise awareness about the environmental issues associated with industrialisation. Interestingly enough, the Power Station of Art is owned by the Chinese government, and hosts this work despite the fact that it is at least partially critical of the current state of hyperindustrialisation.

Cai has had quite a distinguished career, earning numerous plaudits and awards from various juried competitions, and worked as the Director of Visual and Special Effects at the 2008 Olympic Games in Beijing, a fitting assignment for an artist whose grand scale of work is matched only by his impressive visual flair.

Posted on July 30th 2014 on 07:23pm
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Monday 28th July 2014Public Art Thefts

Public art is often something a gamble. When bureaucracy and art intertwine, it's not always with pleasing results. A perfect example occurred in Ottawa, Canada, recently this year when a public art installation was erected whose entire design and premise was based on an incorrect encyclopedia entry, leading to snickers and jeers and red-faced officials. Almost the opposite occurred recently in New York City, when the Department of Transportation put up a sign-based art project throughout the city.

Actually the work of Ryan McGinness, the signs were part of the Summer Streets project, where large sections of roadway are closed to motor vehicles and opened for public recreation. The signs, which were designed to look relatively official, following the general white, black and red pattern found commonly throughout New York City streets, instead sported much more appealing notices than the usual parking signage.

However, a curious thing began happening - the signs began disappearing. Eventually, the Department of Transportation caught on, and began to replace the signs, but not before 40 of the 50 signs had been stolen by presumably artistically-inclined thieves. The really strange thing, however, is that it seems like the average passerby couldn't care less about the signs, which may blend too closely with the cacophonic visual language that is part of the New York City parking system.

The Department of Transportation is working with the New York Police Department to track down the stolen signage, despite their rather modest production value (roughly $800 USD). What about these art pieces spoke so deeply to some passersby that they felt inclined to steal them, whereas others simply failed to notice them at all? Speaking to the Wall Street Journal, Ryan McGinness said, "There's a lot of expense involved, and a lot of labor. To have an individual steal them or to have them stolen by the public really flips that mind-set."

It raises a question about street art that has also been raised thanks to the incredible values placed on works by popular street artist Banksy about who actually owns the pieces that are created on walls and other "canvases" that aren't actually owned by the artist. In this particular case, of course, it's likely that the Department of Transportation could be considered the actual owners of the pieces, but street signage is stolen fairly frequently, and any attempts to sell the pieces would doubtless swiftly bring down the wrath of the NYPD, something that the casual public art thief is likely unprepared to deal with. Here's hoping that the signs are restored, and will continue to bring wonder and joy to those lucky few who take the time to truly appreciate and enjoy their surroundings.

Posted on July 28th 2014 on 06:25pm
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Friday 25th July 2014Tablet Sketchbooks

Sometimes it feels that being alive in the 21st century is akin to living in a science fiction future, and to a large extent, this is actually true. Portable communicators (aka mobile phones) are everywhere, and any one of them has more power than all the computers humanity had built before the year 1990 put together. It's fantastically amazing, and the art world hasn't been left behind. Digital cameras, home scanners and drawing tablets have completely changed the way we interact with computers and digital imagery, all to our gain. One thing that hasn't really changed, though, is our desire to take ourselves out into the world and create while we're out there. Practicing sketching in the studio is all well and good, but it can get pretty boring pretty quickly. There's a reason you often see art students out at fairs and other locations, practicing life drawing and sketching in real world situations. So how does the science fiction future touch them?

Tablets. Tablets were a niche market item at their outset, but rapidly have begun to supplant the laptop as the ultra-portable workstation and computer, and with good reason. Excellent screens, and reasonable battery life have solved the problems that held the early models back from widespread adoption. The development of solid application ecosystems for both Android and iOS tablets have greatly changed how useful they are, and the art world is no exception.

You may even own a tablet, without ever having considered the value that it might have as an artistic tool. Many free applications exist that offer sophisticated drawing technologies for those who are interested, although we have to recommend that you buy a stylus for doing any serious kind of sketching. Partly, this is because it most closely mimics the traditional drawing experience, which has remained more or less unchanged since the time of cave paintings with good reason, and partly because using your finger to do more than basic control of the tablet can get pretty frustrating after any length of time. If you stick with it, you could adapt, but as styluses are fairly cheap nowadays, it makes sense to at least give it a shot with that method.

As for which sketchbook application to use, we're recommend testing out a few of the free ones to help you decide what control system works best for you, but personally we're fans of Autodesk's Sketchbook app for Android. It's free, and powerful, and fun to use - and you never have to worry about losing your sketchbook again, since you can save everything you draw to a cloud-based storage system like Google Drive, and many tablets come bundled with some sort of cloud storage from the manufacturer.

Regardless of what you choose to use, go forth and explore the world with your tablet, and uncover your own science fiction future of artistic possibility!

Posted on July 25th 2014 on 08:21pm
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Tuesday 22nd July 2014The Importance of Archiving

Being an artist is a great life. Living passionately and fully experiencing the world is something that would change the world if more people had the courage to do it. Busywork and paperwork aren't parts of our lives (in general), and most of us really like it that way - after all, would you rather be at a desk or in the studio? There is one type of work that most of us tend to ignore for this reason, however, and it's usually to our detriment. Archiving. Storage. Backups. It's time that could be spent in the studio, right?

Well, that's true, but there is a huge advantage to having a system for storing your past work. Not just your past work, but also your past thoughts, experiments, and even your simplest doodles and thought-fragments. You never know when they might trigger an idea that you've been incubating subconsciously for the last 10 years, patiently awaiting the right time and mindset to bring it out.

This is equally true for digital artists - make sure that you have multiple copies of your history, because a single hard-drive crash could wipe out an entire career's worth of work if you're not careful. As we explained in our post about transitioning to digital work, if your files don't exist in *at least* two different digital places, you can't really be sure they'll survive. The equivalent for artists who work in physical media might well be a safe or fire-proof box, if you can manage it, and if possible, try to make digital images of all your work as well.

Next time you hit a bit of a creative slump, or you're feeling at loose ends, why not take some time to gather up all the various bits and pieces of work and thoughts and ideas that you've had over the last little while and sort through them, whether in an effort to stimulate creativity or just to make sure that you don't lose them? It can be remarkably rewarding, and it has an extra long-term benefit - once your career takes off and you become a world-renowned famous artist, won't you be glad that you kept all the work that acts as a visual autobiography of your creative endeavours? Early sketches and experiments by famous artists command incredible sums of money, even though they are not finished works!

Posted on July 22nd 2014 on 08:18pm
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