Art Space Talk: Melanie Willhide

I recently interviewed artist Melanie Willhide. Melanie was born in Manchester, Connecticut in 1975. She received her undergraduate degree from Rhode Island School of Design in 1999 and earned her MFA from Yale School of Art in 2002.

After working in New York as a Production Manager for artist/photographer Gregory Crewdson, Melanie moved, in 2004, to Los Angeles, where she currently works as an Assistant Professor of Photography at Cal State Fullerton.

Melanie had her first solo exhibition at the AOV Gallery, in San Francisco. Since then she has been exhibited in Boston at the Bernard Toale Gallery, in San Francisco at SF Camerawork, and in New York City at Wallspace Gallery. She is in the collection at Yale University’s Davenport College and The Paul and Barbara Kaben Collection in Boston, Massachusetts.

Melanie was nominated by Philip Lorca DiCorcia for V Magazine’s Exposure 14 photographers to watch. Her work has been published in PDN, SF Camerawork, Details Magazine, Photo Metro, American Photography and The Boston Globe.

Q. Melanie, your photographs are known for capturing raw emotion- the series, Augmented Sixth, comes to mind. These photos seem to tell a story, but it is left up to the viewer to 'construct' said story based upon his or her own perception. What was your goal when creating this series?

A. "I was interested in making something that was baffling and unnerving in how familiar it was, but still elusive. Life rushes by at such a rate that when the most fundamental parts are identified they are already in the process of being erased."

Q. You recently had a solo exhibit titled- "Sleeping Beauties (The Box > Under the Bed)"- at Real Art Ways, Hartford, CT. Can you tell us about the exhibit?

A. "This exhibit was of particular importance to me on a personal level. I grew up not far from this space. It along with the Wadsworth Atheneum, Hartford Ballet Company and a small punk club called Studio 158 offered me a sense of how much bigger the world could be. It was nice to be able to give back in some small way by exhibiting there."

Q. You studied at the Rhode Island School of Design and Yale Univerisity School of Art. How did working in these two art departments shape you as an artist? Can you tell us about the departments? Who did you study under?

A. " At RISD Ann Fessler and Deborah Bright. At Yale P.L. Dicorcia, Gregory Crewdson and Cathy Opie. In undergraduate I learned to ignore my body and work from my mind. At Yale I learned how not to be in the world. Both departments are strong but for almost opposite reasons. RISD: Girls teaching girls. Yale: Boys teaching pretty talented girls. The people I studied with at Yale have become like family. Crewdson did more for me than he will ever be aware of."

Q. You have been a Guest Lecturer at several art schools. What topics do you normally discuss?

A. "The state of photography, as well as economics, MTV, past loves, current obsessions, the war. This depends on the age and the experience of the crowd."

Q. Can you tell us more about your series Sleeping Beauties... and Love Letters. The works in this series are a break-away from the photos you created for Augmented Sixth- yet they strongly capture a sense of loss just as the photos had. When did you decide to go in this direction with your work?

A. "I moved to California and en route I was notified that all of my belongings (including 5 shows) had been burned in an accidental fire over the state line of AZ to CA. When I visited the remains I found the boxes appeared to have been looted and torched to look like a fire. Sifting through the remains I found my most favored dress, an Alessandro Dell'Acqua, fused to a cheap plastic blender. This dreamlike disoreintation of having no things to define oneself got me thinking more, and differently, about abstraction - the space of time between seeing and knowing. The project came shortly after that."

Q. When did you decide to pursue art? In other words, when did you first discover that art would be an important part of your life?

A. "It was not a decision or a discovery - I grew up in a family of people involved with lives of making and invention."

Q. Can you go into further detail about how society has influenced your art? What are the social implications in your work?

A. "We are all being watched. Men are the new women. We make choices about how we live by looking at images. I wish we were not so psychically damaged as a culture - my work imitates, modifies, and attempts to define that damage."

Q. Can you share some of your philosophy about art and artistic creation?

A. "The study and practice of art is imporant. It can change the quality of lives. Money and ego make it messy but very arresting. All of my work capitalizes on two things. The ablity to see our own lives in others. Nothing adds up to the way we think it should."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Absolute quiet."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "In "Xenia poses for James" (image above) you are confronted with a scene that should be a giddy and thrilling feast for the eyes - but the pairing of fantasy with with a basic bodily function forces you to rethink the often smooth process of objectifying women."

Q.Where can we see more of your art?

A. "My website: www.melaniewillhide.com "

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I am in a relationship with Bellwether Gallery in NY right now - although not fully represented by them at this point. I am working on one in LA."

Q. What trends do you see in the 'art world'?

A. " Taste is the new talent."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Now, last week, two years ago, ten years ago. Artists are like ascetics - we take a vow of poverty to reach enlightenment. But it is the definition of enlightenment that is the hardest, most maleable part. If art gets easy there is something wrong."


Q. What can you tell our readers about the art scene in your area?

A. "Los Angeles is a very interesting place - the galleries here support the college art departments here. Which for me having not been educated here has provided some obstacles - which I find fascinating for such a transient place - that the locals support the locals, and keep a watchful eye of newbies. They are cowboys."

Q. Has politics ever entered your art?

A. "A bit. There is a lot Americans have been living with, such as a culture war, the environmental crisis, a system that exploits its citizens and does not protect them - as a result we have been forced to think about how we contribute and what will become of us when we are gone. In my experience anxiety is a durable state capable of much power and more destruction."


Q. Does religion, faith, or the lack thereof play a part in your art?

A. "No."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "And indite myself more? No."

I hope that you have enjoyed my interview with Melanie Willhide. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Embedding Galleries into your personal website/myspace

myartspace galleries were designed to be "embedded objects" in techical terms. Very much like a YouTube video, they can be inserted into HTML code. There are some compatibility issues that arise when you use an embedded object versus a simple URL link to your gallery, but it certain offers a neat alternative.

For a PDF with detailed instructions click here

One thing to note is that the upcoming "artist stores" will also be embedded objects. This means that artists can design their stores much like they do their galleries today, and include that store right inside their personal website all by copy & paste.

Good luck!

Art Space Talk: Chad Robertson

(photo by Robin Andersen)

I recently interviewed Chad Robertson. Mr. Robertson was represented by sixspace gallery at the PULSE Art Fair in New York (2007). I contacted Chad shortly after interviewing Caryn Coleman- the owner and director of sixspace gallery.

Chad Robertson's paintings involve both a video camera and a computer. The subjects are first videotaped with a digital camera during an "interview" session with the artist. The digital footage taken from this experience is downloaded into the computer where Robertson examines frame-by-frame looking for the "moment between moment" gestures that lie behind the façade of external projections.

These chosen moments (subtle nuances such as a blinking eye, a hand brushing the face) are layered in Photoshop, juxtaposing different expressions to complete a rough "video sketch". This digital composition is then used as the reference for the final execution of the painting.

Mr. Roberston is currently working on a new body of work. It will be interesting to observe what direction he takes with these new paintings.

Q. When did you first discover that art would be an important part of your adult life?

A. "I was around eight years old- in 2nd grade- when I did a drawing at school and got a lot of attention for it. I had no idea I was any good and was quite surprised with the reaction I received..."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I think all art is affected by the society that an artist lives in, even if it's unintentional. The culture seeps in by osmosis, it really can't be helped on subliminal level. I think my work has political influences on a second tier. It doesn't speak directly to the politics of the day but I feel it speaks more of the effect that politics has on the society that I live in."

Q. On average, how long does it take you to create a piece?

A. "The earlier work went much faster, I would get a 5 foot canvas done in around 3 days. The new work that I have just started (and really hasn't been shown yet) is much more layered and complicated. These new works are averaging about a month, and that's for a 30 by 40 inch size piece."

Q. Can you share some of your philosophy about art and artistic creation?

A. "For me personally- it is a mental discipline. It's something that I have to do. With all of the frustration and trauma that goes into making something and trying to make something good, something that resonates in this world, I still find myself year-in year-out going back to it. It's like breathing or eating- something that can't be stopped."

Q. Has your art ever been published? Where?

A. "Yes my last show was reviewed in the L.A. times. I was on the cover of Anthem magazine in 2006(mar/apr), and Spanish magazine called Staf, a magazine called Ingenue, the L.A Weekly a few years back...."

Q. What was your most important exhibition? Care to share that experience?

A. "It wasn't the most important exhibition for my own work but it was the most important exhibition that I participated in. It was an exhibition titled "Cruel and Unusual". It was a benefit exhibition for the West Memphis Three. It was to raise funds and awareness for three kids who were wrongly convicted for murder in Arkansas in 1993. One is on death row the other two got life without parole. It was a complete witch hunt and a travesty both for the kids and the victims whose killer(s) are still out there free. It's insane compelling story, the best resources to learn about it are the two award winning HBO documentaries "Paradise lost" and "Paradise lost: Revelations" both are brilliant films that give you the low down on this tragic story. There is also the official website dedicated to getting these guys out of prison and that is www.wm3.org "

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Yeah music is tantamount. I think I could say that music influences my art more that other visual artists, it's that important to me. So yeah my ipod is my constant studio companion, it's always on shuffle and for working it is usually a mix of ambient grooves blended with more melodic rock/pop/ alternative ect..."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A."They all collect art? I'll pass on this one. haha...."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "I am working on a new body of work right now that I'm tentatively calling "mash ups". The example here is titled "mash up 02" (image above).

In a nut shell I'm seeing the narrative of the painting as a piece of music. I was really interested in taking visual elements and combing them like a musician would combine notes or string words together to create lyrics.

The new work is a homage for my love of music. I tried hard to be able to play an instrument when I was younger but was never very good at it. My talent was in art so this is my stab at making music in my own way."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "I graduated from Otis/Parsons (when it still had Parsons attached to it) here in Los Angeles. I consider school incredibly important to the making of art. it really helped me to basically learn the fundamentals of drawing and painting and it was fantastic having the critical response from my teachers and my peers in the classroom."

Q. Why did you choose the medium(s) that you use?

A. "Paint just made sense to me. It felt right and I felt most comfortable using it. in school I painted with gouache and acrylic. My post school work has been mostly in oil."

Q.Where can we see more of your art?

A. "I won't be having a solo show locally (L.A) until April 2008. I will be in a group show here in L.A at the Pharnka Gallery in May. There is also a group show that I am doing in Seattle at the Ok Ok gallery in mid August. I will also have work in the "07" art fair in London which coincides with frieze with sixspace in October. but you can always visit sixspace(my gallery) here in Los Angeles and I have work in the "backroom" there."

Q. Are you represented by a gallery?

A."sixspace represents me here in Los Angeles."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "sixspace is the place. www.sixspace.com or you can visit my website at www.chadrobertson.com "

Q. What trends do you see in the 'art world'?

A. "I try not to look at the trends, it's a bit daunting and I don't want to be distracted. I definitely look at art but not in the 'trend' frame of mind. I seek out what I can enjoy and learn from."

Q. Any tips for emerging artists?

A. "Get an education! I really feel that it is so important to go to school, learn the fundamentals of your craft. Learn to be critical as well as taking criticism. School is really great for just having an art community to be apart of, to learn from. It's an invaluable experience."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "Actually it hasn't."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Well I don't want to scare anybody off but it's always kind of tough. Making a decent living creating art is REALLY hard. I really don't believe or find the starving artist cliche to be that romantic. For me personally I make the strongest work when I'm not freaking out about the bills. I also freelance as a designer doing movie posters to keep the wolves by my door at bay...."

Q. In one sentence... why do you create art?

A. "It's something that I need to be doing with my life."

Q. What can you tell our readers about the art scene in your area?

A. "I live in Los Angeles which is considered the number 2 art capital in the world. There is an immense art scene happening here with an incredible amount of talent. I was in New York for the art fairs this past February and they have one that is dedicated to just mainly L.A galleries. It gave me the opportunity to see a slice of this city in one show. of course it didn't represent the L.A art scene as a whole but even this little slice was incredibly impressive. There is so much talent here it's scary, and I'm not saying that just because I live here. Ha Ha..."

Q. Does religion, faith, or the lack thereof play a part in your art?

A. "Not intentionally."

Q. Do you have any concerns about the current 'art world'?

A. "If I answer that question it will fill a book."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "I think I about said it all, Thanks for the interview!"

I hope that you have enjoyed my interview with Chad Robertson. Feel free to critique or discuss his art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Van Renselar

I recently interviewed artist Van Renselar. Mr. Renselar has travelled extensively. He grew up in South Wales and London, where he now lives and works. After committing himself fully to abstract painting 10 years ago he has rapidly become one of the most original of the emerging modern abstract artists in the UK. He has exhibited at many venues, including Art Basel, Miami, USA.

As an abstract artist, Mr. Renselar produces colourful abstract art that is concerned more with form, composition and colour as an alternative to subject matter. Across his range of colourful abstract art, there’s no defining key of symbols. There is no ‘language’ for the viewer to learn. Each piece of work establishes itself on its own visual merits and the viewer’s interest.

Q. When did you first discover that art would be an important part of your adult life?

A. "When I left school and my formal contact with the practice of art was cut off. I realised then that I needed to replace that provision myself. I don’t believe anybody becomes an artist, you are born one.

Ever since I was a child I have found myself attracted to making abstract shapes with line and colours. I remember seeing some paintings by Miro at a very early age, and found myself quite excited by them.

I was never particularly drawn to ‘reproducing’ the world that I could see, I mostly wanted to make images of things that aren’t usually seen. I have been making these pictures all my life, but it is only within the last decade that I decided on ‘going public’."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Whether I like it or not, society has an influence on me, ergo it must influence my art. Having said that, there are very few attempts on my behalf to comment on society. Mostly my work is about how I interpret the world I see and experience around me and inside me."

Q. On average, how long does it take you to create a piece?

A. "I tend to work in a sporadic fashion, often on several pictures at the same time. Sometimes I leave a picture for weeks before coming back to it. This is usually because I sense something is not working the way I want it to but can’t put my finger on it. A space of time is an ideal way of coming back to a picture with fresh eyes and seeing exactly what it was that bothered me."

Q. Can you share some of your philosophy about art and artistic creation?

A. "For me, integrity has got to be the bottom line – do what you do for yourself, not with an eye on sales.

My inspiration comes mainly from within my own mind where I see things in terms of different shapes and colours. I often regard myself as a ‘translator’ – taking those visions, experiences and thoughts and making them into their equivalent shapes, colours and images.

With my pictures, creativity often comes about through improvisation."

Q.Where can we see more of your art?

A. www.van-renselar.com

Q. Is it true you are self-taught?

A. "Yes. For years I felt as though I was somehow lacking, having missed out on something vital. Now I sometimes regard this as an advantage. It means I don’t feel inhibited by the weight of historical knowledge, I can just try things out myself - they work or they don’t. Great art has often been made by rule-breakers."

Q. Can you tell us something about your technique or the process by which you create a painting? Where do you start?

A. "My pictures begin with a feeling, an impression of what they will look like when completed. Only that – an impression. I make many drawings and small painted elements which are then scanned into a computer and collaged together in Photoshop.

During this process intuition and experimentation kick in and I discover that the picture can be improved with an addition here, a colour tweak there, a compositional adjustment elsewhere...The picture then creates its own life - its own logic. It starts to create its own energy - the picture becomes its own subject.

The final picture is then ‘output’ ie. printed via a giclee printing machine onto canvas."

Q. What materials do you like to use? Are there some materials that you feel more confident using? Why is this?

A. "In the past I have used house paints, pencils and felt tip pens, but most often it has been gouache, oils, then latterly acrylics. Currently I use anything that comes to hand.

I work sporadically, sometimes very swiftly, other times painfully slowly. My particular working method has evolved over a period of time and now I wouldn’t even consider changing it because it suits my erratic work patterns.

The computer allows me to make endless changes and improvements and I don’t have to worry about paint drying. I use paint and ink (and even the occasional bit of photography) to create the initial elements prior to scanning them because those parts are often done quite spontaneously and therefore have an inherent honesty.

It would be easy to overwork these elements, but I don’t need to concern myself with that because they are just parts of an ‘overall’ picture which only comes into existence when all the pieces are put together in the computer."

Q. You are usually described as an abstract artist, yet your paintings sometimes have non-abstract elements, how should we understand them?

A. "These are spontaneous symbols. I have no ongoing iconography of symbols, they are just things that occur to me when making the particular picture, hence their meaning can differ from picture to picture.

They seldom have a meaning related to what they actually resemble. I don’t really aim for my pictures to be understood literally - deconstructing a picture would be like dividing a poem into its component words.

I want my art to be interpreted by every viewer in their own way. It is for this reason that the titles are often cryptic or even wilfully misleading."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I often start work with music playing loudly, fully intending to carry on this way. But usually I find that the music has finished an hour ago and I hadn’t even noticed."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I like mystery and being forced to make my own interpretation of the picture I look at. Sometimes when I’ve been working in an ‘intuitive flow’ I don’t understand my own finished picture, I just know I like it, it makes me feel something.

I suspect that people who buy my pictures feel the same way as me. Perhaps this is why my pictures go down well in corporate environments – abstracts don’t have to be interpreted, they can be treated as just pleasing shapes and colours."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. "No, I’m not represented by a gallery at present, but I think I would like to be. I have appeared at many art fairs and shows, but I always enjoy the smaller shows more.

The best sales have always been from shows at small galleries, bars and restaurants, although my website at www.van-renselar.com does help pay the rent.

The next show I am at is Wet Pixels in the Peacock Gallery in Poole, England in June this year. This is a show devoted to digital art, which although I am not a digital artist, spreads it’s umbrella wide enough to cover my work."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "‘Amongst Us’ (image above) is slightly unusual in my body of work in that it is something of a graphic representation of its subject.

Some years ago two young boys abducted a toddler from a shopping mall, took him to some waste ground where they killed him. The way they did it put me in mind of the way children sometimes torture and kill insects and other small animals. This was one of the saddest events I know of. The central motif in my picture is taken from a CCTV picture of the two boys leading the victim away, a picture that has stayed with me for years.

In it the event is still before them, the act not yet committed. What prompted me to make this picture was learning that the two boys have now been released after serving their sentences and are now back amongst us."

Q. Any tips for emerging artists?

A. "I would say – be honest to yourself, don’t compromise. Keep trying however hard it seems in a world where no-one seems to notice. Your art is YOUR art, nobody else can do it the way you do, it is unique to you…it is you."

Q. Why do you create art?

A. "Because I love doing it. Because I need to do it. Because I want something out there that is uniquely me. Because I want to make something that nobody else has made."

I hope that you have enjoyed my interview with Van Renselar. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Attaching Videos to myartspace galleries

myartspace was designed to allow the users to upload an unlimited number of images, music and video to create a comprehensive perpective on the artists.

Attaching a video to a gallery is easy to do, and we have provided a pdf document that you can access to go over the 5 quick steps to adding video. Currently we support the following formats: FLV (Flash movie file), AVI (Windows), WMV (Windows Movie File), MPEG and MPEG4. We do NOT support Apple MOV files yet. If your video file is NOT an FLV file, it may take 15 mniutes for the myartspace server to convert it to FLV format internally for quicker playback.

Below you can see what a gallery is like when it has a video associated with it. In the upper right side you will see an icon indicating a video is available to play.



To see this gallery in myartspace, click here


To read the two-page PDF document about of how attach video, click here

Art Space News: Tracey Emin Unveils Cryptic Flag

Tracey Emin has unveiled one of her latest works- a large flag featuring a cryptic message painted against a backdrop of swimming sperm. Tracey Emin is no stranger to creating and displaying work that is considered controversial. Some critics have suggested that she has built her career on controversy. It comes as no surprise that this new piece is causing a stir.

Emin, 43, wrote "One Secret is to Save Everything" on the flag in red letters. She has stated that the artwork is "a flag made from wishful thinking" though it is not clear what the meaning of the piece is. This dash of mystery has crowds flocking to the piece in order to find out what exactly it is about.

The 21' by 14' flag will fly above the Jubilee Gardens in the British capital until July 31. There has been some public outcry since the parliament building and the London Eye are in the same vicinity as the flag. Some sources have speculated that the piece will be removed before July 31 due to civic unrest.

Emin has used flags in her past work. Her 1999 Turner Prize show included No Chance (1999)- a fabric image of the Union flag alongside stitched protest statements. It is obvious that this new piece is a protest as well- however, we will not know until Emin speaks.

Art Space Talk: Rachel Simmons

I recently interviewed artist Rachel Simmons. Rachel grew up in Port Tampa and Bradenton, two communities located in the Tampa Bay Area. She attended Rollins College in Winter Park, Florida completing an Honors degree in studio art in 1997.

Rachel studied printmaking and painting at Rollins under Bosnian artist Tanja Softic. After graduating, she left for Baton Rouge, Louisiana, where she completed an MFA under the guidance of painters Michael Crespo and Edward Pramuk at Louisiana State University.

In 2000, Rachel returned to her alma mater Rollins College as an assistant professor. At Rollins, she has been actively involved in connecting the studio arts curriculum to the local community through specialized service-learning courses and collaborative art projects.

In the last few years, Rachel’s work has been exhibited in Florida at the Orlando Museum of Art, the Cornell Fine Arts Museum in Winter Park, and the Arts Center in St. Petersburg, in New York at the Ceres Gallery as well as abroad in Piacenza, Italy at the Pulcheria Arte exhibition of international women artists and at the 2005 Florence Biennale.


Q. When did you first discover that art would be an important part of your adult life?

A. "I discovered early on in school that I loved to write creatively and draw, but it was really in high school that I saw the possibility of making art a central part of my life. Not surprisingly, writing/text has continued to play a major role in my work."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Growing up, my mom was a social worker and public school teacher and my father worked on advanced degrees in political science while he taught public school and college, so social issues and politics were a regular part of our family discussions.

It was only after grad school, however, that I felt empowered enough as an individual to start addressing these things through my art. Particularly since 9/11 and the birth of my daughter, social, political and environmental issues have really become a strong focus of my work."

Q. On average, how long does it take you to create a piece?

A. "It depends on the complexity of the image and the amount of uninterrupted time I have when I am working on it. I often work on a series or installation of works, and so it is rare for me to have only one piece going at a time. Residencies are really great for me because I am the most productive when I have a few weeks at a time to focus on making art."

Q. Can you share some of your philosophy about art and artistic creation?

A. "I feel very strongly that artists have a duty to be good local and global citizens by using their art to communicate positively with as many people as they can reach. My ultimate hope is that my art might have the power to create paradigm shifts for my viewers and promote positive change in the world; of course, at the same time, it fulfills my most basic need to create beauty and express my personal anxieties and desires."

Q. Has your art ever been published?

A. "In local magazines and newspapers, websites and in the catalogue for the 2005 Florence Biennale."

Q. What was your most important exhibition? Care to share that experience?

A. "I always believe my most important exhibition is right around the corner, of course. In fact, it is not always the prestige of the venue that makes an exhibition a watershed moment for me; many times it is more about the interactions I have with people at the reception, or sometimes it is about the particular installation of the work in an unusual space that makes me turn a corner and move forward with an idea."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I listen to music ALWAYS-- it is a must when I’m working. It helps me ignite the creative part of my brain and helps me filter out distractions. And, of course, dancing can help you work through a particularly tough artist’s block."

Q. Discuss your art. What are you thinking when you create it?

A. "The digital mixed media pieces I am working on now, tentatively titled the "Anoxia" series, begin with a digital print that I layer with acrylic paint and drawing materials. Sometimes I punch patterns into the paper, sewing through the holes with yarn and heavy thread in order to lend the otherwise alien aesthetic of the underwater subject matter a "domestic" element. Incorporated into some pieces are patterns from wallpaper or fabrics.

Most of these images have text relating to or taken from novels, sailors’ journals, scientific papers and other observations about our romanticized relationship with the ocean. "Dearest" and "My Love" can be read as love letters from a sailor to a spouse using Herman Melville’s gruesome descriptions of whale hunting from "Moby Dick." A potent mixture of fear and wonder is revealed as this character interacts with the seas largest creatures.

The smaller pieces such as "I am not feeling well" and "Don’t leave me" suggest another type of communication from the sea, begging for us to acknowledge the negative effects our collective human impact. Many of the pieces function conceptually as voices for marine creatures or habitats which do not themselves have the power to tell us what we are doing wrong."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "I have an M.F.A. from Louisiana State University (www.lsu.edu/) and I teach currently art full-time at Rollins College (www.rollins.edu/), a great liberal arts school in Central Florida. Now that I think about it, I have actually never been away from college life since I started school in 1993, so I guess I must like things that way.

I enjoyed my time in graduate school, but my teaching career has proven to be yet another stage of life-long learning; it feeds my intellectual curiosity and drives my desire to create art that engages people in a larger debate about our global future.

My education has played a big role in the choices I’ve made to work collaboratively with marine biologists, physicists and even musicians in order to create my work. I have found that when asking really big questions, one must get information from a variety of reliable sources.

One of the advantages of teaching at a small liberal arts college is having access to like-minded faculty, excellent researchers in a variety of disciplines that also believe interdisciplinary discovery."

Q.Where can we see more of your art?

A. " www.rachelsimmons.net "

Q. Do you have any upcoming exhibits?

A. "Currently, my work is on display at the L.A. Design Center (www.ladesigncenter.com/) in a group show called "Stream" with fellow Vermont Studio Center residents and science enthusiasts Rachel Sussman (www.rachelsussman.com ) and Diana Folsom (www.dianafolsom.com ).

I have a major solo exhibition coming up at the Cornell Fine Arts Museum here in Winter Park, Florida (www.rollins.edu/cfam ) in the fall. It will open September 7th and close at the end of December 2007. The exhibition will focus on my "Wonders" body of work that explores our historically troubled and sometimes romanticized relationship with the sea and generates awareness of marine conservation efforts. It will involve lectures from visiting artists who also work with scientists to create their art like NYC photographer Rachel Sussman as well as visits from conservationists such as Philippe and Alexandra Cousteau from EarthEcho International (www.earthecho.org ). They have also been invited to lecture in the galleries, using my show as a teaching environment. There will also be a panel of artists and scientists discussing their collaborations and asking the audience to consider the ways in which artists and scientists can work together to tackle environmental issues.

After that, I will literally "take my show on the road" and put up a version of it at the William Blizard Gallery at Springfield College (www.spfldcol.edu) in Springfield, Mass., in March 2008."

Q. Any tips for emerging artists?

A. "Go to school for art, but don’t complete your education just at an art college. Keep going to school until you get enough critical information to be able to create art that contributes to the positive things you would like to see happen in your world. And don’t give up. No matter what."

Q. In one sentence... why do you create art?

A. "I create art so that I have a voice in the world and in the dialogue that keeps the world moving; I am afraid if I ever stop making art, I will not be able to make a difference in my future and my child’s future."

I hope that you have enjoyed my interview with Rachel Simmons. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Controversial Art: When Controversy becomes Cruelty- Artistic Expression is Chained

At what point does a work of art become more of an issue of cruelty than controversy? Installations that involve living beings are often created with the intention of causing a stir with observers. The artist desires to send a clear social message by exhibiting their work in an extreme manner. The question is- at what point do these works go from being examples of controversial art that 'opens our eyes' to works that are down-right cruel? And why is it that normally the artist is the only one pursued when such works have legal action taken against them? Should the freedom of artistic expression be upheld no matter how cruel a piece seems to be?

I bring these issues up because a controversial sculpture that pitted live caged animals against each other was closed today at the Vancouver Art Gallery in Canada. The artist, Huang Yong Ping, was accused of cruelty and may have charges brought against him. Huang Yong Ping is an internationally-known Chinese artist who now lives in Paris (He is no stranger to controversy- I've mentioned him in a past entry).

Huang stated that the animals will be removed in order to "maintain the integrity of the artwork". Do you think that this artist went too far with his creative exploration and dissection of social struggle? Does there come a point when art is no longer art and is instead a vehicle for cruel intentions? Or is this artist simply misunderstood? Does the intention of the artist out-weigh the manner in which he conveys his message? Should this artist be charged for the direction he has taken in the name of artistic expression?

In order to understand this case we must understand the intention of Huang Yong Ping. Kathleen Bartels, director of the Vancouver Art Gallery, stated that the installation "encouraged people to think seriously about the dynamics of power in today's society." Thus, the piece was intended to convey the struggle of everyday life in our complex society.

In a sense, it reflected on the dog-eat-dog mentality of corporations and the modern worker- of the lawful citizen and gangs- every social situation involving struggle was reflected in the piece. So do you consider this installation a masterful work of artistic expression? Or do you see it as exploitation with the intent of spurring exposure for the artist by crossing the line of morality and social restraint?

The British Columbia Society for the Prevention of Cruelty to Animals (SPCA) pressed for the exhibition to be closed. By provincial law, the artist can be investigated and may have charges of animal cruelty brought against him. However, isn't the gallery equally responsible for the work that was displayed? Since opening a week ago, the "Theatre of the World" sculpture housed scorpions, lizards, tarantulas and other animals together in a single cage. Should Kathleen Bartels, director of the Vancouver Art Gallery, be equally charged for allowing the exhibition to occur in the first place?

I ask these questions because it often seems that the creators of highly controversial work are targeted instead of the sponsors of the work that is exhibited. Is this fair? Should gallery directors follow a stricter criteria for the work that they exhibit? Or is this case an attack on artistic freedom? Perhaps both the artist and the gallery director are victims? What do you think?

Huang has stated that critics "completely ignored the concept and ideology behind this particular art work". He also stated that people against the work are only focusing on animals rights while completely denying the right of an artist to create work that is freely exhibited in an art museum.

Huang and his supporters strongly feel that the closing of the exhibition is an attack on free-thinkers and artistic expression. Their viewpoint is that the creatures involved in the piece have been freed from their cage- yet artistic expression is once again left in chains.

What do you think about this scenario? Is it acceptable that one form of virtue is upheld over another that is equally important in our society? Should lines be drawn in order to prevent future works that involve living beings? Does this mean that works that may depict cruelty against living beings (paintings, digital art, ...etc.) should also be kept out of exhibitions- even though they do not directly involve living beings?

I've given you the information- now you give me your insight.

Take care, Stay true,

Brian Sherwin

Gallery Space Talk: Monique Meloche- moniquemeloche gallery

I recently interviewed Monique Meloche. Monique is the owner and director of the gallery moniquemeloche. The gallery represents several talented artists that have had their art featured at PULSE and other major art exhibitions. A current exhibition at the moniquemeloche gallery was reviewed in the Chicago Sun Times and will be reviewed by ARTFORUM this summer.

moniquemeloche gallery

Location:

118 N. Peoria Chicago, IL 60607

Contacat Information:

www.moniquemeloche.com - email
312.455.0299 - phone

312.455.0899 - fax

Q. You are the gallery director of moniquemeloche gallery. When was the gallery established? What is the mission of your gallery?

A. "Opened May 2001, opened gallery in my home in October 2000 with a group exhibition titled "HOMEWRECKER" where I invited 30 artists to exhibit over 90 works throughout the space including closets, bathrooms, bedrooms etc. The mission is to show an international mix of emerging artists working in all media through ambitious programming (and often non-commercial installations) at my gallery in Chicago while exposing our program to a wider audience participating in art fairs in Europe and the US. Ultimately I work for my artists to exhibit and be collected by institutions and important private collections worldwide."

Q. Why did you decide to become a gallery director? Are you an artist yourself? How did you get involved with the arts?

A. "After working for 6 years (3 as assistant registrar, 3 as assistant curator) at Chicago's Museum of Contemporary Art I decided to give the commercial world a try (I did work in Toronto at the contemporary art gallery Wynick/Tuck for 1 year prior to moving to Chicago) but was not interested in the "commercial" aspect so I approached Rhona Hoffman who had (and still has) one of the most established and well-respected galleries in the city.

The artists she was showing were already familiar to me from the MCA and her clients were all MCA board members/trustees, so becoming her Director (1997-1999) was an easy transition. Also, the level of her artists was to a point where anyone coming in to buy something wanted to buy it from Rhona and not from a Director. Therefore, I concentrated my efforts on adding a few younger artists to her program and curating a historical show on the history of the shoe in contemporary art.

After 2 years it became apparent that I liked making those decisions and I needed more freedom to do so, and luckily at that point Kavi Gupta was looking for a Director for his gallery (then Vedanta). I spent the next 1 1/2 years with a tremendous amount of artistic freedom to add artists to the stable, organize exhibitions, and really start working on the galleries profile at art fairs.

Eventually it became clear that I wanted to make even more decisions, so I decided to open my own space. I hold an undergraduate degree in art history from the University of Michigan and a Masters of Art History and Theory from The School of The Art Institute of Chicago, so I come to the gallery from a more curatorial prospective. I also taught a graduate seminar at SAIC for 4 years and have written essays and reviews for a few publications."

Q. What is your personal philosophy about about art and artistic creation? What makes an artist and artist?

A. "Simply an artist is someone who has an inexplicable need to create. This desire is not driven by financial gain or fame and is a necessary endeavor."

Q. It often seems that many artists are not aware of the business side of art. Do you have any suggestions for an artist who wishes to learn more about the marketing side of the business that is art?

A. "Artists have dealers who hopefully take care of the business side of the art world, but artists who are self-promoters cannot hurt this process. A few pointers, be professional and get things in writing. If you are exhibiting at a gallery be sure to get an consignment agreement for your work to literally insure the work for a given value and agree to terms of sale -- normally split 50%. A good gallery is paying rent, utilities, staff, etc.,printing announcements, advertising your show, and hopefully selling your work for their part of the bargain."

Q. Who are you currently representing? Do you have any exhibits going on at this time?

A. "Carla AROCHA (Venezuelan b. 1961, lives Antwerp)
Joe BALDWIN (American b. 1968, lives Chicago)
Tobias BERNSTRUP (Swedish b. 1970, lives New York)
Justin COOPER (American b. 1976, lives Chicago)
Robert DAVIS /Michael LANGLOIS (American b. 1970/1974, live Chicago)
Gabert FARRAR (American b. 1972, lives New York)
Alexa HOROCHOWSKI (Argentinean b. 1965, lives Minneapolis)
Rashid JOHNSON (American, born 1977, lives New York)
Laura LETINSKY (Canadian b. 1962, lives Chicago)
Cindy LOEHR (American b. 1971, lives Milwaukee)
Laura MOSQUERA (Guatemalan b. Panama, 1966, lives Chicago)
Christopher PATCH (American b. 1974, lives New York)
Todd PAVLISKO (American b. 1974, lives Chicago)
Karen REIMER (American b. 1958, lives Chicago)
Joel ROSS (American b. 1966, lives Ludlow IL)
Alison RUTTAN (American b. 1954, lives Chicago)
John SPARAGANA (American b. 1958, lives Chicago/Houston)
Scott STACK (American b. 1952, lives Chicago)
Pamela WILSON-RYCKMAN (American b. 1954, lives San Francisco)

Current exhibition by Robert Davis + Michael Langlois in collaboration with Rashid Johnson "Look in the Rays..." thru April 21, 2007. See Chicago Sun Times review :

http://www.suntimes.com/entertainment/galleries/329193,WKP-News-margaret06.article and upcoming in ARTFORUM this summer!

Upcoming exhibition by Carla Arocha in collaboration with Stephane Schraenen 'Marauders" opens April 27 - June 2, 2007."

Q. Your gallery represented several artists at Pulse NY (2007). Did the exhibit go well for your artists?

A. "We featured the work of Carla Arocha, Rashid Johnson, Todd Pavlsiko, Joel Ross, and Alison Ruttan. Got immediate press coverage for Pavlisko's COCAINE piece made of plastic tag fasteners and silver leaf in artinfo.com, sold alot of the work to new collectors from NY, Miami, France and more, made contacts with many European galleries who are now working to exhibit Ruttan and Wilson-Ryckman, met with many curators who are interested to work with Cooper, Johnson and Ross most immediately, and even met Lenny Kravitz! "

Q. What can you tell our readers about the artists you represent?

A. "They are a conceptually rigorous group of artist working in all media who frankly make great art."

Q. What kind of message do you want the art you exhibit at moniquemeloche gallery to have?

A. "That we present challenging, well-crafted, and seriously considered exhibitions that are relevant and thought-provoking."

Q. Do you have any advice for emerging or established artists who would like to exhibit at your gallery?

A. "If you are familiar with the gallery and have really looked at the artists we show and the program we present and then still think your work fits within that framework, then please submit a succinct but complete submission with no more than 20 images, artist statement, resume, and relevant press materials. We go through submissions quarterly."

Q. What was the most important exhibition you've been involved with? Care to share that experience?

A. "Our last exhibition "Chronic: handmade nightmares in red, yellow, and blue" curated by Astrid Honold featuring Fendry Ekel, Dylan Graham, and Folkert de Jong is the most ambitious show to date.

Featuring 3 artists from Amsterdam, this show was proposed by the curator following up on my interest in de Jong's sculptures. It was a museum caliber show and in fact is traveling to Doenen Museum in Ghent, Belgium in the fall, and had us working with Dutch consulate in both Chicago and NY along with the Mondriaan Foundation to assist with funding the exhibition and full-color catalogue."

Q. If you could pinpoint the characteristics of people who buy art from moniquemeloche gallery, what would they be?

A. "Collectors who are serious about contemporary art (both avid and new collectors) -- we don't really sell to people looking to decorate."

Q. As a gallery director, what trends do you see in the 'art world'? What is 'hot' at this moment?

A. "Too many art fairs and biennials. Too many young artists not being allowed to let their work mature for fear of missing their moment in the spotlight.

China = hot"

Q. What can you tell our readers about the art scene in your area?

A. "It is a lively scene with young galleries (like Rowley Kennerk and 40000) continuing to sprout up and established galleries (like Rhona Hoffman and Donald Young) always showing stellar work.

The curatorial talent in this city is amazing, and just today curators from the Art Institute of Chicago and the internationally acclaimed Renaissance Society visited the gallery.

The Art Institute is working on their multi-million dollar contemporary art wing designed by Renzo Piano, The Spertus Museum (our Jewish Museum) is soon to open their major expansion and to start a contemporary art program under the guidance of curator Staci Boris.

The Museum of Contemporary Art (which turns 30 this year) supports the local scene with their monthly 12x12 new artists series and currently has the 1st US solo museum show by Rudolph Stingel and an even more impressive permanent collection show of photos from 1967 to present (including our own Rashid Johnson).

The Smart Museum and new and improved Hyde Park Art Center are thriving on the South Side and the Block Museum at Northwestern University currently has an impressive show of Roy Lichtenstein Prints 1956–97: From the Collections of Jordan D. Schnitzer and His Family Foundation.

Our art schools -- School of the Art Institute, University of Illinois, University of Chicago, Northwestern, and DePaul attract talented artists with their faculty and produce an impressive roster of graduates.

TimeOut now has a weekly Chicago magazine that provides the much necessary immediate coverage of shows. Although it remains to be scene but ArtChicago is back with a vengeance this year now sponsored by Chris Kennedy and the Merchandise Mart complete with a noteworthy series of panels and lectures."

Q. Do you have a website for your gallery?

A. "http://www.moniquemeloche.com/ "

Q. Is there anything else you would like to say about moniquemeloche gallery or the 'art world'?

A. "I think we've covered enough. Thanks!"

I hope that you have enjoyed my interview with Monique Meloche. Please visit the moniquemeloche gallery website.

Take care, Stay true,

Brian Sherwin

Art Pranks

Ever since Duchamp made a comeback/got recycled in the 50's seems like everyone wants to be an artist prankster. You don't got to paint well, you don't have to sit in a studio all day, you just got to be a good performer and dedicated to your schtick. I always find them funny and I'm always interested, maybe because I find them more accessible but still thought provoking. like, while I may not understand the implications of the color wheel, I understand Sean Landers' 18 minute rant about himself and his sublime talent, like, he's being ironic, dude. HA! you can see similar stuff from Martin Creed, and the granddaddy of contemporary pranksters, Maurizio Cattelan, whom I love the most because he's the best at it (see: Pope gets hit by meteorite). There's also usually at least one (white male) artist prankster in every MFA program. I will probably fill that slot when I go to school next fall. Yipee!

I actually went to see martin creed when he played with his band owada on the lower east side recently. It was alright, but I haven't really thought about it so much, even though I reportedly love artist pranksters. a lot of it was funny and showed how experiencing conceptual art can be emotional, entertaining, and sensual and not just dry and intellectual. like some of the songs' lyrics were sort of conceptual/philosophical, but also funny and the music rocked real simple good. So you got the brain and the body involved. sort of like Built To Spill, only with less rawk. some of it also played with expectations of rock concerts, like, instead of doing the usual "hello cleveland!!!" martin creed stood alone in the spotlight and was very thoughtful and candid in his remarks. there was also the deconstruction of the "stage" (lights & fog going on and off randomly, the stage hands playing a prominent part in the show) but even that was pretty engaging. So, ok. in the words of john cage, I guess "I have nothing to say and I am saying it." The best part was going to the after-party and watching Maurizio Cattelan and Martin Creed chat it up. I imagine they talked about how fucking hilarious they both are.

recently I also read this great biography on the original prankster Duchamp called The Bachelor Stripped Bare. It did a great job of telling Duchamp's story clearly and concisely, because while there's tons of literature on Duchamp, a lot of it is nonsense (I'm looking at you Arturo Schwarz). The book is full of biographical details that are often obscured, like Duchamp being a lonely dude who endlessly tried to create controversy and scrape a little money together. Like when I read Cabanne's Dialouges with Duchamp I was inspired by a Duchamp that made iconoclastic, innovative work and happily floated through life. Apparently it was much more complicated and sad than that. Like, he was in love with his sister. Yuk yuk yuck. But the book isn't all revelations. I think some of the discussions of the work are a little superficial and the author seems a little too eager to dismiss the art of the past 40 years. I did like the ending, though, which just kind of left us with the bizarre image of the Etant Donnes, Duchamp's secret final work. I find this work to still be troubling in its suggestion of sexual violence against women. Ha ha?

Art Space Talk: Laurina Paperina

I recently interviewed artist Laurina Paperina. I met Laurina while attending the PULSE art fair in New York. Crowds flocked to observe her work.

Laurina lives and works in Mori (Trento, Italy). She attended the Academy of Fine Arts in Verona, Italy. Laurina is known for Duck Land- a world she created... a place where a strange cast of characters (Batman, Pigman, and The Amazing Pape- among others) live and fight. However, do not be fooled by the simplicity of Laurina's art- these child-like works reflect modern concerns.

Q. Laurina, we met during the Pulse exhibit in New York. How did you feel going into the fair? I take it your work did well?

A. "For me the art fairs are very funny! You can meet some strange people...and very good people.

About my art works and the fairs. It has been a good thing so far- because I see that people are amused from my "art-things", and this is great for me."

Q. During the Pulse art fair I spoke with an observer of your work who stated that your work reminds him of a "twisted Disney Land". This leads me to ask...why have cartoons influenced your work so much? One normally things of cartoons in an innocent manner- is it your intention to juxtapose the innocence of childhood cartoons with 'real world' issues?

A. "When I was a baby duck (in english Laurina Paperina is Little-Laura Little-duck), I was raised with the television, cartoons and the comic strips: therefore I see it as normal that this factor has influenced my art. Moreover, the cartoon-style is a simple and directed language and for me it is fundamental."

Q. You currently have a solo exhibit (RO(T)L) at Freight + Volume in New York. How has that exhibit gone for you?

A. "New York is the center of the art world at this moment. It has always been a dream of mine to have an exhibition in this great city."

Q. You studied at the Art Institute (Italy) and the Academy of Fine Arts in Verona, Italy. How did your studies influence the work your create today.
A. "My studies have been important for my works. I've studied the art of the past and of the present- this is fundamental for an artist in order to understand what she wants to make with her own art."

Q. When did you first discover that art would be an important part of your adult life?

A. "Boh! I don't remember. When I was a child I wanted to become a veterinary or cartoonist… when the time came to decided I started to become aware of the contemporary art world: so I decided to be an artist."

Q. Can you go into further detail about how society has influenced your art?

A. "For me it is very difficult to speak about my art. I draw what I see, what I feel...I keep inspiration from the music and the television, from the videogames and from the people, from the real life, from food, magazine, films, music, duck male, internet, pizza, comics....

I love Street Art, Contemporary Art... some of my preferred artists are Keith Haring, Ed Templeton, Barry McGee, Yoshitomo Nara, Takashi Murakami, Motomichi Nakamura, Cory Arcangel, Banksy and many others…"

Q. On average, how long does it take you to create a piece?

A. "I draw all the day, every day. But sometime I take a break..."

Q. Can you share some of your philosophy about art and artistic creation?

A. "My philosophy is: "When I create my pape-works I want to amuse myself and to be well". But remember... I am not a philosopher!!!"

Q. Has your art ever been published? Where?

A. "Yes! Pictoplasma, Arte (Italian art magazine) and others magazine. My last publication is on the Dpi Magazine (Taiwan). Sometimes I collaborate with fashion magazines when I draw illustration for them..."

Q. What was your most important exhibition? Care to share that experience?

A. "Every exhibition is important for me. However, I must say that the RO(T)FL exhibition was my favourite: it was my first solo show in New York, and I was much expectant, churned and happy at the same time...it was a mix of incredible sensations. It was an incredible experience for me."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Usually I work in the night. I love to drink hot milk with chocolate and smoke. The music is very important....but the television is the same: when I work I don't watch it, only listen to it."

Q.Where can we see more of your art?

A. "In galleries, on the web and soon I'll make a little book of my works (I hope...)."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Yes, I am represented by Perugi (Italy): but I collaborate with others gallery, like Magda Danysz (Paris), Freight and Volume (NY), Travesia Cuatro (Madrid)...and in the next year with Hilger Gallery (Vienna)."

Q. What trends do you see in the 'art world'?

A. "At this moment there is a strong attention toward street art and that is fine!"

Q. Has your work ever been censored? If so, how did you deal with it?

A. "It has not yet..."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "At the beginnig, without a doubt: when people said to me "what do you do? this is not art!""

Q. In one sentence... why do you create art?

A. "Because It is a necessity for me...like pizza: I could die without pizza."

I hope that you have enjoyed my interview with Laurina Paperina. Feel free to critique or discuss her work. You can learn more about Laurina by visiting her site: www.laurinapaperina.com

Take care, Stay true,

Brian Sherwin