Myartspace, the Free and Open Community for the Art World

myartspace is the premier online social network for the art world. It prides itself on being an open, free community that is inclusive of a wide variety of artists from all over the world.




By community, we mean artists, collectors, educators, curators, students and more. We also mean painters, photographers, videographers, sculptures and more.

By open, we mean that members are free to express themselves through their work – with an ability to upload an unlimited amount of images, video and music. They can build galleries that contain images, narration, music and video to build a meaningful experience for the viewer.

myartspace intends to keep the network open, free, fast and easy. As a matter of fact, we’ll be introducing some open-source support in 2008 so that people can build their own gallery presentation software to work with myartspace and distribute to the community.

Premium Services

We at myartspace have noticed that there are many artists in our community that want more professional capabilities in a site. They are using myartspace as their online presence, as their commercial network to raise their awareness level, and increasingly as their vehicle to sell their work.

myartspace has decided to launch “premium services for artists” . This is an optional paid subscription service aimed at those artists that seek additional features, speed, flexibility and capabilities for a very modest annual cost. Participation in the paid subscription service is totally optional and at the discretion of the artists. The standard “free” subscription to myartspace will remain free and continue to be expanded in terms of features and capabilities. The premium services is $40 per year if you sign up by December 31, 2007. The normal annual fee is $75.


To name just a few features included in the premium service:

• A personalized URL (web address) for the artists on myartspace

• Two different gallery templates to display their work – the traditional flash gallery and a new more vertically oriented HTML gallery

• A private copy of “Inside Art Edge”, a new bi- weekly bulletin that highlights opportunities for artists – scholarships, contests, fellowships, interesting events and even bargains.

• A Press Release capability so artists can make announcements and have them broadcast and syndicated around the globe through myartspace

• A personal event posting service so artists can alert their peers, friends and buyers of upcoming events (such as solo or group shows). Premium services allow you to integrate you own personal work into an eVite that can be sent out to your contact list.

• Two different “personal profile/home” pages – the traditional one and a
professional one that allows the inclusion of music and video on the page

• A performance boost for your gallery playback with “SmartCache for myartspace”. This creates a fast, ready‐made version of your gallery that can start up quicker than the normal gallery speed.

• Weekly analytical reports that provide insights into how frequently your creative work has been viewed.

• Adobe PDF generation for your galleries. This allows artists to be able to generate electronic “books” of their work which can be easily printed.

• Handy tools to allow artists to re‐arrange the order/sequence of images in a gallery, or even the order in which galleries appear to the world.

For more information:

Email Questions to: info@catmacart.com

Download A Brochure at: http://www.myartspace.com/premium/psbrochure.pdf

View A slide show at: http://www.myartspace.com/premium

Art Space Talk: Kelly Mudge

Kelly Mudge is an artist who is interested in exploring the many aspects of the human condition with her work. Kelly does not focus on the outward appearance of her models. Instead, she seeks to capture their personality by focusing on their inner workings-- the emotional side of their being. In a sense, Kelly strives to reveal the essence of her subjects. Kelly graduated from Pratt Institute where she studied under several influential instructors-- including Joe Smith and David Passalaqua.


Brian Sherwin: Kelly, tell us a little about your background. Can you recall your first experiences with art? When did you know that you wanted to pursue art for life?

Kelly Mudge: I've been drawing and painting as long as I can remember. I knew at a young age that I wanted to do something with my art. When I was in high school I got really into comic books, which was one reason I decided to pursue art as a career. I've since branched off from doing sequential work, but I still have some projects going on in the background. I started out wanting to do more commercial work (driven by some of the illustration classes I took in college) but am focused more on fine art at the moment.

BS: Kelly, you graduated from Pratt Institute in 2001. Who were your mentors during your years at Pratt? How did they influence or inspire you?

KM: There were some great teachers at Pratt who helped me develop my work further than I ever thought possible, including Professor Joe Smith and David Passalaqua. I was also very influenced and inspired by my peers. It's hard not to grow as an artist with so much talent around you.

BS: Kelly, you have been working on a project that you call "Engage". Can you tell our readers more about that project? What are your motives behind it? What are you trying to convey?

KM: In this project I am trying to capture the subjects personality in an unconventional way. I thought it would be interesting to do portraits that are more about the person on the inside than their physical appearance. I want to engage the viewer emotionally with each work.

BS: Kelly, can you tell us more about the symbolism of these multi- armed characters? As you know, some religions and aspects of spirituality embrace the image of multiple arms for various reasons. Is there a spiritual side to your work?
KM: In some pieces, yes. In others the use of multiple limbs is a way to convey their attitude, fears, etc. It's very specific from piece to piece.

BS: Kelly, in a sense your recent work is about the human condition, correct? By chance, have you studied psychology?

KM: Absolutely. One goal in this work is to show an aspect of the subject that other people wouldn't necessarily get to see otherwise. I'm very interested in psychology. I don't study psychology formally, but I do read up on it when I can.

BS: Kelly, what else has influenced your art?

KM: Every experience I have influences my art. Specifically, the people around me. I'm influenced by people's dreams, fears, insecurities, day to day struggles and stories. Aside from that, I'm influenced by music, comic books, traveling, history and of course other artists. Right now I'm really into Ralph Steadman, Gail Potocki and Lucian Freud to name a few.

BS: Kelly, tell us about your studio. Where do you work? What is your studio practice like? Do you follow some sort of routine?

KM: My studio is an extra bedroom in my apartment in Brooklyn. I have been working with acrylic on wood for the past few years, which lend themselves to working in a smaller space. I don't have any real routine- I work whenever I have the time to. I shoot my models in my studio, transfer the photos to my computer, then start the painting.

BS: Kelly, in your opinion... what is the most important thing to remember when creating art?

KM: To have fun. Otherwise, what's the point?

BS: Do you have any upcoming exhibits?

KM: I'm in a group show in January at Rock Paper Scissors Collective in Oakland, CA. I also may be showing in Oklahoma City this coming year.

BS: Finally, is there anything else you would like to say about your art or the artworld?

KM: I hope I can do this for the rest of my life!

You can learn more about Kelly Mudge by visiting her website-- www.mudgefactory.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lucy Puls

Lucy Puls is a mixed media sculptor who has exhibited her work primarily in California and New York. Her work is included in many public and private collections, including San Francisco Museum of Modern Art and Oakland Museum.. Her work involves ordinary consumer items that are often used and discarded. Lucy received her MFA from Rhode Island School of Design and has been a Professor of Art at University of California, Davis, since 1985.

Ad Huc Locum (Magnolias) by Lucy Puls

Brian Sherwin: Lucy, you graduated with an MFA from Rhode Island School of Design. Who were your instructors at RISD and how did they influence you?

Lucy Puls: At RISD what most influenced me was the school as a whole and the place - Providence. The contrast between the historic colonial part of town that the school was situated in and the run down area's that many of the students lived in. I worked as a model maker in a factory my first year in graduate school so the difference was apparent to me on a daily basis in yet another way.

My colleagues at RISD were discussing esoteric art issues and my colleagues at work were discussing the relative merits of installing an air conditioning unit in their homes as a way to break the boredom while working on the models. Each week there was a new consumer item to be discussed, what was the best car to buy, where to purchase a home, who to get carpet from, how to get the best deal on this or that. I was riveted by these conversations.

BS: I understand that you are an art instructor. Where do you teach? Do you find it difficult balancing teaching with finding time to create your own work? Or do they feed off of each other, so to speak?

LP: I teach at the University of California, Davis. And yes, it is always hard to find time, but that goes with being a grown up. I manage pretty well because I like to work more then I like to hang out or go to parties or shop or do just about any other thing else I can think of. Please don't invite me to the beach or hiking!

No they don't feed off one another; the teaching tries to eat the studio artist whole. One must protect the studio artist from the teaching. It is important to figure out how to be a teacher and an artist and not get swallowed by the dark scary overwhelming teaching/committee/institution thing.

Ad Huc Locum (Nightstand) by Lucy Puls

BS: Lucy, you gather raw materials from book recycling centers, resale shops, and anything that you find on the curb for free. When using these items would you say that you are interested in where they came from-- where they once belonged? Does that question beg for an answer within the context of your work?

LP: I don't understand this question fully. Yes, as an individual I can't help but wonder about some of the things I've acquired, especially when they are personalized with doodles and names and other types of personal identifiers. But most often I am asking why are there so much of this one thing at this particular time? Why is it being offloaded now? What is so special about this particular time that prompts the removal of stuff that has hung around peoples closets, garages, and basements that it just has to go away now? What inspired so many people to buy these things to begin with and why are they getting rid of it in mass at about the same time? What's the subliminal significance behind this activity?

BS: As mentioned, your work examines the discarded and unwanted objects of present day culture. You have had exhibits devoted to exploring the proliferation of abandoned domestic appliances and other items. These works remind one of the 'paper trail' that we consumers leave behind. Would you say that your work questions consumer-culture and how it harms the environment due to this 'trail'? Are you concerned about the environmental implications of what we leave behind?

LP: I am. I have two remarks to make: a number of years ago I worried that since I was making stuff I was adding more to the worlds landfill. Not that I expect my finished work to end up there, though there is no guarantee, but there is a lot of materials that get used in processes that end up as waste. Those thoughts seemed destined to generate paralysis so I decided to stick with blind faith, which has served me well for many years. It's the artist's friend.

Second: in the At Huc Locum series you can see how people in the community are trying to recycle or reuse items in an ad hoc (absolutely no pun intended -I am not a pun person) way.

Although I am more interested in how a culture and society that is based on capitalism can continue to find ways to attract individuals in participating. Such as the new development of attracting kids to spend real money to buy items on the web for their web-based characters, cloths and other stuff. This is quite clever since there is nothing that they are really buying except the idea of a thing.

Ad Huc Locum (Plums) by Lucy Puls

BS: Lucy, I've read that you call these materials a 'goldmine of information'... can you go into further detail about that statement?

LP: The answer to this question would take too long to answer. Plus it feels like someone is trying to drill a hole in my brain. Can I please just lie on the floor and wail instead?

BS: Lucy, cast resin is another medium that you utilize. You often encase materials from pop culture: Barbie dolls, various toys, and guns. Can you tell us about this process? Do you have any suggestions for readers who are interested in using this medium?

LP: I don't use resin now. I may again in the future, who knows? The way I have used it in the past was very labor intensive. If anyone wants to learn about complicated materials and processes like casting metal, resin, mold making, welding, and lots of other stuff they need to take a class or apprentice with someone who works with it.

Many art fabricators are fabulous resources and always looking for good people to work for them. Spend a couple years with one of them and you will come out with a great skill set. They also have the best safety equipment. Don't do this on your own since you could compromise your health.

Ad Huc Locum (Hood) by Lucy Puls

BS: Lucy, you have also utilized album covers within the context of your work. These albums from the 60's and 70's impacted you as a teenager. However, this body of work is not about nostalgia... it is about memory. Can you go into further detail about your philosophy behind this body of work?

LP: You are assuming that I was influenced by the albums but in fact most of them I either never heard or didn't own. Only a few I knew and loved. Jefferson Airplane's Surrealistic Pillow was my favorite album when I was 12 although I never owned it. I only went to visit it at JC Penny's on the weekends and hid it in the wrong section so no one would buy it. Joni Mitchell's Blue made me decide I should continue to live until adulthood; Carol King's Tapestry's drove me nuts because so many people played it so often - it was America's theme album for a while. The rest of them I didn't know well. For instance I had no idea that the Who album cover was someone pissing against a wall.

All the albums I used because a vinyl store gave me what they would be throwing away. They were thrilled not to use up dumpster space. I hauled them to my studio and looked through the boxes for signs of patterns (16 Carol King Tapestry albums in one batch!) just as I did when I would visit the thrift shops before the eBay folks messed up the ecosystem.

Back to your question, yes memory is important and music is a really strong memory trigger. Although in this work no music is being played, the idea of music from an era is evoked. By casting the albums in piles of about an inch or so thick in resin and sanding them until the covers get blasted off in spots, then photographing that cast, digitizing it, enlarging to double the size of an album cover, printing it, flipping it, and butting up two right side and two flipped images I ended up with what I wanted: A pseudo Rorschach.

What's a Rorschach? A tool in the form of a copyrighted inkblot that a supposed disturbed individual looks at and in his/her response reveals something hidden about his/her psyche. This has always been a controversial method in the field but in a way it reminds me of visual parallel to the light shows from the rock concerts of the late 1960's. All that floating colored oil on water or whatever was used to create those shows.

Ad Huc Locum (Ficus) by Lucy Puls

BS: Lucy what galleries are you represented by? Do you have any exhibits planned for 2008?

LP: Stephen Wirtz Gallery in San Francisco. I do, but not ready for prime time.

BS: What are you working on at this time? What do you plan to explore next within the context of your work?

LP: Sculpture, drawings, and photographs. I know this is a fake answer but I don't like to talk about what I am going to do because what I'm going to do is always about an urge. Its not very smart or cool. It is just a force that is pulling me towards something. I have to see where I end up. I refer to it as nomri vagus (wandering in the woods).

BS: Finally, do you have any advice for emerging artists?

LP: In scopulus!

You can learn more about Lucy Puls by visiting her website-- www.lucypuls.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Art Space Talk: John Breiner

John Breiner started out painting graffiti murals in and around New York City. He eventually ended up at the School of Visual Arts where he was instructed by Bruce Waldman-- a Director of The New York Society of Etchers. John went from telling stories visually on the streets to giving new life to discarded books and other surfaces that he found along those same paths. In a sense, John's past, present, and future is represented in his choice of utilizing found objects within the context of his work. John continues to tell stories-- he just does it on his own terms.

Brian Sherwin: John, can you tell us about your early years. I understand that your grandmother did the coloring for the Duck Tails series of comic books, was she an influence on you? Also, in 1994 you viewed graffiti for the first time... why did it make such an impact on you?

John Breiner: Well growing up I was a creative kid. I was an only child and I always remember drawing. I remember my Dad drawing a cannon, showing me how to make the illusion of depth on paper. I remember my grandmother at her drawing desk, and the clear plastic comic cells. I remember my mom painting her ceramic statues. All of them were an influence on me when I was really young. Also through growing up with my friends in NY in the 80’s and 90’s. There was always something. Drawing comics, Sk8 boarding, making t-shirts and stickers for our Skate crew, massive neighborhood snowball fights and as I got older, music, DJ’ing, making tapes, and of course Hip-hop and Graffiti.

Graffiti had a huge impact on me, I don’t know why? It was just the right sequence of events. I still remember reading the source magazine and seeing pics of the subway for the 1st time. I was blown away. I never knew anything about it. Then I started noticing the highways from the backseat of my parents car, they were killed back then.. and it was just so amazing to me...

BS: John, tell us about the work you have done on the streets. I've known a few street artists who mention that they get a rush not only from what they are creating, but from the fact that at times it can be a risk to work in that manner. Those I've spoken with mention that it is hard for them to capture that same energy in their studio-- the four walls seem to keep that vibe in check, so to speak. Have you experienced that? Or are you able to channel that surge no matter where or how you are creating?

JB: Well I’ve been writing Graffiti since 1994. Tags, Pieces, Throw-ups. To be honest the best rush to me is riding that train home, hitting the bed. Waking up the next morning, going and getting the picture then moving on. There’s no formal critiques, worrying if its going sell, its just fun, its exhilarating and freeing, but it can get you locked up. Sometimes life can be that way.

It’s still my lifestyle but I tend to be more careful and strive for longevity. Part of that was moving into another type of art. I had to find something that I was comfortable making money off of. So the transition into "Studio" type work came about my 2nd or 3rd year in College and it was really, really difficult. Going from painting my name under a highway or whatever (in the dark) to painting a white canvas in doors, wasn’t easy, or even possible for me. It made very little sense to me, but it also made me into more of an artist though. I had to think more.

I started to realize things, like how I missed the layers from the walls. These walls were disgusting, but I loved them, they had a soul, and you felt like there was more of a reason to paint them. Eventually I discovered found surfaces that were around me were perfectly good for painting. Wood, metal, paper and eventually the books would result. That was how I got over the transition, by finding the hidden life in surfaces.

BS: Another issue that graffiti artists often experience is a form of paranoia that stems from what they do. Part of it, based on what I've been told, is due to the constant concern that someone might 'give you up' and the other concern involves a form of addiction to the streets-- as in they miss that raw energy, the sights and sounds of working into the night. Does any of this ring a bell?

JB: Oh of course, there’s some pretty unique experience’s I've had, the places I've seen and at the weirdest times of night. Normal people don’t see these things. I’m very grateful for that.. It’s a lifestyle, and I lead a very careful one. I’m a paranoid person in general I think, but being that way allows me to get away with most things I want to. I think it also gives me that feeling that if your doing some tags you’re always at least a little free.

BS: John, place us in the mind of a graffiti artists-- give us a psychological view of what a street artist feels when on the prowl for a space to claim for his or her own. Do you mind recalling some of your experiences?

JB: Umm.. shoot, I don’t know, its something that’s so ingrained,. I mean it’s a mixture of nerves, heightened senses, feeling sneaky, I guess feeling like your smarter then everyone, and then dumber when things go bad, and then smarter again when you get away, ha!. I don’t know?

I do know I miss being out there on a regular basis though. It’s sad, you don’t grow out of Graff, but you grow out of that window of carefree time you have to do it. It’s all about money though, and that’s really sad. If I had the money to get myself out of trouble, part of the fun is handling everything else that comes at you.

Experiences? Oh man, getting chased and split up in South America, with no idea where I was going, staying, or how to speak Spanish. Breaking my ankle. Having cops see us painting, stop, and then drive on for no apparent reason, all kinds, I’d prefer to stay away from specifics though.

BS: John, you've had formal training in art as well. Can you tell our readers where you studied, who your instructors were, and how that experience influenced you as an artist. Also, can you go into further detail about the conflict between the graffiti work of your past and the expectations of school? How did you mesh the two together?

JB: When I was a teenager I studied drawing with an Artist named Tommy Chin. Then I went to SVA here in the city. It was my first time being around artist so to speak. It was great, you know college, still being kind of care free, it was a fun time. I hooked up with a crew of really like minded artist’s there, We kick it, we do shows and individually we are all trying to beat art over the head these days. Peace to all of them..

There were also some great teachers there, Bruce Waldman, and the printmaking department, some of my painting teachers, and Tom Woodruff, provided a balance between doing what ever it is you feel, and making your art more intelligent. Some people knock art school like they think your going there to learn how to draw a line. Come on use your heads, Art school is damn near 98% paying to be around artists, point blank. They inspire you, you learn some history, you learn some new techniques but mainly your paying for 4 years of being placed in a creative environment. Where you take it from there is up to you.

It's not necessary for everyone, me I was at a cross-road in my life and future. My plan was to come to NYC to write Graff, but very soon after I realized that wasn’t so practical. So being there helped me develop what I'm doing today. As far as how my past art meshed with my current art, it was rocky at first, but once I figured out how to enjoy the art I make today, it was always separate and still is today. Graff is my hobby and history that I love and keep anonymous, and my other art is what I show to the world.

BS: I understand that you have strong opinions about the state of the art world. Can you discuss the issues you are concerned with and why you feel there needs to be change?

JB: Well I guess there’s always good a bad. In general things are cool. I’m pretty decent at networking, but it can get frustrating though. I’ve always been very do it yourself. I felt like me and my peoples weren’t getting the shine, so I curated, organized and threw a 30 plus person art show with music and film. We had over 600 people attend a one night show in Bushwick Brooklyn!! (And this was years before anyone lived there) The little old man that owned and lived above the bodega across the street came down in his robe and nightcap and opened the store. From his window above he saw the spectacle of the prime colt 45 target audience drinkers. Hundreds of them milling around in the street beer less!! He sold all his beer that night.

I’ve always been like that; it comes from taking spots, making art with out permission and getting tired of waiting. Waiting for people to catch on, catch up. Sometimes the establishment will catch on to actually interesting new talent, but it’s quite common to hear: I went to Chelsea, I saw one or 2 good things. How many galleries you go to? Twenty. I guess that’s just me being impatient, and to be fair there is a million artists (including myself) who if not already, will be knocking at their door. It would be nice to get paid from making what I want. I’m working on it...

BS: John, can you tell us more about your recent art? The motives behind-- the themes you are dealing with. Also, what can you see yourself exploring in the near future?

JB: Well I try to make work that’s a time warp, current ideas layered on old surfaces. I interact with life and time’s marks. I take these surfaces in embracing their marks, then add my own and send them back out to be possessions again. I want it to be a record of my times and ideas. Right now I’m unsure if art is really going to work out, so the chessboards came out in my work. The ideas of deadly games between animals, people, all reflects the real world and my place in it. The game of life. I try not to be literal and I use a lot of things to represent my ideas. Animals are a good one, and lately dense patches of flowers and plants, intertwined with shadows and eyes peering out. The idea of inviting beauty mixed with death. A lot of my work is about balance. It’s developing day by day. The whale is for this police state, swallowing up everything. There is some others, some re-occur, some develop into other things.

I started working with books 4 or 5 years ago, (originally just for there yellowed pages); eventually I began dissecting them and strictly working on the end pages. I take the idea that people read the summary of the book on the end pages, there’s no width to scare any one, and a picture is worth a thousand words. All these books are discarded when I find them. They’ll never give information again so I update them so they can communicate again. I think I’ll stay working with them for a while, till the next thing finds me.

BS: Have you had any recent exhibits that you would like to tell our readers about? Also, do you have any exhibits planned for 2008?

JB: Well this summer I had a solo show Entitled "Trail Of An Octopus" at Sensei Gallery in Manhattan. I’ve done three or four shows in the last couple of months, including Fountain with Adhoc which just finished up. I would really just like to get back in the studio now, focus on just work for a couple of months then hopefully do it again.

BS: Finally, is there anything else you would like to say about your art?

JB: Nope I think that’s it... thanks...

You can learn more about John Breiner by visiting his website-- www.johnbreiner.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Bo Bartlett

Self Portrait, oil on panel, copyright- Bo Bartlett

Bo Bartlett is an American realist with a modernist vision. His paintings are well within the tradition of American realism as defined by artists such as Thomas Eakins and Andrew Wyeth. Like these artists, Bartlett looks at America’s heart—its land and its people—and describes the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary.

Bartlett was educated at the Pennsylvania Academy of the Fine Arts, where realist principles must be grasped before modernist ventures are encouraged. He pushes the boundaries of the realist tradition with his multilayered imagery. Life, death, passage, memory, and confrontation coexist easily in his world. Family and friends are the cast of characters that appear in his dreamlike narrative works. Although the scenes are set around his childhood home in Georgia, his island summer home in Maine, his home in Pennsylvania or the surroundings of his studio and residence in Washington state, they represent a deeper, mythical concept of the archetypal, universal home.

--Tom Butler, excerpt from the book Bo Bartlett, Heartland. http://www.bobartlett.com/shop/index.html

Allegiance, oil on panel, copyright- Bo Bartlett

Brian Sherwin: Bo, your bio states that you look at "America's heart" and the beauty you find in "everyday life" within the context of your work. Can you go into further detail about that statement? Why do you focus on the American experience, so to speak? Do you find it difficult to capture the collective spirit of America?

Bo Bartlett: I don’t think there is a collective spirit of America. America to me seems fractured. Many people seem marginalized. I think the "America’s heart" concept is really just talking about a larger idea; a mythological spirit or soul of America which has to do with the concept of freedom, individual rights, and the adventurousness we associate with the frontier spirit. People are all longing. We’re all looking for something. On some level, my paintings tend to address this sense of desire. I paint people because I am a person. I paint America because I am American. I’d like to think that I’m a citizen of the world, but at the same time, I can’t deny my nationality. I am not necessarily proud of it.

Old Glory, oil on linen, copyright- Bo Bartlett

BS: Bo, as you know, every country has an underbelly in regards to social issues-- social injustice, racism, sexism... how do you deal with these issues in your art?

BB: The problem is that I’m a white male. You can’t cry "Oh, pity party," when you’re a white male. But as a figurative painter, it does raise obvious dilemmas. I’ve been hit pretty hard by Roberta Smith, Peter Schjeldahl and Michael Kimmelman for painting relatively heterosexual white male paintings. One must paint from their own experience, yet at the same time, try to see the big picture. I love the idea of a Norman Rockwell America. I was born in the fifties, and for a middle class white guy in Georgia in the fifties and early sixties, life was pretty idyllic. Do I have a nostalgia for this? One must address their own time. One’s work must, If it has any life at all, address the problems of one’s era. So certainly, having lived through the sixties, the race riots in the south, the Viet Nam war on television, and the cultural wars inherent in growing up in the conservative south, one must process the culture in which one lives. In representational painting, one tries to tap into a larger archetypal drama so that the whole human condition is addressed; all of history, not just the specific conflicts of a given decade.

History Lesson, oil on linen, copyright- Bo Bartlett

BS: Aside from painting, what other forms of expression do you enjoy? When you visit a gallery or museum what kind of art do you observe? How do you take that excitement-- that energy, into your own work?

BB: I love all art. As Robert Henri said, if you look at any piece of art long enough you will find some worth in it. My tastes are very varied and diverse. In museums I tend to gravitate toward Wyeths and Rothkos, Picassos and Cornells; Work that has directness and honesty, true to the artist’s experience, to their temperament. And I am just as likely to enjoy all art forms such as film, video, photography, installation, conceptual, performance pieces, concerts, plays, etc. Doug Aikens, Bill Viola, Robert Wilson, Antonio Lopez Garcia, and Sally Mann all excite me when I discover them in a museum setting.

BS: Let us discuss your educational background. In 1974 you had private studies with Benjamin F. Long IV. Mr. Long is a respected artist and grandson of noted artist McKendree Robbins Long. At the time he was an apprentice of internationally-renowned Maestro Pietro Annigoni. Can you recall your experience studying under the direction of Ben Long? How did he influence you as a painter?

BB: Ben may be the greatest draftsman I have ever encountered. He studied with Madam Simi and Annigoni, whose lineage goes back to Michelangelo. Ben taught me how to draw. He was patient and tough. I was only 18 when I studied with Ben, having come to Florence straight from Georgia. I had thought I would be an abstract painter. I didn’t think that being a representational painter was an option until I met Ben. I assisted Ben on some frescoes, but he wasn’t really my painting teacher.

The Babysitter, oil on linen, copyright- Bo Bartlett

BS: You apprenticed under Nelson Shanks-- another artist of note --can you tell our readers about that experience and the mark that Nelson made on your creative endeavors?

BB: I learned to paint from Nelson. He too had studied with Annigoni. Nelson, who had studied painting with Henry Hensche, painted optically, coloristically, and in the tradition of the Boston painters such as Paxton whose lineage went back to Sargent and the French academy. All of Nelsons private students, after studying with him for two years or so, would leave his studio painting almost exactly like he did. The goal in the words of Leonardo’s teacher Verrocchio was "For a student to be successful he must surpass his master." It was a bit like learning how to drive. Its one thing to know the mechanics of driving. Its another to know where you want to go on your journey. We all came out of there being able to paint exactly as we saw. The question became where we wanted to go with it.

BS: Bo, you also studied at the Pennsylvania Academy of Fine Arts. Who were your mentors at that time?

BB: I worked with Nelson at the same time I attended the Pennsylvania Academy. My favorite teacher at the academy was Morris Blackburn. He was one of the more modernist teachers. There was a divide in the seventies at the academy between the "realists" and the "abstractionists". Blackburn saw beyond this into the core of one’s endeavors. He used to say, "Art is like taking a journey. Where are you going to go and how are you going to get there?" One must have a map, a plan, which can be deduced from the attempts of every artist who preceded us. All previous art is a foundation on which to build.

The Way, oil on linen, copyright- Bo Bartlett

BS: Bo, when you view the paintings that you create today do you see traces of your former instructors within them? How have you branched away from their teaching?

BB: The other teachers at the academy who influenced me were Ben Kamihira, Arthur DeCosta and Sidney Goodman. I was also influenced by Harvey Dinnerstein from New York. I was searching for a contemporary context for large figurative painting. Some have referred to it as "history painting," but if so, it is a private history that is being portrayed, not a public history. Sidney Goodman’s large painting entitled Crowd Scene which depicts figures standing on cars watching an unseen tractor-pull in the distance opened my imagination to a way of depicting figures in a contemporary context involved in a group discovery which, for me, spoke to the mystery of contemporary man’s existence. Harvey Dinnerstein’s Parade surrealistically portrays a protest march from the sixties. I saw this painting in Harvey’s living room on a visit to Brooklyn and it profoundly affected me. I still think about these paintings and the work of all of my teachers and forbears everyday when I paint.

Every person (i.e. artist) has different experiences. A child growing up riding graffiti scrawled subways in the Bronx is going to have a very different visual history and language than a child growing up in the fields and country side of south Georgia. So, everyone’s experience is unique. Hopefully my art is true to my experience, and my path is my own, as all of our paths are our own.

Habeas Corpus, oil on linen, copyright- Bo Bartlett

BS: Bo, in 1986 you received a Certificate in Filmmaking from New York University. You then embarked on a five year collaborative film with Betsy Wyeth, the wife of Andrew Wyeth. The film, entitled Snow Hill, focused on the life and works of Andrew Wyeth. Can you tell us about those years?

BB: I had wanted to make films. I had several screenplays I was developing. At the same time, I had just begun showing in New York. I received a particularly harsh review for a show at PPOW in1991, and was back in Pennsylvania licking my wounds when Betsy Wyeth called and asked me to come out to Chadds Ford for a visit. She bought paintings and upon discovering that I was interested in film, asked me to assist her in making a biographical documentary about Andrew Wyeth. I spent three years every day with the Wyeths.

BS: Do you have any stories about Andrew that you would like to share with our readers? Can you briefly explain what you gained from his friendship and mentorship?

BB: Andy is the greatest living painter. He’s 90 years old, and he has gone out every day of his life and painted. He doesn’t try to impress anyone or play into what is fashionable. He is completely and totally true to his experience. He literally goes out into his own back yard, paints what is there, and makes it universal. No one else living can capture and encapsulate time or the meaning of the fleeting effects of sunlight as objectively or deeply as Wyeth. He completely and totally gets it. I feel blessed to have had a 15 plus year friendship with him. His encouragement has sustained me through many long afternoons in the studio when I’ve been able to put aside the words of some critic with an ax to grind. The bad reviews that I’ve received pale in comparison to some I’ve read about Wyeth. Andy says, in his high pitch shrill, "People only make you swerve. I won’t show anybody anything I’m working on. If they hate it, it’s a bad thing, and if they like it, it’s a bad thing. An artist has to be ingrown to be any good."

Sleeper Awake, oil on linen, copyright- Bo Bartlett

BS: Bo, have you ever instructed anyone in the art of painting? If not, is that something you plan to do in the future?

BB: I taught one year at the Pennsylvania academy. But for me, teaching works best in the private setting. I usually have had over the years one or two students at a time for a period of two or three years. I am very particular about who I’ll teach. They must already have a handle on their skills and have the potential to develop their very own unique voice. It’s not about just teaching a bunch of tricks, but it is a marriage of teaching the materials and techniques of the craftsmanship of painting and developing a larger more holistic approach to art making and living. I will teach several 2-4 day master classes in the coming year, including one at the New York Academy of Art and one at Columbus State University in Columbus, Georgia.

Car Crash, oil on panel, copyright- Bo Bartlett

BS: Finally, do you have any advice for emerging artists who are exploring realism?

BB: Other than "Breathe," "Be open," and "Look and Paint,"… I had a list of "10 dos" which I suggested that my students at the academy adhere to daily.

1. Hydrate (drink a gallon of pure water a day)
2. Eat Right (eat three well balanced meals)
3. Be Physical (exercise ,walk, or play a sport,regularly)
4. Study (learn all you can about your primary interests)
5. Make some money(work. be responsible,not greedy.
You have to eat and pay the rent)
6. Make Art (believe in it, develop it and enjoy it.)
7. Meditate or Pray.(find and practice a spiritual discipline)
8. Sleep (8 hours a night to recharge and dream)
9. Love (develop a few close honest friendships)
10. Know Thyself (Be clear. write. decide when an issue
is your own or when it is someone else's)

You can learn more about Bo Bartlett by visiting his website-- www.bobartlett.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. I'd like to thank Anelecia Hannah from the Bo Bartlett Studio for connecting me with Mr. Bartlett.

Take care, Stay true,

Brian Sherwin

Book Review: Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists

Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists

Metamorphosis is a book that represents the work of 50 contemporary artists who epitomize the traditions of contemporary Surreal Art, Fantastic Realism, and Visionary Art. However, there is more to this book than the artists who grace its pages. It also serves as a catalyst for understanding the significance of these works within a historical context and for realizing the global reach that these movements have had. In that sense, Metamorphosis is a book that represents every Surreal, Fantastic, and Visionary artist-- past, present, and future.

Metamorphosis accomplishes this by containing essays by Ernst Fuchs and others that give historic validity to these forms of expression. The text offers information defining how contemporary Surreal, Fantastic, and Visionary art came into existence and how these forms of expression have made an impact throughout the world even though there are some who have tried to contain it-- tried and failed.

Many texts that I've read involving these styles have lacked this connection with art history. The connections revealed in Metamorphosis give the reader an idea of where to search for more information pertaining to the historic and contemporary significance of these forms of expression-- including a list of various online sources that readers can explore for themselves.

It is great to find a book that introduces the reader to contemporary artists, such as Chet Zar, Laurie Lipton and Alex Grey, while making it clear that these contemporary works have a basis within the context of art history and that the imagery they portray has broad implications in our times and beyond.

You can find out more about this book by visiting the following link: http://beinart.org/shop/metamorphosis.php

Take care, Stay true,

Brian Sherwin

Art Space News: Yuliya Lanina at Scope Miami

Yuliya Lanina has been very busy since last I spoke with her. I remember viewing her work at DiVA in New York. Haunting child-like laughter beckoned viewers to enter the darkened room where her work was displayed during that event. Currently, her work can be found at Scope- Miami with ADA gallery (Richmond, VA). Her video "Journey" will be shown with Patrick Heide Gallery (London) at Aqua art fair in Miami. Yuliya's display at Scope can be found at Booth 48.

Yuliya had the following to say about her works:

"I explore cultural identity and sexuality through images of perverse yet innocent dolls. Taking cute and cuddly ready-mades and turning them into fetishistic objects, I construct my work on the intensity of coexistence of opposite extremes and remains open to a multiplicity of interpretations. Having worked with dance troupes, large sets and installations in the past left me with the desire to create self-contained experiences and stories, having full control over the creative process and the result. I also found it easier to talk about loaded topics such as sexual violence, neglect, addictions and cultural identity through surrogate dolls instead of live actors. I explore those themes through images of perverse yet innocent dolls that act and perform in an adult-like manner.

By incorporating ready-mades I comment on the objective existence of those issues in our culture. By taking cute and cuddly dolls and turning them into fetishistic objects I strive to create mixed feelings in the viewer, mixing appeal and amusement with fear and repulsion. I also hope to engage the viewer in a new way by adding another level of interaction with the work: a minute long acts of my pieces. Humor plays an important role in my work. I enjoy having people laugh at my pieces, for only when one laughs at their own absurdity is there a chance for change. Laughter is also a way of trying to stay away from being didactic or moralistic. My stages capture visions where the actors can be animated by the viewer’s participation. "Lullaby", a stage presented at Scope Art Fair by ADA Gallery (Richmond, VA), is a commentary on the loss of childhood innocence, which results in delusion and heightened awareness"

You can find Yuliya Lanina on www.myartspace.com. Her login name is yuliyalanina. The Myartspace community wishes Yuliya the best of luck with the art fairs.

Links of Interest:

www.yuliyalanina.com

www.scope-art.com

www.aquaartmiami.com

www.adagallery.com

www.patrickheide.com

Myartspace Interview with Yuliya Lanina:

www.myartspace.com/blog/2007/03/art-space-talk-yuliya-lanina.html

Take care, Stay true,

Brian Sherwin

Art Space Talk: Marilee Salvator

Marilee Salvator is an Assistant Professor of Printmaking and 2-d design at Bloomsburg University. Marilee's work has been exhibited in over 30 exhibitions throughout North America and abroad. She recently had a solo show titled Ring Around The Rosie at SNAP Gallery in Edmonton, Alberta. Other recent exhibitions include Stampa D’ Arte, Fondazione Bevilacquq La Masa, Venice, Italy, Power of Print, Italian Cultural Institute, Italian Embassy, Washington, DC, Global Matrix 2, International Printmaking Exhibition, Robert L. Ringel Gallery and Stewart Center Gallery, Purdue University, West Lafayette, IN, and International Small Engraving Salon Carbunari 2006 8th edition, Florean Museum, Maramures, Romania.

Stains #2, silkscreen, iron oxide monotype, marker

Brian Sherwin: Marilee, tell us about your educational background. Do you have formal training in art? If so, who were your instructors and how did they influence you?

Marilee Salvator: I have a BFA from Illinois State University and a MFA from University of New Mexico. The most influential professor I had was Sean Caulfiled. He was one of my printmaking teachers at Illinois State University. Sean is a very passionate and prolific person. He loves printmaking and this is very evident in his approach to educating others. As an educator myself now, I try to model my approaches after him.

Circular composition #10 2007, multiple shaped etching plates, polyester lithography, silkscreen
8x12

BS: Marilee, tell us about your early artistic influences and experiences. When did you decide to pursue art?

MS: I was highly artistic as a child. At that point in time I don’t know what influenced me, perhaps it was art classes in grade school or a dysfunctional childhood. I saw the world differently than the people around me. When I was making, I was in my own creative world and these differences became irreverent.

I tried to pursue other careers as an adult, due to lack of parental support (my parents, like most parents, were scared about what I would do with such a career). In my early 20’s, while enrolled in an Art Therapy program in Santa Fe NM, I decided to stop fighting it and pursue the one thing that I was always passionate about, fine art.

When I began college, I was confused and a bit all over the place, not really sure what I was suppose to be making or who I was as an individual. When I started asking myself these types of questions and understanding their relevance, my artistic vision began to slowly form. But not before I began the risk of pursuing fine art with all of my being.

Collection #1 2007, shaped etching plates, digital size varies

BS: With that said, how would you say that your work has advanced since that time?

MS: I developed my own vision. My work is constantly evolving. This evolution depends on the current idea I am exploring. I have always been obsessed with process and ritual but I like to think that it has grown to include an element of sophistication and artist focus. I often work with autobiography and feminist issues. The making of my art has allowed me to evolve as a more integrated human being. My focus has become more on the conceptual side rather than the formal, although, I still hold great interest in the latter.

BS: Marilee, is there anything else you would like to tell us about your background in regards to how your art has evolved?

MS: I knew that I had found something that held my interest when I took my first printmaking class. I began working obsessively. Spending all of my time in the studio, always making. I still had no clue what I was making; it was about the act of doing, this intense ritualistic process. Over time, the details were ironed out.

Rain Installation 2002, Lithography, intaglio, relief, wax, thread, velcro right side 8ft x12.5, left side 8ft x 7ft

BS: Can you go into detail about your artistic process? How do you begin a piece? When do you know that a piece is finished?

MS: All of my work begins with an abstract notion. I do not foresee a visual end. It’s more about a larger idea I want to portray to the viewer and then the formal arrangement that occurs through the process. I like to collect data. I will gather things to work with that are related to this idea. For example, when I was working on my rain series, I spent several months recording the New Mexican raindrops on sheets of notebook paper. When it would rain, Id get paper and go outside and let the droplets land on the sheets. I then trace them with a pen or pencil. I gathered all of these records.

Rain #4 2003, Lithography, 2 pieces of waxed Kozo hand stitched to BFK, 18.5x18.5

These records were then used to formally arrange the large installation called Rain. I spent about 1 year figuring out the proper arrangement of this work. It is quite large; one side is 12.5 ft and the other about 8 wide. Each little square is composed of 2 sheets of waxed rice paper and one heavier sheet of rag paper that I printed the rain marks on. After going through the assembly line type work of printing my records on hundreds of different sheets of paper, using countless colors, etc, and dipping them into a large vat of wax, I selected pieces that worked well together as individual formally interesting compositions in the 6in square format. These were then hand stitched together and a strip of Velcro was adhered to the back.

The "closet formalist" in myself always comes out around this time in my working process. The large installation evolved over numerous painful months of trial and error. I lined my studio walls with strips of Velcro and began moving the pieces around, searching for the correct composition. Repositioning the lines of Velcro, extending then. I ended up using the corner.
I wanted a solid formal arrangement that both portrayed the poetic idea of fragility and delicacy as well as a beautiful engulfing atmosphere that one could become lost in.

The work is designed to give the viewer 2 different experiences. The overpowering feeling of being emerged in the storm of rain and the individual more quiet experience of flipping through individual groupings.

Scrap Book 2004-07, mixed printmedia

BS: Marilee, how does current world events influence your work? In other words, how does contemporary life impact your creative practice?

MS: I am very interested in contemporary art and feel that it is a very exciting time for artists.
My most recent works deal with sexual abuse. Like artists such as Tracey Emin, I am working with the very personal, showing this vulnerable side of myself, giving others permission to do the same thing.

I feel that art has tremendous potential for change. Visual outlets impact the human mind on a primal level. Words tend to be more surface. We have learned far to well to sensor our language and block out things that can be addressed visually much quicker and with greater impact.

BS: Marilee, tell us more about the philosophy behind your art. What motivates you to create?

MS: I must create. It is not really a choice; it is more of a compulsion.

BS: Why did you choose to work in the medium(s) that you use?

MS: I love experimenting with different materials. I tend to always include some type of printmaking due to its repetitive nature and the delayed gratification involved.
I’ve worked with menstrual fluid. Ran tampons through my etching press. I chose these materials for conceptual reasons. This is used in the sexual abuse works. My interest here deals with sexuality and femininity. It is a way of addressing a personal shame that is the result of my childhood sexual molestation.

Red Rover, Red Rover 2004, menstrual fluid monotypes, silkscreen

BS: what is your studio like? Can you go into detail about your studio routine? Do you work in silence-- listen to music.

MS: My studio is messy. I have a lot of different projects occurring at one time. My routine is all about ritual. I go in and begin somewhere, on something and I wait and see where it takes me. I tend to cycle through different things. I can’t work on one thing at a time, attention deficient disorder. After working for a while I sit and look at the progress and wait for my mind and intuition to give me answers about the next move. I usually listen to music and sing really horribly.

BS: Marilee, what are you working on at this time?

MS: I’m working on a series of etchings and a mixed media installation piece.

BS: Do you have an upcoming exhibit? Where can our readers view your work?

MS: My work is currently part of a fundraising effort for autism. The fundraiser will go through the first week on December. People can go to the website www.midnightinchicago.com/index.htm and donate $5 for a ballot to vote on a particular artist, such as myself ☺. All proceeds go to support research in autism. I’m in a 4-person show, Women’s Concerns At Lock Haven University, Lock Haven PA that opens in January. My work can also be viewed at www.marileesalvator.com.

BS: The internet is changing how we discover and view art. In your opinion, how have sites like www.myartspace.com empowered artists?

MS: Defiantly!

Lacy Circle 2007, inkjet print, 10x8

BS: Finally, what are your goals as an artist? What do you hope to accomplish with your work?

MS: I hope it continues to evolve and inspire others in a compelling way. I hope to empower women whom have suffered from abusive situations. I hope to draw attention to issues of abuse within families. I have high goals, I know.

You can learn more about Marilee Salvator by visiting her website-- www.marileesalvator.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Alex Golden

Alex Golden attended William’s College, graduating Phi Beta Kappa with majors in studio art and psychology in 2004. After graduating from Williams and working in Brooklyn as an artist’s assistant, Alex spent a year studying drawing and painting in Toronto, Ontario. He is currently enrolled in the Master of Fine Arts program at Hunter College in New York City and expects to graduate in December of 2008.

Though still in school, Alex has exhibited his work intermittently in Connecticut, Pennsylvania, Massachusetts, Toronto, and New York. He has recently been presented to the Master's program at Christie's as a promising emerging artist, and he was also included in a presentation on the range of contemporary images of the Annunciation at Saint Elizabeth’s College in Morristown, NJ. Alex’s work is in several private collections, including that of renowned collector, John Pigozzi.

Untitled, oil and archival inkjet on canvas mounted to panel, 43 x 57 inches, 2006

Brian Sherwin: Alex, I understand that you are currently enrolled in the Master of Fine Arts program at Hunter College in New York City. Have you enjoyed your studies at Hunter College? Who are your instructors and how have they influenced you?

Alex Golden: Yes, I have really enjoyed being at Hunter. It is a thriving artistic community, filled with smart individuals who are passionate about making art and/or contributing to the field. Not to mention that these are good people, and I have made a lot of good friends. The structure of the program, in my opinion, is pretty much unbeatable: When I came into the program, students were allowed four years to complete the degree (though it has since been lowered to three). That means four years of paying low, public school tuition on a per credit basis and being given a beautiful studio space in the middle of Manhattan for the entire time at no extra cost. Having such a long time to develop ideas and techniques allows artists to really explore their options, to take risks without the pressure of being thrust out into the much-less-forgiving commercial art world. It allows more exposure to the huge variety of artists that makes up the Hunter MFA community as well as to the art world community of New York.

I have had many great instructors at Hunter. Each one has influenced me in a very different way, as each one looks at and makes work in very different ways. I have worked with video artists, mixed media artists, color field painters, post-modern abstract painters and an academic figurative painter. Hunter requires that each MFA student work intensively with at least 6 different professors before choosing one of them to be a thesis advisor.

The Hell of the Present is His Kingdom at Last, oil and archival inkjet on canvas mounted to panel, 58 x 58 inches, 2007

BS: Alex, where else have you studied art? What can you tell us about those experiences?

AG: I did my undergraduate degree at Williams College, getting a B.A. with a double major in art and psychology. Williams was a great place to get my feet wet in my study of art. Because it is a liberal arts program, art was not my sole focus there, though over time, it certainly became my greatest interest. Williams encouraged its art majors to try different media and emphasized conceptual thinking over technique.

After Williams, I studied painting and drawing at the Toronto School of Art in Toronto, Ontario. I did a one-year independent studio program in order to get a portfolio together for grad school applications. It was basically independent work with the guidance of my advisor, painter, Gillian Illes. I also took a figure drawing and anatomy classes while I was there.

BS: I've read that you worked as an artist's assistant to Liza Johnson. What was that experience like? What did you learn from her?

AG: Liza Johnson was my video professor at Williams College (My thesis at Williams consisted of paintings, videos and photographs). I worked for Liza a few times a week for several months doing things like editing on Final Cut and helping her with some film shoots. I particularly enjoyed helping her with the shoots, as it exposed me to an entirely different realm of art making. It was a short lived experience, but one that I look back on fondly.

Index, oil and archival inkjet on canvas mounted to panel, 43 x 57 inches, 2006

BS: You have been a very active artist outside of the classroom-- having exhibited widely -- you were included in a presentation on the range of contemporary images of the Annunciation at Saint Elizabeth's College, your work can be found in several private collection, including that of renowned collector Jean Pigozzi, and you were recently presented to the Master's program at Christie's as a promising emerging artist. In you own words, how did you get to where you are today? Would you say that it takes a great deal of ambition to become a successful artist? Is it fate, luck, or simply the ability to endure?

AG: I definitely make an effort to stay active both in and out of my studio. That said, my top priority right now is my education and continuing to develop my work. I am not in a hurry to get myself out there too quickly, and I actually think that is apparent in my résumé. Every once in a while, I’ll submit slides or jpegs to something because it seems like my work might be a fit (hence, the presentation at St. Elizabeth’s). Also, being at Hunter provides tremendous exposure, particularly at the once-a-semester Open Studios. That is where I have sold some of my work, including to Jean Pigozzi, and that is where one of the Masters students from Christies saw my work.

Becoming a successful artist depends on your definition of "successful." If success is about having some people appreciate what you are doing, then I think it is mixture of dedication, hard work, and luck. If your definition of success includes widespread recognition and monetary stability, then get back to me in 30 years and I’ll let you know if that ever happened!

Purple Ink, oil and archival inkjet on canvas mounted to panel, 43 x 57 inches, 2006

BS: Alex, let us discuss the philosophy and motives behind your work. Based on what I've read, you view yourself as an outsider who takes part in society rather than simply 'looking in', so to speak. You accept the truths-- the norms of society --even though you don't fully accept them. In a sense, you go through the motions-- you walk the walk -- throwing aside your inner questions and doubts in order to embrace outward meaning-- which often means nothing. Can you go into further detail about this-- why these ideas have become the focus of your work? Do correct me if I'm wrong in my interpretation.

AG: I never fully cast aside my questions and doubts about the systems of society, but I try to. I think my work is, at heart, ironic and critical, but I try to get in there and join in what I sometimes perceive to be the absurdity of various belief systems. It is an effort to understand the human propensity to find meaning and then to believe in it, often wholeheartedly and without doubt. Why do we subscribe to the norms that cultures generate for us, even when they seem outdated? Why are we seduced by celebrity and branding? How is it possible for ideological warfare to be waged in the 21st century?

These are the kinds of questions that inspire my work and which I try to answer not with a statement of fact, but with a reflection on experience. It is always a bit of a catch 22 to make critical work, as it implies that the author of the work is somehow exempt from the socio-cultural forces on which s/he is commenting. Though I do feel that my personal experience as a gay man gives me some distance from which to question culture, in no way do I think of myself as exempt or absolved from the human tendency to subscribe to cultural systems. So, my work is more of a reflection on this contradiction in myself, but more importantly, in people in general.
This inquiry seems especially important to me now, at a time when world conflict over belief systems is particularly salient. It is at times like these that belief systems simultaneously crumble under the weight of being challenged and also garner strength as people desperately attempt to preserve them. I try to address the experience of this paradox in light of its absurdity, its humor, and its tragedy.

untitled, oil and inkjet on canvas, 44 x 85 inches, 2006

untitled, oil and inkjet on canvas, 44 x 85 inches, 2006

BS: There seems to be a great deal of psychology buried within your work-- I suppose that can be said of all art --but with your work it seems to be reaching out from within-- pulling at anyone who cares to observe it for those qualities. How exactly has the study of psychology influenced you? By any chance, are you interested in the theories of Carl Jung?

AG: I agree that psychology is a big part of my work. The experience of the paradox I mentioned previously is mostly an existential one, but the psychological component of that is huge. I understand completely why you asked me if I’m interested in Jung, as it could be argued that my work is about how people define themselves, collectively and as individuals. Also, my work often depicts a human drama, one filled with the theatricality of archetypal characters, with a particular emphasis on the Self and the Shadow. That said, Jung is not someone I have thought about until you mentioned him. Looks like I have some reading to do ;)

BS: Past interviewers have noted your distance in that you refuse to answer certain questions or dodge specific topics. Would you say that you prefer that your work speak for you? Can viewers find traces of your inner secrets within your work? When viewed as a whole, do they embody the essence of who you are, who you desire to be, and who you fear becoming?

AG: I, too, like to get inside an artist’s head, just a little bit. But I like to be able to do that by looking at his or her work. While knowing something about an artist’s context can be an important tool for interpretation, knowing all the sensational details of an artist’s life is not always necessary.

phone series installation, oil on canvas and linen, each panel is 24 x 24", 2005-2006

BS: Alex, allow me to ask some questions about your artistic practice. In recent years you have utilized digital photographs and other aspects of photography and technology within the context of your painting practice. Some of these works involve oil paint used directly on digital photographs. However, in the past--based on what I've read --you worked predominately with oil on canvas. Why did you make the move toward different mediums within the context of your painting practice? Was this a sudden change?

AG: I have always been fascinated by photography, and I have always incorporated elements of photography into my paintings. I am interested in the photograph as an artifact of culture, an index of a specific place and time. Regardless of how savvy we get with the manipulation of photography, there is always an initial sense of reality and a suggestion of truth due to its photomechanical process. While the photographer’s decisions influence every picture taken, there is no escaping the sense of reality that comes from the knowledge that the object in a photograph is or was real. I am interested in pitting the sense of reality in a photograph against the more noticeable construction of the painted image. For this reason, I came to a point in my work where the logical next step seemed to be to incorporate the photograph itself into my paintings.

BS: Do you consider yourself a private person as far as creating art is concerned? Or do you openly seek interaction with others about your work? In other words, is your studio door closed or open when you are working?

AG: I shared a studio for two years before moving to a private one this past summer. So, by default, my studio door was always open…until recently. Now, I love being able to choose when I want feedback, and when I don’t. In general, I am pretty private until I get to a point in my work where I need some fresh eyes.

BS: What type of studio routine do you follow? Is your studio practice structured or do you work sporadically? How is that work ethic reflected within the context of your art?

AG: I go to the studio 5 – 6 days per week in the mornings and I work as a private tutor in the afternoons and evenings. Oh, and I do go to classes a few times per week as well. I definitely have periods of intense work in the studio followed by periods that are less productive. A lot of my recent work is extremely time consuming and labor intensive, so once I get on a role with a piece or two, I am usually quite productive. When I’m in between pieces or series, I often have long periods of research and planning.

BS: What are the preliminary steps that you take when thinking about a new piece? Do you keep a sketch journal?

AG: I start with either an idea or an image and work from there. I always make a sketch, often upwards of ten sketches, using Photoshop before I commit to something bigger. I have a whole file of sketches for projects that never happened.

Homage to F.G.T., oil and archival inkjet print on photo paper mounted on Sintra, 22 x 40 inches, 2007

BS: Alex, what are you working on at this time? Also, do you have any exhibits planned for 2008?

AG: I am working on a couple of things. First, I am working on a photographic portrait that is a hybrid of Tammy Faye and myself. It will be an archival inkjet print with some gold leafing in the style of Christian Icon painting. This may be the start of a series, depending on how it turns out. Second, I am making an large (7 feet tall) mixed media version of The Assumption of Tammy Faye.

BS: Finally, is there anything else you would like to tell our readers about your art?

AG: No, I think we covered it!

You can learn more about Alex Golden by visiting his website-- http://www.alexgolden.net/. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space News: Russian Art Boom at Sotheby's

"Bluebells", an avant-garde piece by Natalia Goncharova and the most valuable work sold.

Over the past two days Sotheby's in London sold 79.8 million dollars worth of Russian art. The work included Orthodox icons, Russian paintings, works in porcelain and Faberge works. The large some of money set a record as being the most successful sale of Russian art to date. The record was formerly held by Christie's International-- which broke the record in 2006.

Sotheby's record breaking Russian art sale is due in part to the growing economy in Russia-- where there has been an annual 15 percent increase in millionaires each year since the late 1990s. Many of Russia's wealthiest feel that it is their duty to buy pieces of their national heritage. This growth in wealth and nationalism has caused Russian art prices to skyrocket. You can learn more about Sotheby's by visiting the Sotheby's website: www.sothebys.com

Art Space Talk: James Robert Ford

James Robert Ford is a contemporary British mixed media and installation artist. James attended Goldsmiths College, London. His artwork is often based around social interaction and include elements of game play, participation, communication and humor, and is recognizable in form by its heavy use of the Internet as a means of creating, displaying and promoting artworks.

I am not a fridge, Fridge door, magnetic letters, 52 x 80 x 11 cm, 2007

Brian Sherwin: James, you studied at Goldsmiths College. Who were your instructors at that time? Where else have you studied art?

James Robert Ford: When I was at Goldsmiths my tutors included Gerard Hemsworth, Jemima Stehli, Milly Thompson and Andy Harper, among others. I also studied at Nottingham Trent Uni for my BA and Winchester School of Art for my Foundation.

BS: James, it has been said that your work is concerned with the loss of innocence and the "endearment of the loser". Would you like to add to that description?

JRF: Those terms are based around the notion of replaying childhood past-times, pursuits and obsessions. Endearment of the loser infers that we should feel compassion towards the "losers" of society but also acknowledge that everyone is a bit of a loser. We all have a hobby or interest that we do not openly talk about for fear of ridicule. I openly display my regressive interests in my art and hope that the "loser" aspect of collecting toy cars, filming my cat or jumping around a house will allow the viewer to get past the pretension barrier of art and see the work in a new light.

BS: James, can you go into more detail about why you infuse your work with humor and a sense of play? Would you say that people need to remember that art can be fun and serious at the same time?

JRF: Exactly - as I was saying before, there needs to be a way into the art for the audience. Be that collective memories, humour, playfulness or some other connection. This "key" is very important. Without a way to unlock the door to a piece of art, you can't begin to see all the other levels it may be operating on.

BS: I understand that you made a British version of the General Lee... can you tell us about that? How did you create it and what was the motive behind it?

JRF: The piece was called "General Carbuncle" and it was an assemblage sculpture - 4,500 toy cars glued to a 2nd hand Ford Capri, made to look like the General Lee car. This work was 3 years in the making, way before there was any talk of a Dukes of Hazzard film. It took a long time to build because of problems with finding the right Capri, storing it, sourcing and buying all the toy cars, receiving donated toy cars and applying for funding. At the time (and still now) I was annoyed that American TV seemed to be wanting our successful British comedy shows but re-casting them and re-scripting them for an American audience. Shows like Absolutely Fabulous, The Office, etc. So I wanted to make a clumsy (as Americans stereotype the British as bumbling idiots) British version of an American screen symbol. Hence the General Lee and all it's accompanying non political correctness.

Six Degrees of Smoking, social interaction, web project, 2005-present

BS: James, some of your other works have involved Bond film plot structure, tracking the lives of lost cigarette lighters... can you discuss a few of these works and the motives behind them?

JFR: A lot of ideas in my work come from childhood experiences or everyday peculiarities. For the lighter project, I noted that I was constantly be asked by fellow smokers if they could borrow my lighter (because they had lost theirs). I would then sometimes forget to ask for it back, and hence loose my own. One day in Italy I lent my lighter to a girl from Finland who was flying home the next day. I never got it back and this got me thinking - I'd traveled with a lighter from England to Italy, and now the lighter was on it's way to Finland, all through getting passed on between smokers. So I set up a website and labeled up 250 lighters with instructions for the smoker to photograph themselves with the lighter, email or text the photo to me and then pass it on, to see where the lighters all ended up. Inevitably, many of the lighters never made it past the first person and were instantly lost down the back of a sofa or dropped in the street on a night out. I remember one instance in particular where I received an email from a participant in the project saying he wouldn't be passing the lighter on as he wanted to keep hold of it in case I became famous and he could sell it!

9 Rotating Rainbow Cranes, Animated screensaver

BS: What are you working on at this time? Can you give us any details?

JRF: At the moment I'm working toward a group show in January and my first solo show in London in May. It's at a relatively new gallery called FERREIRA PROJECTS in Shoreditch (www.ferreiraprojects.com). I'm producing a whole new body of work based around Origami cranes. It's a progression from the paper folding I've used in my work in the past - for example Homage to a Crap Capri was a 1/4 size replica of a Ford Capri folded from one sheet of cardboard, and Fortune Tower was an online animation based on the Fortune Teller object that you used to make and play with your friends at school. It's the mystery of these folded objects that intrigues me - even if you are given a folded crane, a car or a fortune teller, you won't be able to figure out how to make it unless you are shown.

Homage to a crap Capri, cardboard, resin, paint, 107 x 32 x 38 cm, 2007

BS: James, from what I've read you expect participation from people who view your work. Due to this you often utilize the Internet as a way to 'connect' people to your work. Would you say that you draw inspiration from viewer activity? Does the opinions of viewers give you a sense of energy that you take into the next piece?

JRF: The Internet is a great way to connect and interact with viewers of the work. Testament to this was the House Gymnastics project that I did back in 2002 that is still ticking over in the background. Created out of boredom from being jobless, myself and Spencer Harrison started to literally climb the walls of our house. We began to create positions and give them names. We'd show people at parties and they'd want to see more so we set up a website. Friends would tell their friends about it and soon we were getting images of strangers performing the moves we'd invented and even creating new ones, which we published online. This site turned into a cult hit and spored a TV pilot, a published book and some art exhibitions. Audience input and effective collaboration does create a lot of energy because it shows that people are interested in the work and their involvement enhances the art.

House Gymnastics, performance, photography, publication, sculpture, website, 2002-present www.housegymnastics.com

BS: James, how important of a role do you think the Internet will play in the lives of artists from this point on? Most people tend to feel that the Internet empowers artists... do you think it can harm artists as well? What is your opinion?

JRF: It's definitely empowered me and a lot of my generation of artists - we were graduating when the Internet first started being used for arts promotion so it was new, exciting and untapped. It can harm artists in the way that nowadays almost every artist has a website or online profile. It's harder for the viewer and potential buyers to filter through the drudge. Not saying that my work is better than drudge, but if someone thought it was good they'd have to sift through a lot of other artists' profiles to get to mine. And this process can be overwhelming for the viewer - take for example the Saatchi gallery website. A great idea that has allowed thousands of artist to exhibit there work online. But trying to find something "good" is like picking through a massive tin of Quality Street for the last elusive Strawberry Cream.

BS: What other thoughts do you have about technology and art?

JRF: Technology can enhance art but it can also be detrimental to it. "New media" art (I despise that term) can become too hung up on how new and clever it is. New methods and outputs for artistic practice need to be married with creativity and great ideas.

BS: Finally, is there anything else you would like to tell us about your work?

JRF: The work I'm making now is some of the best I've made. Initially I started folding paper cranes as a way to escape - Origami to me was like what playing chess was to Duchamp, although I never intended to retire at this point.

You can learn more about James Robert Ford by visiting his website-- www.jamesrobertford.com. You can take part in his blog project by visiting www.33thingstodobeforeyouare10.co.uk. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin