The exact effect of art can't be controlled or fully anticipated.

Great art makes itself vulnerable to interpretation, which is one reason that it keeps being stimulating and fascinating for generations. The problem inherent in this is that art could inspire malevolent behavior, as per the notion popularly expressed by A Clockwork Orange. When I was young, aspiring to be a conceptual artist, it disturbed me greatly that I couldn't control the interpretation of my work. When I began painting, it was even worse; even I wasn't completely sure of what my art meant. That seemed dangerous for me, personally, at that time. I gradually came not only to respect the complexity and inscrutability of painting and art, but to see how it empowers the object. I believe that works of art are animated by their creators, and remain able to generate thoughts, feelings, responses. However, the fact is that the exact effect of art can't be controlled or fully anticipated.

APRIL GORNIK Artist, New York City; Danese Gallery

New Orleans Grows An Art District:

The Warehouse District in New Orleans has become so successful that it is now known as the “Art District.” It is located between the French Quarter and the Garden District. Many artists found the area attractive because of the price and the space available for studios. A quiet sub-culture developed as artists brought this area back to life.

The Art District houses over 25 galleries with most located along Julia Street. There are plenty of museums as well, including the Contemporary Arts Center, The National D-Day Museum, the Children's Museum and the new Ogden Museum for Southern Art. Restaurants abound in the area offering all types of cuisine.

This old warehouse district has become one of the many upscale living quarters in New Orleans and thankfully was not heavily damaged by Hurricane Katrina. With its restaurants, galleries, theaters, museums and new living spaces, the Art District attracts many young professionals and a growing number of tourists. The Art District of New Orleans has a long history, but it has finally come of age.
Source: Collin R Sullivan

:::This Week's Recommended Reading:::
"My Name Is Charles Saatchi and I Am an Artoholic"

Color

Color is a word that separates color
That’s a good thing if it has an unbiased pecking order
I have my favorite colors but I never hate the others

Try to see color in a dark room
You can’t see red or green
It’s all about light

Light waves smash into objects
Absorb certain colors
Reflect certain colors

I’m a bit of both at the same time
I call myself the absorption reflection spectrum
I don’t mind, as long I don’t look translucent

Therefore, who’s colored, or what‘s my spectrum
Moving at light speed, we see the past
Causing us to live in denial

It takes time for light to travel
It’s funny that light and time are relative to each other
It’s a good thing we got time for color

All those colors stored and packed in white light
Speeding waves smashing into a matter of us
Exploding, subtracting and reflecting the rest

Purple is cool
However, respect the entire spectrum
I can’t imagine fighting over wavelengths

© Tom Crayns

Maintaining Print Condition

There is no real standard for condition problems and condition ranking of digital prints. Therefore, it is not unreasonible that we consider the maintenance and evaluation of the condition of our prints in the same manner as the traditionalists. Here are a few specifics...

Most galleries and traditional print collectors rank the “condition of prints” into three categories:

I. Quality of Colors (fresh-vivid or faded)
II. Quality of Impression (actual printing quality-resolution/print materials used)
III.Quality of Condition (Spots, indentations, marks, etc.)

Condition quality, impression and color, can be further described as:

- Presence of backing /is the piece backed and how
- Presence of glues, standard tapes and adhesives
- Holes, tears, binding marks
- Discolored: browned, yellowed
- Faded colors - sun damage
- Corners: pierced, margins worn
- Creases,indentations or pressure marks,folds
- Dampmarks/water stains/ tears
- “Foxing”/foxmarks (progressive decay)
- Oxidation
- Any restoration
- Rubbed
- Scribbling/writing recto or verso
- Soiled - Stained
- Trimmed - outside or within margins - trimmed into image

How we maintain our fine art prints directly affects their value. A piece originally valued at $500 dollars upon printing could easily be worthless if handled or maintained poorly.

On Mounting Your Prints

Acid Free Rag Boards are available in a variety of sizes, thickness and colors.
Plastic Supports also come in a variety of sizes , thicknesses and colors. Make sure the plastic supports are durable and chemically inert.
Metal Sheets aluminum can be surprisingly light weight and are extremely durable. They do expand and contract slightly in extreme temperatures.
Wood is used less often as it often contains chemicals that will corrode or stain the print. It also tends to suffer from preservation issues much like the paper itself.
Cloth Hinges using Archival Tape can be created to mount your print to its backing material. The tape hinge is applied to only one side (the top) leaving the rest of the print to hang. Plastic corners can be added for additional strength depending on the size of your print. Archival tape allows prints to be removed from support materials at any time, making it easy to replace them should they become damaged.
Large prints can be mounted in the same way but they will require additional protection with (UV resistant) glass or Plexiglass.
Spray Archival Adhesive Can permanently adhere prints to a backing. Avoid using standard adhesive sprays as they will chemically deteriorate your print.
Adhesive Tissues are also available. When these are placed between the print and the mounting material and then heated, the three are bonded. (Heat presses are relatively affordable and the heat they generate rarely adversely affects the print.) Most tissue products for this process are archival, but check. Although less popular today, this is a time-honored and widely practiced process.
Laminating prints can be done by applying a protective transparent sheet over the print. If the laminate is applied as a liquid or flexible film, additional backing support is needed. If the laminate is rigid plastic additional backing may not be necessary. In many cases glass and frames can be eliminated with this process. The plastic and adhesive used to bind the print to it need to be chemically inert and durable for this to be a long lasting solution. This process requires special equipment, spaces, and specialized expertise to apply them professionally. It’s more expensive but distinctly contemporary and a look that’s currently in vogue.
Floating A Print - materials are kept to a minimum. In this case suspension is chosen: Line (plastic or metal) may be used. Or a simple support may be attached to both a wall and a print. While some prints are left hanging without additional protection, some are hung in glass or plastic cases. Prints can be sandwiched between two protective pieces and clipped together with framing brackets, then hung. Cloth (often silk) can be used to hang the print adhering the print directly to the cloth with archival tape. Typically additional weight is used at the bottom to keep the print from curling or blowing too easily. Care must be taken to not weigh the prints so heavily that the materials (the hanging and print materials) are stretched.
If you care about your work (and take care of your work), the likelihood that someone else will also care about it increases dramatically.

Sources: John Paul Caponigro, fine artist and member of the Photoshop Hall of Fame; The Barbara Krakow Gallery, Boston; Artelingo.

Every Artist Needs A Portfolio!

Read this interesting article by Susan Myerson on the development of an art portfolio. Remember, keep the presentation of your work professional, personal and fresh! As you grow in your art so should your portfolio.

Portfolio Development for Artists Working in All Disciplines By Susan Myers

YouTube Snippets A blast from the past -- Andy Warhol paints Debbie Harry on an Amiga
Andy Warhol

Should You Rent Your Art?
It's an Option...

Art Rent and Lease

For MOCA's Photography Buffs A respected Blog
David Farkas Photography Blog

Connect! One of the most important resources that an artist can have is peers in the field. Peers can critique the work of others while receiving information and tips on their own projects. Collaborate with other artists -- your work and psyche will benefit from the exchange.

IN-BOX

In response to “Can Art Be Taught?”

“I would first say yes art can be taught. However, type and level will vary on many factors including innate….Although it’s a gain to study from the best, there is no assurance you’ll be top line. People can be shown the discipline, order, rules, techniques concepts. However knowledge, ability, desire, plus obsession can propel you into the art arena but that special innate factor takes you over the top from professional to master.” Tom Crayns

Quote

“Your computer can't create anything until it is told to.”
::: Lindsey Savisky :::

Due to a few technical difficulties with "Mary's Page" earlier in the week we are extending a link to Ansgard Thomson's interview.
Ansgard Thomson
Enjoy hearing about the work of this digital pioneer and accomplished artist.

This page posted 14 September 2009 ARCHIVED PAGES
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