Posts Tagged art exhibits
1. Blue Creek by Millie Gift Smith feels like November. For those of you with snow on the ground, stay warm and save us some hot chocolate.
3. EBSQ Artist Georgia Papadakis has an excellent How-To post for a DIY Tripod Arm and Video Set-Up.
4. November’s Mandala from Maureen Frank is titled Putting Ourselves Out There, making your dreams a reality. Love it!
5. Lastly, from the New York Times: Excursions in a Digitally Fabricated Landscape -‘Out of Hand,’ a Survey of Computer-Assisted Art
EBSQ’s very own Angie Reed Garner, along with former EBSQer Kim Richardson, have an upcoming show in Louisville, KY, opening September 1st!
Angie Reed Garner, Kim Richardson to open Sept. 1 at garner narrative
garner narrative presents new paintings by Angie Reed Garner and Kim
Richardson. The show opens Sept. 1 and runs through Oct. 1 with
two receptions: Thursday Sept. 1 (preview) and Friday Sept 2 (Trolley
Hop), both 6-9pm.
Garner developed the expat series over four years of living in two
very different Islamic cities: Lahore, Pakistan and Abu Dhabi, United
Arab Emirates. The works combine saturated oil paint and textiles for
symbolic narratives of identity, struggle, and reconciliation. “It’s
one thing to move abroad and take snapshots, try to explain what it’s
like, and I’ve done my fair share of that. But with these paintings, I
share about my life on my own terms, as a visual thinker. The
expatriations have not been low-impact experiences! And how could they
be. Louisville and Abu Dhabi are on opposite sides of the planet in
more than one way. It’s right there in the paintings, how I had to
stretch and change to cover that distance, learn to hold both places
at once… when I thought I might snap with the strain, and why I
ultimately didn’t.” Garner considers Louisville home, and lives most
of the year in Abu Dhabi.
Kim Richardson of St. Louis MO paints enigmatic oil portraits of the
self on found wood in her series, investigating the cries of crows.
Says Richardson, “I paint on discarded and weathered wood found almost
anywhere: alleys, streets, garages, backyards, someone’s woodshop. The
rough surfaces paired with a delicate style of painting allude to a
union of opposites. The imagery itself gives expression to the glamour
of emotions like love, kindness, charity and self-sacrifice happily
living side by side with uglier aspects of human nature like
intolerance, rigidity, fanaticism and brutality.”
garner narrative is located on the corner of Market and Clay Streets,
642 E. Market St. Hours are Wed-Sat, 1-6.
Print and web files available here:
There’s been much debate on the EBSQ Member Forums of late about the quality (or lack thereof) of many recent show entries. And the quality issue has next to nothing to do with the art itself.
Let me explain:
1.) Does the piece meet the prospectus?
You’d be surprised how many members enter shows willy nilly. (Or maybe you wouldn’t be if you’re a regular EBSQ exhibit visitor.) Sometimes it’s a rookie mistake. Sometimes, people enter their work in the wrong show accidentally. Maybe they misread something in the prospectus, or latch onto the title of the show without bothering to read what it’s actually about. But other times, people enter something just because they can. The number one thing you need to ask yourself is:
Does your work logically belong in Show X?
If you’ve entered a piece of a happy cat in winter and the theme of the show is self-portraits, then no. Really, no. Just don’t do it. Unsure? Read the prospectus. Still unsure? Ask. Please.
Ok. So you’ve successfully mastered the number one rule of successful show entries. If you only do one step, this is the most important take away. But if you want to take yourself from appropriate to awesome, read on…
2) Did you include a statement that explains why you feel THIS particular piece belongs in THIS particular show?
Maybe you think your entry’s appropriateness is obvious. But we don’t live in your brain. Give us a little something about your piece as it pertains to the prospectus. This is all the more important if your piece is abstract or if your piece makes an unusual interpretation of the show guidelines. Pieces with relevant text are greatly preferred by members weighing in on this issue in the EBSQ Forums. I cannot overemphasize how important it is to include a quality artist statement. And the inclusion of text also makes your work easier to find both on our site and in search engines, so not including a piece-specific statement can actually be detrimental to your success on EBSQ. It’s food for thought!
3) This goes hand-in-hand with #2–Is your statement just a sales pitch?
We understand you want to sell your work. We agree that regular show participation is one of THE best ways to get your work seen on EBSQ, improving your chances of selling your work. But we’ve found that statements that are JUST a sales pitch are a big turn off. We recommend including a piece-specific statement, even if it’s short, before going into your pitch. This keeps regular show voters happy, and we’ve found this actually improves your odds of your work selling to that special someone who fell in love with your work in one of our shows. (Psst! This is also good advice for ALL of the work in your portfolio)
4) Is you piece presented in a professional manner?
Here’s where the more objective quality attributes come into play. Is your piece properly cropped? Is there glare? Is it in focus? It doesn’t matter if it’s the most brilliant portrait of Caesar ever painted and epitomizes everything about the prospectus, plus has a pitch-perfect artist statement included. If it’s not a quality jpeg, you’ve just shot yourself in the foot.
5) Is your piece any good?
Well…the show voters will certainly weigh in, but in the end, only you can answer that one!
So–did we miss anything? What do YOU think makes an exhibit entry stand out from the crowd in a good (rather than a cringe-worthy) way?