Comment Archives: stories: Arts and Culture: Art
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
Some investors buy high end works sight unseen from major auction houses, they phone in bids based on who the artist is.
http://www.salvadordaliexperts.com
Read this
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
I think this is brilliant. It's a way to generate arts awareness, support artists on a small (but important) scale, and encourage artistic productivity. Well done Seed Space. Well done Nashville.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
Hey all, one of the CSArt curators here -- We at www.SeedSPACE.org believe in supporting artists financially. Much of what is time/labor intensive for an artist's work is the energy put into making one's idea elegant-once you've got that down, producing the work isn't as labor intensive (think photography -- that reproducible great shot), therefore so expensive to produce. The CSArtists sell their work for $1000-$4000 a pop in galleries and many of them show internationally, making a CSArt crate a GREAT deal, even if you only like 1 piece in a crate!
The artists we asked to participate all eagerly agreed to make a limited edition run of a work for many reasons, some of which are so that more people would know and own their work. Many of them went above and beyond and are making 50 originals, which we love (but didn't require)!
As artists, writers and curators, we want to get more real (not poster art so often bought in stores) art to more people by making it both accessible and affordable. Like Laura H said, if $250 is too much, split it with 4 friends and make it fun!
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
One thing to keep in mind that art has the potential to appreciate in value. If you own a unique collage by, for example, Mike Calway-Fagen and he ends up having a solo show at the Guggenheim in 15 years---there's a good chance that art work you own by him will be worth more as well. Considering the past (see Robert Rauschenberg, see Cindy Sherman, see Red Grooms). Consider what happens beyond the immediate results. It could be more rewarding even beyond Just supporting your local art community.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
For more information about each artists involved, here is the main link for
CSArt via Seed Space, with links to each artist's websites.
http://seedspace.org/?page_id=4
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
The artists were chosen by the Curator and Director of Seed Space and they are being paid a decent amount, per piece of work. We were requested a number of works for a total amount for our participation. All of the artists have websites where you can view their work and the work we are creating for the project is representative of our current bodies of work. In particular, my pieces are directly made as collector pieces of my installations . . . . I work in mixed media, three-dimensionally, so my works represent that.
There is a limited number of 'shares' available . . . the artists are paid their commission rate and the remainder goes directly to Seed Space to support their progams: bringing in international writers and the continuance of a venue that provides flexible space specific to installations, performance art and new media. This is extrenmely unique and is truly a one-of-a-kind in Nashville. It creates a flow of exposure not only for Nashville and its local artists to the International Art Community, but brings that same Internatioanl Art Community to Nashville (where they spend at least 2 days).
At least on my end, the art provided is transferred at reasonable price, but it is for a great cause. The best scenario for the artists would be that our work is followed and collected in the future . . . but it is also great for the collectors . . . even if they purchase a full share, at $50 per artwork - the value is there (not one of the artists listed sells their current work for $50), once the commissioned works are sold, that is it until next year.
So, what's the skinny?
- a curated collection of artists were commissioned to do multiple pieces
- a contemporary art venue is infused with funds to continue its programming
- collectors receive a sampling of top, contemporary and local art at a great price.
As far as I can tell . . . nobody loses. Unless it isn't supported, then, YES, Nashville loses.
Worst scenario . . . we see another venue close, just like Ruby Green . . . more great artists move away from Nashville and people will continue decorating their houses with mass-produced art from big box stores that aren't worth the paper they are printed on, the same trendy junk we see at every garage sale in 10 years or less.
I guess I feel it is worth the risk . . . I am hoping that the same people that realize the value of homegrown/local will feel the same about contemporary art.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
I think this idea is awesome. I would be interested if they ever do a quarter share. Like $100 for two works, every three months or something. I know $250 is not a lot for original art, but breaking it down even further could expand the audience even more.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
These are not "discounted" works of art and the idea is not for artists to "take a big loss." What comes in the CSArt crates are not exactly "pseudo mass produced" but they aren't large oil paintings either. For example, one artist is producing a limited edition series of prints that she has individually painted on each one. Part of the point of CSArt is to introduce these artists to the Nashville public (if they haven’t been already). Many of them are internationally recognized, so why not here? Although the works are "unknown," people can get an idea of what they're going to get based on the curated exhibitions at Seed Space, and also by checking out the work of the artists involved. There's also the hope that a shareholder may receive a work that he/she really likes, and then may decide to become a collector of that artists work in the future.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
What about dividing the cost of a share among friends and picking a favorite? I don't think anyone thinks that supporting good art isn't a cause worth investing in, but you can't argue with being broke.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
Sher Fick, so is the idea that the artists are donating the art at (presumably) below market value with the goal of increasing art appreciation in the city?
I want to see Nashville's visual art scene increase as well, I'm just not sure I get this effort. As the commenter said, $250 or $500 is a lot for most people not familiar with art prices outside the flea market to drop sight unseen and I suspect most if not all subscribers will be existing art "scenesters". I like and have purchased a wide variety of styles and types of art, but always pieces that I feel a connection with during viewing.
I don't presume to have a better solution and I hope this works but it seems sort of backward from some of the ideas behind CSAs. With a CSA I know I'm probably paying more than i would at the grocery(particulary after accounting for some of stuff I didn't want to eat), but I pay the premium to support local, often organic, farms.
With CSArt I'm receiving a substantial discount and am being conditioned to view local art as something that is both fungible and inexpensive.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
Some artists, like myself, are interested in seeing Nashville grow as a place that is welcoming to contemporary art and not just music. All artists are also advocates - we want to see this contemporary art space STAY in Nashville. We would like to stay in Nashville . . . through supporting non-profits and local collectors, we all have a collaboration on Nashville's future. This is a fundraising enterprise to benefit the city of Nashville, just in case that wasn't clear.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
On the other hand, $250 is a lot of cash to drop on an unknown. I'd love to purchase art for my home, but most works I find interesting are well beyond my means.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
Cool idea but at fify bucks a pop I don't see how this can sustain an artist unless they are pseudo mass producing small similar works or putting sketches of larger projects in the crate. Is this like Groupon where artists take a big loss to try and drum up future business?
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
***It appears to me -- especially in light of the fact that the comments were all written within 14 minutes of one another -- that the author decided she wanted to show her claws and did so by slashing the writer anonymously. How very depressing.
Too bad she didn't read the positive as well as the negative in this well-executed critique. She certainly needs to take heed. More of what's good! Less of what's bad!
The writer pointed out what the artist does well and what she does not-so-well. Maybe it's just me --- but it seems that the artist should be grateful for the thoughtful insight she's been given.
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
Kudos to Hutson for a solid, critical observation. Just because Nashville has a small art community doesn't mean we have to eat up whatever "contemporary art" is shoveled in our direction. Thanks to writers like Hutson, the art scene will be kept in check. It will place an appropriate challenge to institutions, galleries, and artists. In turn, the community will expand and grow stronger. This worked for the music industry.
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
I was interested in this review because it appeared critical, now something of a rarity around contemporary art exhibits. I was a bit disappointed instead that the work was being criticized for not being enough like contemporary art. I then actually found a serious appreciation of certain aspects of the installation there. The genuine involvement in the spotlighted detritus on display actually became a quite lyrical response as did the appreciation of earlier work and the way the broken down aesthetic played in the installation.
I was quite amazed in fact at the detail of the analysis that went into the review. But what ended up bothering me was the feeling that the experience was being held to account against work with other motivations... more exciting, serious and mysterious work trapped in the amber of current art glamor. So disappointingly the chill wind of the latest art school enthusiasms was actually being used as a standard rather than being critiqued, and sadly, rather than the excitement of a review that exposed currently fashionable art to criticism I found a review that without any real critical ambition used such art as a predetermined standard to dismiss something else.
That the accusation of banality was a judgement borne of jaded comparisons is a bit of a shame as it forecloses on a sense of valuing what is actually there rather than valuing what isn't. It's a comparison that missed the offer of simple play acting, that couldn't as a result participate in the joy of a refreshingly silly and open experience, something more John Waters than Psycho. An experience that with a little less self consciousness wouldn't require museum guards to have to dress up for it to connect.
The straightforward obvious narrative on display seems to me a strength and resistance against what is becoming a narrow and pompous over sophistication. As with a previous generation of Californian artists that were led by the energy of an Edward Keinholtz I end up thinking Snelling is on to something different, something genuinely generous and playful. If that be banal so be it, but it strikes me that it's an aggressively ambitious banality.
Phil King. El Cerrito CA.
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
Just saw your link to this thread J.C. and D.K. you guys were right! Who would put their name on this trash? Looks like even the author comments anon. ha!
...and Woman on the Run is AMAZING! Bringing it to NYC again soon? I'll fly-in for the opening, let me know!
TJ
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
The narrative is left open enough so the viewer brings their own experiences, blah blah blah. How often has that lazy excuse been served up as a defense for half-baked art. But you did care enough to post twice within five minutes under different names, which counts for something.
Re: “Tracey Snelling's Woman on the Run at the Frist is a near-miss, but a miss nonetheless”
Michelle Jones of the Tennessean, Megan Patterson of the Belmont Journal, and Joe Pagetta of Art Now Nashville had a better understanding of both Snelling's work, and art revewing, in general.
Re: “A new project allows Nashvillians an intriguing opportunity to buy art they've yet to see”
this is a great idea. its important to support your local artists, not just walk around art openings looking for free wine.