studioNotes Blog
Monday, September 19, 2005
  Emergency Salvage Procedures for Art, etc.

This site, from the Minnesota Historical Society, has many useful tips for salvaging and preserving art, paper, textiles, ceramics, computer discs, wood, etc.:

MNHS.ORG | Conservation | Emergency Response

Also useful:

This program, at, has information and links to information about preserving and caring for art. It is primarily for museums and institutions but is also useful to artists. Of particular interest perhaps right now are the salvage tips at Here is the organization's description of itself:

The Regional Alliance for Preservation (RAP) totals 14 organizations located throughout the United States. RAP serves as an allied force to assist a wide variety of cultural institutions with collections care activities.

The mission of the Regional Alliance for Preservation (RAP) is to provide comprehensive preservation information to cultural institutions and the public throughout the United States.

To accomplish this mission we:

* cooperate as a national network of preservation/conservation organizations dedicated to reaching the broadest audience with our coordinated outreach efforts

* disseminate information on the preservation of material culture through educational events, publications, references, and the RAP website, and

* foster awareness about the importance of preserving our cultural heritage
Saturday, July 30, 2005
  Golden's Just Paint #13

Golden's "Just Paint" is full of useful information for painters and other artists, not just an advertisement in the disguise of a newsletter, although it does of course promote the company's products. The current issue is now available. In addition to articles about painting materials, it has "Web Resources for Artists," with some useful links such as, and (The last of these has some interesting applets that should be invaluable to persons teaching color and design.)

A sidebar called "Is an Artist Without a Computer Like a Fish Without a Binary File?" by yours truly rounds out the collection.
  New York Foundation for the Arts on the Florence Biennial

We've gotten lots of requests for information from people who have been "invited" to participate in an exhibition being called the "Florence Biennale" by its organizers, Arte Studio, a business based in Italy. The first thing to know is that invitations are not very discriminating; rather they are a bit like the old junk mail that began, "Congratulations! You have been selected...." It is clear that the business model of this group is to get as many artists as possible to pay a large fee up front for the privilege of exhibiting. The organizers say that this is more democratic than having the art elite choose who will be shown. Anyone can who can aford the entry fee (currently around $2500USD) is given space to exhibit a very few pieces. On top of the entry fee, the artist must also pay for shipping (the organizers almost demand that a particular shipper be used), and if he or she is going to attend, transportation, meals, lodging, etc. One artist advisor put the total figure at about $20,000 for a US artist when such things as clothing and expenses incurred when leaving one's home unoccupied and taking time off from a job were included.

Many artists who have exhibited complained about poor organization and sparse attendance, but others have reported positive experiences. Also, the venue has managed to hire some big art world names to serve on the awards jury and has done a tremendous job of getting publicity.

One of the most comprehesive articles, although over a year old, is at NYFA Interactive - New York Foundation for the Arts.

Other interesting discussions are at Some typical comments are at ArtScuttlebutt. Of particular interest is a letter from someone who was on the selection committee and who refused to be involved again. On the plus side, there were postive reports like this one from artists such as Carolyn Taylor, who loved it.

We think that whether the show is simply a money making scheme or a well-meaning but clumsy effort or an entirely flawless opportunity, the real question for any artist is always: is it worth it?

Is it worth paying $3-5,000 to have two or three pieces in any show? Is it worth several thousand more to be present at that show? If virtually anyone can be in the show by paying the fee, does that diminish its worth? In any case are there better ways of spending that money, either to do or to promote your work?
  Red Ink Studios

Red Ink Studios calls themselves "a guerilla art movement" made up of a "band of nomadic artists who temporarily borrow unleased properties. . . . [to] "develop an new and important body of work."
Their rmission statement begins: "We believe that art is more than an object to be looked at. It is a force that revitalizes people, programs and places. To revitalize places, we provide free studios and gallery spaces in economically challenged areas."
Wednesday, July 13, 2005
  Interview with Digital Artist Ellen Jantzen

Net Art Review

Interview with digital artist Ellen Jantzen about her new body of work: “Artificial Evolution.”

Now online at:

until mid August
Sunday, June 12, 2005
  Attention: Artists living in the metropolitan areas of Los Angeles, Cleveland, Dallas, Orlando and New York City.

Attention: Artists living in the metropolitan areas of Los Angeles, Cleveland, Dallas, Orlando and New York City.

Deadline to apply:

From their description:

We are looking for acrylic painters who want to join the Golden Artist Colors, Inc. Working Artists SM team. This opportunity suits an artist that needs time to paint and devote time to his/her career, but wants to supplement their income with a related venture. If you have an entrepreneurial spirit, are self-motivated, have a great personality, love learning and teaching, enjoy helping artists from beginner to professional, are comfortable in front of a crowd, have a MFA or BFA, this may be the opportunity for you.

What do GOLDEN Working ArtistsSM do?

Our Working Artists present Lectures to Universities, Colleges, and Art Organizations and our partner retailers. The lecture is practical, educational, technically informative and inspirational. A series of hands-on classes that introduce artists to the possibilities of acrylic are also offered.

Check out the Working Artists Page on our Web site at for a preview of the program and the artists who are involved.
Thursday, June 09, 2005
  RAW DATA Installation by continues

RAW DATA Installation by continues

The Installation RAW DATA by the Berlin based collective visomat inc.
shows the machine-like character of a modern-day office building. RAW
DATA also allows this machine to interact with its environment. The
Installation plays with traces left behind by the building, users of
the building, and the urban surroundings; making this data accessible
through various visualisations. One finds RAW DATA broadcasting the
immediate enviroment as a black and white picture, filmed by three
installed cameras and transformed into ASCII-Code - the original code
of machine communication.

Activating the installation starts with a toll free call to the
number 0800-RAWDATA (0800-7293282); first, a sign-board displays the
conditions: Climate, Energy, Communication, Motion and Noise. Then,
every condition can individually be expanded and different data from
the building and its enviroment is broadcast on different screens.
After this screening, one can choose the next condition, using his
mobile phone as a remote control. The data is put into graphs and
tables and presented on large displays close to the pavement. In this
installation, the blue-colored condition - Climate, shows the current
temperature inside the building, and the green-colored condition -
Communication, shows the accumulated amount of outgoing e-mails.
Parallel to this, a second display shows data from outside:
temperature and humidity. Bluetooth devices nearby will be displayed
on the Communication table.

Also, the silver screens above the entrance door, and projections
inside the building, show relevant video to support the given graphs
and tables. These videos fit in the color range of the conditions,
thus the whole building appears in one dominate color range. The
content of these videos deals with the building itself and allows an
inside view of the SAP headquarters. Arranged with icons and
grid-pattern graphics, RAW DATA generates a literal articulation of
data from the building, the enviroment, and its use, and offers it to
the public. The media/data architecture initiates an opening of the
building, dissolving the barrier between indoors and outdoors. This
installation requires passers-by and visitors to read these
representations and to interact with the building.

RAW DATA was curated by transmediale in close connection with SAP to
offer a media art platform for presentation and exchange in Berlin.

Visit the installation at

Rosenthaler Str. 30 / U-Weinmeisterstr.
10178 Berlin
Saturday, June 04, 2005
  Universal Harvest Project

Atlanta (USA) based artist Julie Püttgen seeks participants to contribute
food-related items from around the world- wrappers, tins, boxes, bags, etc-
featuring idealized images of food, eating, and farming. Please indicate
your name, as well as all items‚ source (locality and country) and
significance. If possible, include photographs of food markets where items
are found. For more information, email, or go
to: http//
Saturday, April 09, 2005 Williams College artist spreads message, one dollar at a time Williams College artist spreads message, one dollar at a time. Peggy Diggs, a "public artist" and faculty member at Williams College writes messages on currency that passes through her hands. The messages say such things as, Do you feel the need to be paid for everything you do?" and "What is satisfied in you by buying things?"

"It's kind of like graffiti, but in a small, private way," she said in the article by AP writer Michael Kunzelman. "I just love that there are people out there I've never met who are thinking about ways money has hurt them."

Other projects have included interviewing maximum security prisoners to find about ways of designing things for people who live in cramped spaces. Read the entire article at the link above.
Tuesday, March 29, 2005
  Worldwide Pinhole Photography Day

Press Release
Worldwide Pinhole Photography Day to be Celebrated April 24, 2005

Worldwide Pinhole Photography Day (WPPD), a global event celebrating
the fantasy, art, fun and experience of lensless photography, will
occur on April 24, 2005. All photographers around the world will be
invited to take a picture with a pinhole camera during the 24 hours of
Sunday April 24 and upload it to . A photo
by each artist will become part of the international Web gallery on
the WPPD site. The event is open to all photographers throughout the
world, to every no-lens photography aficionado and to those who have
never practised this creative and fun technique before. Pinhole photos
are taken without any lens but simply through a small hole, about the
size of the period at the end of a sentence. Photos can be made using
cameras made from ordinary stuff such as shoe boxes, peeled tomato
cans or tea boxes. An increasing number of people are approaching and
showing more and more interest in the exciting practice of pinhole
photography. In 2001, 291 pinhole photographers from 24 countries took
part in the web exhibition. In 2004, a good 1512 from 43 countries.
Joint efforts and individual's skills allow the organization of
numerous events, both big and small, and even those foreign to this
peculiar world of photography can take part. Sunday April 24 will see
many events organized in every corner of the earth, with meetings,
displays, stages, courses and collective practices focused on pinhole
photography. Special attention is devoted to young generations and
schools. WPPD stems from the spontaneous work of a group of volunteers
scattered worldwide and coordinated by an international group formed
by Tom Miller (USA - Team leader), Paolo Aldi (Italy), Nick Dvoracek
(USA), Gregg Kemp (USA), Tom Persinger (USA), Rosanne Stutts (USA) and
Wolfgang Thoma (Belgium). More information and the full programme
(constantly updated) can be found at .

Saturday, March 12, 2005
  ' If That's Censorship, Then So Be It.: Nix Nudes. No Nonrep, Neither sez Councilwoman

Laguna's City Hall Art Search: No Nudes Is Good Nudes, Some Believe
Laguna Beach has a long history as an art colony, but if Councilwoman Cheryl Kinsman has her way, all sculpture in front of City Hall will have to be clothed or be gone. "If that's censorship, then so be it," said the self-appointed arbiter of morality, taste and, apparently, constitutional law. Her preference is clear: "I want something classy there," proclaimed the graduate of all-girl Scripps college. She is concerned not simply for the children, but for the reputation of the city. Referring to an abstract sculpture that had previously been commissioned by the city, she explained " "We already, in my opinion, made one mistake. Everybody made a mockery of [the fountain]. It was a joke."
Wednesday, March 09, 2005
  Artist Sentenced to Jail for Mural

City officials in Roseville MI say Edward Stross' mural violates
a city ordinance and a judge has sentenced him to 30 days in jail
and ordered him to pay a fine and cover up the breasts and the
word "love" on the mural.. The mural is a take on Michelangelo's
"Creation of Man" and depicts a bare-breasted Eve.

The word "love" is as much a problem as the figure, who
apparently has maxxed out her credit card to the extent that she
not even afford to shop at the Ross in Eden. Roseville officials
say the word violates a variance that was granted to Stross in
1997 so he could paint the mural. The variance stated there could
be no lettering or nudity on the fresco, officials said.
  Auction of work by major artists to benefit CAE Defense Fund

Auction of work by major artists to benefit CAE Defense Fund

An April 17 auction to benefit the Critical Art Ensemble Defense Fund
has attracted donations from some of the biggest names in the
contemporary art world, including Richard Serra, Cindy Sherman,
Alexis Rockman, RubŽn Ortiz Torres, Hans Haacke, Kiki Smith, Chris
Burden, and a great many others.

Organizers of the auction at Paula Cooper Gallery in New York expect
to raise at least a six-figure sum to help Steven Kurtz and Robert
Ferrell defend themselves against politically-motivated federal
charges of "mail fraud" and "wire fraud." If convicted, Kurtz, a
founding member of the Critical Art Ensemble (CAE) and Professor of
Art at the University of Buffalo, and Ferrell, a Professor of Human
Genetics at the University of Pittsburgh, could face up to 20 years
in prison. (See for full details.)

The cost of the May 2004 raid on Kurtz's home, and his subsequent
prosecution, is in the millions of public dollars, according to
independent estimates. The federal authorities now admit that Kurtz
and Ferrell, who have collaborated on widely shown artworks about
biotechnology, have never posed any danger to public health - yet
they continue to waste vast sums of public money prosecuting the
case. Meanwhile, the bills for Kurtz and Ferrell's defense keep
growing as well.

Since June 2004 there have been numerous public events to support the
CAE Defense Fund in the US, Canada, Europe, Mexico, Latin America and
Australia. These efforts, as well as numerous individual
contributions, have met the mounting defense costs thus far. But as
the case moves to trial, Kurtz and Ferrell's expenses are expected to
increase dramatically, and more fundraisers and donations will be

The April 17 auction organizers hope the auction will serve as a spur
for people worldwide to organize new benefit events and to contribute
to the fund. Please visit for details on
how you can help publicize the auction, organize your own event,
donate, or otherwise help support Kurtz and Ferrell in this
exceedingly important case.

Auction details: Sunday, April 17, 2005 (2:00-5:00 PM viewing, 5:00-7:00 PM
auction), at the Paula Cooper Gallery, 534 West 21st Street, New York

Artists who have donated work for the auction: Acconci Studio, Dennis
Adams, The Atlas Group, Nayland Blake, Mel Bochner, Chris Burden,
Paul Chan, Jeremy Deller, Mark Dion, Sam Durant, Tony Feher, Andrea
Fraser, Joseph Grigely, Hans Haacke, Ann Hamilton, Rachel Harrison,
Mike Kelley, William Pope L., Louise Lawler, Zoe Leonard, Sol LeWitt,
Glenn Ligon, Sharon Lockhart, Allan McCollum, Julie Mehretu, Donald
Moffett, Dave Muller, Vic Muniz, Yoshitomo Nara, Cathy Opie, RubŽn
Ortiz Torres, Laura Owens, David Reed, Alexis Rockman, Martha Rosler,
Christy Rupp, Richard Serra, Cindy Sherman, Amy Sillman, Lorna
Simpson, Kiki Smith, Janaina Tschape and many more.

The Benefit is sponsored by the National Association of Artists'
Organizations (NAAO) and Hallwalls Contemporary Arts Center
(Buffalo), and is supported by galleries across the US.

Please visit for more information.
Monday, February 28, 2005
  Used Perscription Bottles Wanted

I'm working on a new sculpture project that requires thousands of used
prescription bottles. Please help me by saving all those little
plastic vials you get from the pharmacy and donating them to my
project. I'm interested in the amber/orange colored plastic bottles
with caps but other white pill bottles are also good. If possible,
please leave the labels on the bottles.
>> If you feel sensitive about the information on the label, feel free
to cross it out with a pen or marker so it's illegible.

Please mail the prescription bottles to:

Jean Shin
156 Conover St. #1
Brooklyn, NY 11231

You can also drop them off in Chelsea at Frederieke Taylor Gallery,
535 W.22nd St., 6th Fl, NYC

Please forward this request to everyone you know. I need to
accumulate thousands in the next one and half month (and also more
the summer) so every donation counts!

In advance, I thank you for your participation in my art project.

Most grateful,

p.s. For those of you who are not familiar with my work. I am a New
York based artist who uses discarded everyday castoffs to create
sculptures and art installations. Please check out the following
website for more information on my past projects:
Thursday, February 24, 2005
  George Bush's Favorite Painting and several other sorces report that George Bush's favorite painting is The Rio Grande. He referred to it in the third presidential "debate" with John Kerry thusly:

In the Oval Office, there's a painting by a friend of Laura and mine named -- by Tom Lea. And it's a West Texas painting, a painting of a mountain scene.

And he said this about it.

He said, "Sarah and I live on the east side of the mountain. It's the sunrise side, not the sunset side. It's the side to see the day that is coming, not to see the day that is gone. "

I love the optimism in that painting, because that's how I feel about America . . .

--submitted by Fain Hancock

Tiltfactor is a think tank-research group specializing in cutting edge humanistic, artistic, and scientific approaches to the intersection of computer gaming, cultural studies, and gender study. The group has affiliations with artists, scientists, and other laboratories in the UK, Hong Kong, Taiwan, Canada, and across the United States. Current collaborations include working with NYU, SUNY Buffalo, and independent researchers and artists.
  Subscriber of the Moment

Ione Citrin explains on her site that she does “diverse oil and watercolor paintings, bronze sculptures, found object collages and mixed media assemblages” and that "When I paint, I dip my brush in my soul...” She is extremely active as an exhibitor, having shown her work in more than 40 venues in the last three years, mostly in California, but also Philadelphia and New York.
  Artists and Privacy

Artists may be particularly sensitive to issues of privacy, especially if they or their friends have lifestyles or political beliefs that are outside the mainstream. In addition, as Victor Navasky said, “Artists are almost always the first targets in times of trouble.” Because of this, readers might want to know about the ACLU's Pizza program, pointed out to us by Brooklyn artist and designer Carol A. Durham alerted us to. The site says: “The government and corporations are aggressively collecting information about your personal life and your habits. They want to track your purchases, your medical records, and even your relationships. The Bush Administration's policies, coupled with invasive new technologies, could eliminate your right to privacy completely. Please help us protect our privacy rights and prevent the Total Surveillance Society.”

DUNS Numbers
The effort of the Americans for the Arts to try to get “all the nation's artists to secure a DUNS number”appears to play into this quest for the categorization and tracking of everyone. DUNS stands for “data universal numbering system.” These numbers are maintained by Dun and Bradstreet's (D&B), a company that provides business information for credit, marketing, and purchasing decisions. The unique 9-digit numbers are used by businesses and the federal government to keep track of more than 70 million businesses and individuals world-wide.

Americans for the Arts claims “there are two reasons that it is important for all of the nation’s artists to secure a DUNS number. First, the federal government (including the National Endowment for the Arts) has recently adopted a new policy that requires organizations to provide a DUNS number as part of their grant applications and proposals, and many state and local arts agencies are already doing the same. Second, Americans for the Arts has developed a powerful geo-political advocacy tool—the Creative Industries project—that uses the DUNS number to identify each for-profit and nonprofit arts-related business and artist in the country. The more accurate the information is, the more successful our combined efforts to increase public awareness of the scope of the U.S. arts industry will be.” The studioNOTES e-Journal believes that it makes some sense for non-profit organizations to have DUN numbers, but little sense for individual artists unless they operate mainly as businesses, such as studios engaged full time in public art commissions. As to the idea that it would help identify each artist in the country for purposes of geo-political advocacy, that seems an impossible goal which is likely to result in an “official” number of artists -- the ones who have DUNS numbers -- that would be far less than the actual number of artists. Unless it were made mandatory, of course, which would involve some sort of enforcement mechanism like your not being able to sell or exhibit work unless you had a DUNS number. Which means art cops to check on such things and issue citations or make arrests.

In case it is of interest, there several thousand categories in D&B's list of arts-related businesses, your category would probably be: 89990102, Artist's studio. This is in addition to your DUNS number.
  Copyright Brush Up

Beginners and laypersons often do not realize that when a work of art is sold, the buyer gets to own *only* the physical item, not the image itself. That means, unless the artist has specifically sold reproduction rights, the buyer cannot make copies or use the image on a book jacket, in a brochure or advertisement, or for any purpose at all, except for certain specific purposes as in a review.

If you discover that someone has reproduced your work without permission, it's usually best to treat that person as though he or she did it out of ignorance, unless evidence to the contrary is overwhelming. Contact the person (a letter is usually best) and explain the law in simple terms, as above and state your price for permission to reproduce the image. You should have a policy, perhaps formulated just because of the occasion, and it should cover the limits of the use, such as one-time only on a book jacket, etc. In essence, your attitude should be that of a store manager who spots someone inadvertently walking out of a high-end store with merchandise: remind them that they forgot to pay for it and the price is $XX. If you handle it diplomatically and professionally, not only will you get paid, but you may have a collector for life. If you handle it too brusquely, you may alienate the person and decrease your chances of getting paid. If you wimp out, though, and make a half hearted effort (like sending an invoice without a polite explanation) or do nothing, you will mark yourself as unprofessional and as someone who can be stepped on again. You will also have perpetuated the myth that artists don't need to be paid for their work.

If your polite and reasonable approach fails, however, you may want to call in a lawyer. Make sure you get one familiar with such issues -- not all are; your local Lawyers for the Arts Program may have someone on tap. (See list on Artists Help Network or the Volunteer Lawyers for the Arts National Directory.)
Art information from the publishers of studioNOTES, the journal for working artists of all styles, media and geographic locations. Includes practical stuff like art opportunities, marketing and promotion for artists, as well as "deeper" stuff like the role of art, the worth of art history, and the use or non-use of mind-altering techniques and substances. Some humor, quotes, oddities and other material for your mental collage.

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