Category Archives: Fairs & Shows

The Stall & Craft Collective (Exclusive Interview!)

The Stall & Craft Collective is an online craft & gift marketplace, and events directory, which launched in June of this year. This October, they’ve reached over 30,000 unique visitors and 227,000 page views — and climbing. Part of their success lies in the fact that they have undertaken an extensive marketing campaign in UK craft magazines, securing over 25 full page advertisements that have reached a potential readership of over 650,000.

stall and crafts collective

If you’re thinking, “This is just like Etsy,” well, it’s not quite the same. But I’ll let the founder of the collector, Helen Eskins, tell you more about it.

helen eskinsHello & welcome, Helen! Tell us a bit about yourself, please.

My name is Helen Eskins and I’m a mother of two from Birmingham, West Midlands. My background is on the administrative side of Child Protection and criminal law. I have been self-employed for around 11 years now, after having started a company working from home transcribing court hearings and police interviews. My own little craft business is called Harriet-Rose Crafts.

I began to attend local craft fairs and met some wonderful people along the way. I soon began to get a bit disillusioned with all the local craft fairs I was attending due to the obvious lack of advertising and promoting being done by the organisers, resulting in very poor attendance by customers, so I decided to start up my own events organising company to help my fellow crafters, a lot of whom had become very close friends. This resulted in the formation of Moon & Light Markets some five or so years ago now. Moon & Light Markets have been incredibly successful and we organise events all across the West Midlands, Worcestershire, Warwickshire and Staffordshire areas, until recently holding fairs once a month. This in turn then led to the idea of Stall & Craft Collective.

What is the purpose of Stall & Craft Collective:

The idea of Stall & Craft Collective was formed whilst organising craft fairs through Moon & Light Markets. I began to think how much easier it would be for event organisers if there was a website they could go to where everything they needed to organise an event was there all under one roof so to speak. My husband, Mark Eskins, had just taken redundancy from work so it seemed an ideal opportunity for us to take on a new challenge together and turn this idea into a reality.

product offerings stall craft collective ukWe want Stall & Craft Collective to provide event organisers with free advertising of their events, and in turn for potential customers to find their local events to attend. We also want event organisers and stallholders to be able to easily find and contact each other so that stalls can be filled. Stallholders are then able to list the events they are attending so customers can see where their favourite stallholders will be, and will also be able to look through the stallholders at an event they are going to, in case there is anything they can pre-order or have personalised etc.

Another wish I had was for our stallholders to be able to have a forum where they could sell their items at any given time to a nationwide audience, rather than just once a month at a craft fair. Having attended craft fairs myself as a stallholder and as an organiser, I was aware that a lot of stallholders find it difficult to make a living from their craft and I wanted to ensure that they had a selling platform without the high fees and commission taken from other high end shopping sites. We therefore decided on a small yearly fee with no commission or other charges to give an opportunity to every stallholder to join up.

We welcome all crafters, stallholders, and small business owners. There are categories to suit everybody including vintage, antiques, clothing, shabby chic, furniture, jewellery, home décor, cakes, wedding services, etc. and we welcome your suggestions for any different categories if you can’t find something suitable.

Is this just for folks in the UK?

It is at present but there may be plans to change this in the future.

(Fingers crossed!)

If you’re a buyer, just head on over to the Stall & Craft Collective Marketplace, look at upcoming fairs and events, or begin browsing news about products & sellers in the Spotlight.

If you’re an event organizer, register and list your event(s) now — for free.

If you are a maker or seller of things, however…

Here’s what you need to know about becoming a stallholder.

Prices start at just £15 per year; there is no commission on your sales.

Stallholders have three different registration packages to choose from which includes:

  • the creation of your own mini webpage
  • the opportunity to sell your items on our online marketplace
  • use of an individual noticeboard where you can advertise sales, promotions and news
  • ability to link your Social Media pages and website
  • promotion of your attendance at events
  • opportunity to submit news and interviews
  • use of a private message service

You can also keep up with the Stall & Craft Collective on Facebook & Twitter.

Apply Now For BUST Magazine Craftacular

Apply now to be a BUST Magazine Craftacular vendor at the World’s Largest DIY Festival — Maker Faire New York 2011! Maker Faire NY will take place on Saturday, September 17th and Sunday, September 18th at the New York Hall of Science in Flushing Meadows, Queens, NY.

Maker Faire is a newfangled outdoor fair that combines science, art, craft, engineering, and music in a fun, energized, and exciting public forum. Over 40,000 attendees are expected over both days.

For the second year, the BUST Magazine Craftacular will bring the most unique crafters and food artisans to Maker Faire New York — we’re looking for any and all handmade crafts and specialty foods!

This year’s improved BUST Craftacular at Maker Faire features:

  • A new, central location at a highly trafficked area within Maker Faire — foot traffic, and lots of it!
  • A large BUST Craftacular tent which will provide cover and shade for all vendors and shoppers (already included in your booth fee).
  • More live crafting demos, including demos from vendors.
  • Plus, returning vendors from last year’s Maker Faire New York will receive 10% off their booth fee.

Have more questions? Visit Frequently Asked Questions or e-mail us at craftacular@bust.com.

The Interview With Collin David

Collin David

I’ve known Collin David for like 5-6 years now; we met when we both started writing for Collectors’ Quest. I quickly discovered his passion for comics, action figures, robots, cephalopods, etc. was entwined with something more… His art.

In the past year, Collin’s art work has been getting him more attention, respect, and, yes, money. So it seemed now was the time to sit down with him — you know, before he’s too busy for a “remember me” request for an interview. *wink*

Call me old, uncool — old and uncool, even — but I can’t seem to follow all your art news, projects, events, etc. on Facebook. (I am, after all, a Twitter girl *neener neener*) So help me out and give me a general run down about you, ResonantFish, what the heck you do as a freelancer art and design dude. You drop names like “Ninja Turtles show in Philly” and “Gallery1988”; so don’t forget those.

Well, my business cards say “Collin David makes stuff”, because that’s the most accurate phrase I could come up with.

This includes comics, sculpture, digital design (like icons, iPhone games, business cards), ink portraiture, painting, and even animation occasionally—every project calls for some new approach. I’ve never seen the merit of those artists who approach very different problems with the same approach, over and over. It’s completely marketable, but it’s transparent. There’s a way to find a balance, and it’s not by being creatively lazy.

As a freelancer, I tend to do a lot of digital art, because that’s what the freelance market wants right now. As far as my portion of the freelance market goes, a majority of it is technology-based, and people trying to make their technology pretty. While my brain is fueled by robots and meat and monsters, my bank account relies on icons for travel websites and improving old logos for businesses. Every so often, a project comes along where I serve as an art director and have total creative freedom, or I get to use real paper and ink, but those are far less common.

It all comes back to “making stuff”, for whatever purpose it may serve in the end. Every project is an education towards greater things. In my free time, I’m sometimes invited to do group art shows all around the world about things that I love: toys, Ninja Turtles, pretty girls, Star Wars. I don’t know how that happened, honestly, because that was just a natural progression.

Custom Robolucha For International Show

Ah, you sort of glossed over those art show invitations… Where have you your works, been seen recently? What’s it like to get the invite?

Right now, I have three ink pieces in Gallery1988 in California, in a show centered around Beetlejuice, Back to the Future and Bill & Ted.

Piece From 3B Show at Gallery1988

I also currently have an acrylic Ninja Turtles piece in Philly. Both of these shows are through The Autumn Society, a collection of great illustrators who just happen to do lots of shows together that seem to focus on 1980s pop culture. Recently, I was honored enough to show alongside Wallace & Grommit’s Nick Park in the UK for a group show (via a Twitter invite), an arcade in Texas, and a few other places I don’t remember. I’m horrible at keeping track, but should probably comb my e-mails in order to get my stuff back. I don’t want to say something stupid like “art is so pure that I keep it separate from business”, but 100% of my focus is on creation, and whatever happens outside of that to get it out there is fate and luck and whatever momentum gravity has granted me, or if Facebook is behaving properly.

MUMM-RA! For The Autumn Society's '80s POP!' Show

Invites always come with a sense of dread. Can I make something worthwhile? Will this show be worth my time? Will my art get destroyed by the gallery or post office again? Do I have enough time to make something? How do I approach this uniquely? I’ve had so many bad gallery experiences that it’s a process I’ve learned to hate, so I do far fewer showings than is ideal, and I don’t seek them out. I love a challenge, but I’d rather that challenge be creative over diplomatically begging for my art back for a year from an unscrupulous gallery director like Rocket Pop’s David Rodriguez or APW’s Hans Yim.

How is the invitation to group art shows “just a natural progression”?

It’s momentum. If you really do things that you love and believe in, it’s infectious. Eventually.

It’s a long, long crawl towards respect, and if you ever stop digging your nails in, you’ll slip backwards into anonymity. Some people (who I’m not going to name here) market themselves raw and have absolutely no skill to back it up, but they get a ton of work and notoriety. I’m just not the kind of person to write press releases in the third person or describe myself as “up-and-coming”. It’s one way to progress, and it’s tried and true and not invalid, but it’s not natural. There’s no foundation in that, and you don’t get a realistic perspective of yourself or your work. Some promotion, sure – but not a full-time marketing machine.

I make stuff constantly, and people see it, and sometimes they like it, and share it, and eventually, it falls onto the right eyes. And I wish it were more profitable, but I’ll take truth over an elaborate self-deception any time.

In-progress sculpt for "Into the Darkness"

"Into the Darkness @ 1:AM Gallery in SF

I’ve known you for awhile now, and there’s been a big change in the amount of work you’re now doing. I wouldn’t say this, but you recently commented to me that you somehow see this as “awful,” as if this wasn’t just one of the risks of going pro; explain to me how you see the increase in work, recognition, and, I presume, pay.

About six months ago, I was spread out everywhere, doing work-for-hire for a ton of different venues—most of it writing, and I burnt out. I decided to drop (mostly) everything and focus on seeing how far my art could get me, because that’s what really matters to me, at my core. I wouldn’t say it defines me, and I wouldn’t call myself an “artist” (because I hate that word), but it definitely made me feel the most complete.

As it turns out, the rise to credibility was faster than I expected, and it was great. I’d been doing spot illustrations for magazines and things like that since high school, just to experiment with the wide world of art publishing, but the Internet enabled me to pursue these things in earnest, at least 40 hours a week and in parallel with a full-time job. The “Artist’s Market” books never did me any good except for a rejection letter from Cricket Magazine.

The process of making art is never “awful”, but it becomes awful when other people start sticking their hot little fingers in it. As a freelancer, you’re doing work for someone else, and you’re being paid to serve. I don’t have a problem with that, at all, ever. Ideally, one would be hired on the merits of their talents, and not their ability to parrot their employer. It’s the difference between having a hard-working employee and a yes-man, and it shows in the final product.

From the VinylPulse Dragon Eats Knight Show

In terms of “awful”, I was recently hired to design a series of monsters for an iPhone game. The project started out with the client telling me that I had total creative freedom, because he liked my work. When the first drafts came around, he had changes to make : facial expressions, colors, and the like. In the freelancing world, these kinds of changes are acceptable. The employer has a vision which they weren’t able to articulate before (thought they should have probably tried harder), but now that they see the product, they can understand what they want better. A second round of changes was made, and I was sent back screencaps from Pixar films, which bore no resemblance to any prior work, and a few notes that essentially said, “Make it look like this.”

I obliged, while still giving these monsters their own uniqueness. When these monsters met his descriptions dead-on, he sent me back a picture of Spongebob Squarepants and asked me to trace it for his game, instead of all of the work I’d previously done. When I asked him to sign a contract to free me from all legal and moral responsibility when Nickelodeon came down to smite him and completely crush his business on the grounds of copyright infringement, we ended the project. I walked away with character design and consultation fees and a clean slate. He walked away with the sudden understanding that it wasn’t actually okay to plagiarize well-known cartoon characters for profit.

These are the “awful” things, and they’re pretty common, but not universal. Sometimes, you spend more time justifying yourself or explaining how “art” works than actually putting together work.

[Interviewer Aside: Check out Collin’s The Nine Circles Of Freelancing Hell for more on this; I giggled an groaned through the whole true thing.]

"The Golden Faces" for Multiple Personalities 2 @ LIFT Gallery, MI. "The Jello didn't making the trip because of last-minute damage, alas!"

And you can’t work on one project at once. Four seems to be the magic number, given the amount of time that clients can take to get back to you with revisions. You start on one project, work on a couple of others, and close out another one. This way, you generally always have something to do and a way to generate profit. It helps if your clients are in different time zones as well. Qatar is great if you work early in the morning or very late at night. It also helps to take breaks to play GoldenEye.

It’s all about momentum. Once you actually land a project or two by mastering the art of crafting a proposal, and can show these products off to other relevant jobs, the work will come.

"Something From Long Ago" by Collin David

Why do you hate the word “artist”?

The word “artist” is used like it’s an excuse for erratic behavior or a refusal to be a productive member of society. “Artists” don’t have to maintain jobs – not because they’re highly skilled, but because they’ve appointed themselves to the title of “artist”. It’s not a universal perception of the word, but it’s definitely not uncommon, and I really want no part of it.

I once had someone come up to the desk at the library where I worked who refused to pay late fees because she was an “artist”, and “artists” break all of the rules. I refrained from “artistically” punching her in the face, even though by her own definition it would have been perfectly acceptable.

I make stuff, and some of it is “art” because it’s totally impractical and self-indulgent. I don’t have any misperceptions that I’m making the world better by making pictures, but I hope I’m making tiny little parts of peoples’ lives better. Either way, it’s something I can’t stop doing, and I enjoy doing it.

APW Arts on Record Vol. 2: The Skeletron

“Sometimes, you spend more time justifying yourself or explaining how “art” works than actually putting together work.” Like this interview? 😛

Though, I imagine this sort of thing is preferable to schooling a client in the ways of intellectual property… At least it’s more fun!

I hope.

But seriously, in terms of being a guy who makes stuff, how important are interviews? First, in terms of making the stuff — do you find reading interviews inspiring or motivational or helpful at all? And second, what makes participating in an interview worth the time away from making stuff? Is it just the promotional aspects? (Links: How the internet was won!)

Interviews are fun! They force you to take a look at why you do what you do, and they open up your eyes to how others might perceive you, and every shade of this will color your work, whether you like it or not. Observing it changes the experimental results.

My favorite interviews are in Hi Fructose Magazine, because I find myself reading things I’ve been thinking for years coming from artists who I admire. It’s inspiring to know that I’m on the right path, and it’s always useful to be reminded to stay true to yourself.

I don’t think I’ve ever landed any work through an interview (yet), but the introspection makes them worthwhile to participate in. A lot of what I feel like I have to say about art may sound negative or like I don’t respect other artists, but it’s just passion for good, true creators and an impatience with the imitators – so I have to bite my tongue a lot.

Plush Custom Art Called Either "Fuckface the Fucknificent" or "You & Your Ugly Heart"

For many, making some money off a creative gig seems like the ultimate goal, the real mark of professional success; but as you’ve discussed there’s a clear divide between creative expression, making stuff for the sake of making it, and commerce, selling stuff &/or making stuff to sell. How do you best balance what can be at times such contradictory positions and determine success for yourself?

Well, I’m not yet in a place where I can turn down well-paying jobs, so they’ve taken over. About six months ago, I decided to focus on making commercially viable stuff and hunting down clients, and perfecting the skills necessary to work on the highly technical professional stuff. I’ve always done paintings on commission, and small works for small magazines, but I really needed to conduct a concentrated test about the viability of doing this kind of thing for a living. So, I dropped everything (including personal projects and writing gigs) and started researching what people want right now in the creative world, and how to do those things. Art school didn’t provide a single iota of information that was useful in finding an art-related job, so it’s a very do-it-yourself kind of education.

"The Spacemen: Burn-Up Re-Entry Model" Custom Toys, Edition of Four, by Collin David

For me, it was a solid moment of decision, so the “real” art happens between gigs. There’s never a shortage of work if you know how to ferret it out, and I’m never at a lack of ideas for personal art. I have five sketchbooks full of projects that want to be done. I don’t think I’ve found the kind of success I want just yet, but I don’t think I ever will. That’s the kind of thing that keeps you moving and evolving, so the dissatisfaction isn’t all bad.

I’d love for art to be a full-time job, but I don’t think I could do the corporate letterhead design thing for more than a few weeks at a time before losing my mind. There are too many ghosts in my head for that, and they all want to be painted.

Detail from 'Queen of the Bees', which is "about a cheating, lying ex-girlfriend."

If you had to pick one piece or project that you feel marked professional success or otherwise signified success to you, what would it be and how does it reflect success to you?

Star Wars cards. During middle school, and high school, and college, there were a few things that I held in such high creative regard that I never envisioned myself touching them, and Star Wars was way up there. Last year, I was asked to draw a whole bunch of original sketch cards which were randomly packaged with packs of Star Wars cards. They’re quirky and fun drawings of aliens, and they had to be done quickly so they’re not top quality, but I don’t think I could ever do anything cooler than official Star Wars art. Being accepted into such an established and impenetrable universe marks success for me.

Star Wars Series V Sketch Card by Collin David

Here at The Ungulate we try to focus on adding creativity and art (making and buying/owning) to your life, on inspiring people to just make stuff and to delight in stuff that’s made. One of the things we hear most often is how hard it is to just start. How do you respond to that, what advice do you have?

This is probably an answer that’s been given a hundred times, but just do it. I’ve created thousands of embarrassing drawings, and had even more terrible ideas, but you have to realize that creativity is flawed, and that’s just par for the course, like anything else. It’s not a perfect, pristine, inaccessible spirit that needs to be handled delicately. It’s a dirty, frustrating thing that you can’t be afraid to smack around. You need to throw away any delusions of preciousness.

I remember the moment in high school when I realized that I’d been holding back because I didn’t want to embarrass myself by drawing something dumb. And then I realized that no one ever had to see it but me. As long as art fits in the garbage, you’re safe, so just go for it. Also realize that no time spent creating is wasted time, because every second is an enormous education: how materials work, which lines are beautiful, which ideas are disasters, how to use color and space. These things are much more visceral when you’re doing them, and you really can’t learn them from a book without doing them.

And there you have it, good advice from an artist a busy guy who “makes stuff.”

I’d like to thank Collin for sharing all this — and encourage the rest of you to visit all the links to “all things Collin David”  in this interview.  (He’s got so much going on, if you only have time for two, it’s these two: ResonantFish and ResonantFish on Facebook.)

Whatcha Doin’ Saturday?

A reminder about The BUST Magazine Craftacular and Food Fair 2011:

This year, we’re bringing together 100+ unique vendors and food artisans for one day in the heart of SoHo. Stop by for the best in handmade jewelry, specialty foods, cards, clothes, posters, housewares, and more. Plus: raffles, DJs, book signings, and a free goodie bag for the first 300 people!

Saturday, May 21st, 2011
Between Broome and Spring
New York, NY
11am-8pm
1 day only!

Introduction To Korean Contemporary Art Exhibit

On January 22nd, Ahn-Nyung / Hello: An Introduction To Korean Contemporary Art opens at LeBasse Projects in Culver City. Curated by Jae Yang (of Art-Merge), the exhibition includes the works of Seok Kim, Yeonju Sung, Hyung Kwan Kim, and Jin Young Yu. These are a few of the works which most capture my fancy:

There’s scant info available at LeBasse; but you can read more in the press release (PDF).

The Dollypop Guild

Paul Richmond (whose upcoming exhibit, Cheesecake, will be opening in June at the Center on Halsted in Chicago) explores the path of his own identity and sexuality in his paintings.

Prints and original paintings available at Etsy — and there’s a book of his works, with text, titled Ins & Outs: A Collection. (Via A Slip of a Girl.)

Can You Remember My Dream?

In Can You Remember My Dream?, by artist Julia Hepburn, lanterns of diorama dreams surround a nested bed.

Hepburn’s work was exhibited as Come Up To My Room, the annual alternative design event held at Toronto’s Gladstone Hotel.

See Also:

The artist’s own blog is Collection Hepburn.

An interview with the artist about the installation.

The Most Awesome Thing I’ve Discovered In A Long Time

I’ll admit, I get excited — I’m probably the definition of “easily amused” — but when I was told about Project ETHOS, I was giddy with excitement.

Project ETHOS merges fashion, music, and art in one event, at once creating a unique avenue for both participants (artists) and attendees. It’s not your usual “incubator,” shielding and nursing talent, but instead it launches and nourishes artisans.

Project ETHOS closes the gap between the Indie and Mainstream worlds with an experienced and focused eye for talent. Creating a link to decision makers is what drives us to be a niche portal of exposing all emerging artistry to the media, public and industry.

It’s the combination of concert, fashion show, and art gallery exhibition all at one event! Isn’t that just beyond mere cool?!

(If you think you’re ready, you can apply to become an Ethos participant.)

I was so excited, that even when I discovered their its first-ever red carpet event in San Diego (on Thursday, April 22, 2010 at the On Broadway Event Center, from 8 p.m. to 2 a.m.) isn’t something I can attend, I was still excited.

You can read the event promo piece for more info, but this first red carpet event will feature local bands and Space Cowboy (personal DJ for (Lady Gaga); hot new fashion designers, including former Project Runway contestants; and eight visual artists: Joshua Krause (abstract), Sam Luna (abstract), Kelli Murray (Illustration), Sherilyn Tanala Encabo (comic/anime illustration), Meghan Horsburgh (photography), Christy Pepper Dawson (macabre illustrations and paintings), Matt Haward (mixed media), Jeremy Asher Lynch and Yeara.

The event’s charitable partner is Love Cures Cancer, an organization dedicated to benefiting children with cancer while raising awareness and working to find a cure.

Tickets are $15 pre-sale, $20 at the door, $40 VIP and can be purchased online. All event attendees must be 18+.

If you can, you must get thee to this Project Ethos event — and if you do, please tell me all about it!

Handmade Craft Shopping Parties

Back in the day, I offered and held a few home parties for selling my artworks. Being about 15 years ago, ish, I felt like I was charting new territories.

I had a bunch of catalogs and brochures from other successful home party plan businesses — and my vast knowledge of attending such parties — to build my plan on, but even then, the concept was just that — more concept than anything else.

I made sales at the parties (and secured plenty of commissioned works as well), but found I really had to sell the idea of such a party by educating the potential host or hostess more than anything else.

Now that home party plans are so mainstream that a woman between the ages of 20 and 35 fears invitations in the mail, the indie crafting party isn’t an educational exercise — and the lure of less common products is far stronger than say the usual home party suspects, resulting in more attendees and an increase of wallets being opened.

I mention this trend for two reasons.

One, if you’re a crafter, craftsman, or artisan looking for a way to make sales and connect with your local community, you might want to consider using home craft shopping parties. Even crafters who just have an over-load of made things could probably find an occasional party a good way to rid themselves of surplus handcrafted items, and those with mad skills could combine selling creations with workshops at parties.

If this sounds at all like you, Miss Malaprop has a great article, 5 Tips for a Successful Handmade Craft Shopping Party, which also includes links to some great resources. She even peddles the stuff other folks make at the home parties she demonstrates/sells at. (Keen idea for those who want to increase their offerings past their own skills.)

I respectfully disagree with CraftyTammie, when she says that she wouldn’t throw a party and invite her friends because “they all know i have an etsy shop, and i figure if they want to buy something they will let me know.” Shopping for art, for gifty stuff and crafts, is very much a visual in-the-moment thing. And people need to see it.

The second reason I mention the home party plan idea, is that if you are not a maker of things but a lover of them, you might wish to host a craft selling party in your own home. You and your pals can get together, shop, maybe even become inspired to make a thing or two yourself, all while you support arts in your community.

The only real tricky thing with hosting one of these home parties selling handmade things is finding a willing artisan or crafter. To that end, The Ungulate has started an Art Directory, including a category for listings of creative folks who are willing to do home parties selling their arts and crafts.

Image Credits: Handmade goodies from MissMalaprop’s shop.

Print Temps By Mister M

I believe this work by Marc Brunier aka Mister M is a print made from a woodcut; I love how the lines define the musculature, defining the anatomy as well as sense of direction, if not action.

marc-brunier-print

The artist recently had a showing of his works in Poland — and I’m utterly intrigued with the wall of small works, which invite you too look in, like a voyeur, through little windowpanes.

marc-brunier-installation

Of course, I can’t resist showing you that at that exhibition, that the French (at least speaking) artist was joined by someone looking like a comic book Frenchman in his striped shirt. (The artist himself is in the middle of the photo; the man wearing the hat and glasses.)

mister-m-marc-brunier-exhibition

Seeing Around With Edward Tufte

I received a promotional mailing from Edward Tufte about the first major museum exhibition of his sculpture. I can’t say much about the actual exhibition (Seeing Around, on view at The Aldrich Contemporary Art Museum) as I haven’t been there. (Yet?) But I do have a few thoughts on the promo pieces.

seeing-around-edward-tufte

First of all, any art exhibition, museum, gallery, etc., which uses Charles Schulz’s Peanuts is awesome; but super bonus points for using the strip in which Charlie Brown is too intimidated to discuss what he sees in cloud formations with Lucy. What more of a non-threatening introduction do you need to proceed?

So, like anyone who receives multiple-paged stuff, I began to flip through the pages… Until I found Tufte pièce de résistance: four pages on animals and landscape sculpture.

edward-tufte-animals-and-landscape-sculpture

If seeing the photo of sheep nestled into a contemporary art sculpture doesn’t get you, how about Zerlina the Golden Retriever peeping from Geometric Cutouts? And if that slice of adorableness still doesn’t entice you to read Tufte’s thoughts on the artistic relationships between land, animals, and landscape sculptural artworks, how about a photo of Zerlina’s “repertoire of concealment methodologies” — complete with cartoon bubble thoughts for both the dog and the cast iron lion?

tufte-art-and-animals

I may not have been a real fan of such contemporary and large-scale sculptures before, but through such inviting images and narrative Tufte now has me intrigued…

So I stopped flipping through the brochure, and began reading. And viewing far more of the art (and viewing it far more thoughtfully too).

Inside, Tufte presents some food for thought. Like the images shown, his artist’s statements are welcoming. Tufte just ‘talks’ about his works, his intentions, and invites you to see not only his works, but other works, perhaps in new ways.

art-wrenches-by-edward-tufteHe doesn’t talk down to the reader — but he sure as heck doesn’t ramble on in such a lofty way that makes me think (as I far too often do) that either the Emperor has no clothes or I don’t know a damn thing about art.

(The latter might in fact be true, but such intimidation doesn’t welcome anyone to view the exhibition — other than those, like Hugh Grant, who will pretend they get it to appear hip — which really just reinforces the silence around naked Emperors too.)

From here I fell in love with several of his abstract sculpture series: The eight feet wrenches (above, left), and the Open Ended series (at bottom of the post).

What’s more, I want to stand before them outside. Even if Zerlina and/or the sheep aren’t there. I want to see how the light, the trees Tufte planted in the museum’s sculpture garden, the other people all play with the giant abstract sculptures.

Which is precisely what this catalog or promotional book is supposed to do.

So hat’s off to Tufte for exposing himself as a very fine Emperor of contemporary art sculpture indeed.

open-ended-series-by-edward-tufte

Future Generation Contemporary Art Prize

victor-pinchukUkrainian billionaire Victor Pinchuk, via the Victor Pinchuk Foundation, has created a new international contemporary art prize to discover, recognize and give long-term support to a future generation of artists.

The Future Generation Art Prize will be held every two years and the winner will receive $100,000.

All artists up to 35 may apply with their work without any restrictions concerning gender, nationality, race or artistic medium.

The artists apply through an open call via the Internet. Application form shall be available to all on the Prize website.

Additionally, 100 correspondent art experts from all over the world will nominate a minimum of two and a maximum of five candidates. The experts are curators, artists, critics and tutors at art colleges and academies. All artists apart from former Prize winners are be eligible to apply multiple times, as long as they continue to fulfil the entry conditions.

Online applications for the prize will be taken between January 18, 2010 and April 18, 2010. In October of 2010, twenty shortlisted artists will be selected to show their work in an exhibition at Kiev’s PinchukArtCentre, one of the largest centers for contemporary art in the Eastern Europe, founded by Pinchuk in September 2006.