Blogpix, The Panel

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Click here for Blogpix at Platform Project Space

Click here for Blogpix, The Show
Click here for first Armory post, Show Me the Money

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The Blogpix panel, which took place on Saturday, March 7, followed the Thursday opening of the Blogpix show at Denise Bibro's Platform Project Space in New York.

This is not a report. I was moderating, and totally focused on making sure the right questions got asked, that panelists got to respond, and that the audience got its pennies in, too. But Olympia Lambert, the organizer of both events, Twittered the event so you can access a running stream of comments.

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Here, let me show you some pictures of folks involved. Then I'll post some of what I remember (aided by the Twitter feed).

Denise Bibro, far left, welcomes bloggers to her gallery. Standing next to her is Blogpix organizer Olympia Lambert. The panel is identified in the picture below. In the audience Sharon Butler, Blogpix exhibiting artist and author of Two Coats of Paint , turns to face the camera.

The event took place not at Platform Project Space but at Denise Bibro Fine Art, the larger gallery next door. The work here is by Lisa Dinhofer

Our distinguished panel: Hrag Vartanian (www.hragvartanian.com); Roberta Fallon and Libby Rosof (www.fallonandrosof.blogspot.com); Bill Gusky (www.artblogcomments.blogspot.com); and Brent Burket (www.heartasarena.blogspot.com)

Hrag, Roberta and Libby are curators, along with myself, of the Blogpix show; Bill and Brent were invited to round out the panel. If you're wondering about Brent's blog title, "Heart as Arena," we learned that he'd originally named it "I Love Mary Boone" but changed it to a phrase taken from a Basquiat painting

Martin Bromirski (www.anaba.blogspot.com) took all the pics except for the top one, which I snapped just before my moderating duties began. And if you're wondering what "Anaba" (accent on the first syllable) means, it's a Japanese term for "special place." See what you learn at a blogger panel?

That's me moderating

Here's the audience. Well, part of it; the chairs spread out in a wider arc and in deeper rows. I'd say we had about 40 attendees. I recognized a few folks: Sharon Butler at far left; Steven Alexander, exhibiting in Blogpix and author of www.stevenalexanderstudio.blogspot.com ; Alyce Nicole Dunn, an artist new to New York, welcome!; Loren Munk, aka James Kalm, author of The Kalm Report, whose video coverage of the New York art scene is rich and in depth; and Ben La Rocco, one of the Blogpix artists

Veken Gueyikian (www.veken.org) is seated behind James Kalm. And Olympia Lambert, our intrepid Twitterer, is at the laptop behind Veken

Here's Olympia, below. Did I mention she posted so many comments that she exceeded her Twitter allotment and got shut down?

Here's a snippet of the conversation:

Given the decline of print media, are we bloggers getting more power than we asked for, expected, or even want?

Roberta Fallon had the funniest and probably most honest answer: "We love pontificating." But Sharon Butler offers a good example of how that power can be used in a good--no, a great, way. After writing about how she got her portrait painted by Matt Held, who is working his way through a portrait project, all kinds of great things started happening for Matt (see Sharon's update at the bottom of her original post).

Brent sees blogs as "a supplement" to print media. But given that print publications are on the decline--here, several people rattled off a list of newspapers that are in trouble--we noted that only so much of their editorial space and budger can go to arts coverage. That's where we come in. And we can do it immediately.

"Is there a sense of ethics and protocol among you?"

The question came from Denise, and was primarily with regard to advertising, which some bloggers have, and some don't. We all said, essentially, "Ads or no ads, our voice and vision are our own." I must add that all of us have journalism in our backgrounds, and we take our mission seriously--even if we have fun while doing so. "When we started, we came out of a writing and journalism background," said Roberta of herself and Libby; both write for print in addition to blogging. Olympia, also, come out of J-school. Hrag writes for PBS's Art 21; Brent for the non-profit Creative Time; I spent 20 years as an editor

How do you know if the blog is worth reading?

This is not the exact question, but it captures the gist. I responded that readers make the evaluation. If you feel you're getting propaganda, relentless self promotion (beyond the normal stuff we all do; hey, we don't get paid for blogging!) back-scratching coverage because of advertising, or plain bad writing, you won't return. The blogosphere has much to offer, and you can access (or delete it) with a click. So trust your instinct and go with your taste.

Why are we blogging anyway?

Hrag: "I find I get more satisfaction from my blog than the other venues."

Fallon and Rosof: "We love that you can go to a blog in Philly and read about a show in London."

Panelist (sorry, I can't identify from the Twitter feed): "The direct response-- having people comment means something."

Bill: "I like to be the Rush Limbaugh of this stuff--but in a good way.

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Awash in Color: More Friends of Mr. Biv

Click here for "No Chromophobia."

So a friend e-mailed me the other day to ask, "Who is this Mr. Biv?" If anyone is similarly confounded, think back to third grade. It's the mnemonic used to help you remember the spectrum. Remember?

Red Orange Yellow Green Blue Indigo Violet

Since we're discussing Roy (and in the interest of equal representaton, it could just as easily have been Rona, you know), I'd like to show the work of a few more of his friends. Most of these folks I know, a few others I don't. I'm motivated strictly by the chromatic intelligence of their work. For some of these artists, color is not necessarily the dominant element, it's the geometry. But we don't have to take sides, as color and composition are perfect complements.

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Julie Karabenick, Composition 71, 2007, acrylic on canvas, 30 x 30 inches

I curated Julie's work into Luxe, Calme et Volupte last year at the Marcia Wood Gallery in Atlanta. I'm impressed with the intellectual rigor and physical demands of her work. On such a pristine surface, there's no going back and painting over. Decisions made are decisions maintained. This is a breakthrough painting, because there's now a figure-ground relationship in the work, and the color has a chance to interact with the viewer's eye from various points in a visually dimensional space. Julie is the editor of Geoform. You can see her work there, or on her own website, Karabenick-Art.

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Marcia Hafif,TGGT 12: (Red-Gold, Violet), 22 x 22", oil on Canvas, 2006. Image from the Marcia Hafif website

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I've seen her work in person here and there over the years--Larry Becker in Philadelphia, the now-closed Baumgartner Gallery in Chelsea, and a few months ago at a gallery showing at Pulse in New York. Though relatively small--modestly proportioned easel size work--each painting has a huge presence. Her newer work is divided vertically, each section containing a different hue. Considering what she said about painting in 1990, her more current work is positively image laden:

"Having taken into consideration years ago the consensus decision of the art world that painting was no longer acceptable as an art form, it seemed necessary to move my awareness to a second level. Accepting the idea that one could no longer paint in good faith, I thought it would be possible to paint on another level, one providing a certain distance, in order to look at the paint rather than at its subject. It would be possible to paint "as if" one were painting, using the materials and techniques of painting, but without referring to a separate subject. This thinking led me to monochrome. Thus I do not paint with the intention of making a painting as such, but I work from the outside of painting using traditional methods and materials to discover a new image. " (Why Paint: Marcia Hafif from the catalog Marcia Hafif: Red Paintings, Verlag der Galerie Conrads, Neuss 1990 ).

In this relatively newer work, the vertical created by the abutting of two colors creates an image--a "painting as such"--but it does so on Hafif's terms.

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Chris Ashley, Cluny, 2008, HTML image

Chris works in a unique way, creating "drawings" directly on his computer screen using HTML code. They could easily be called "paintings," but I'm using his preferred word. The work is created using, I think, numbers that translate into blocks of color, so it's keystrokes rather than brush strokes that make the work. Lately, the work has made the leap off the screen and into a printed image, which makes me call them "paintings," but I suppose technically that would make them prints. In this new incarnation the saturated color on creamy paper has the look and visual feel of super-saturated gouache on watercolor paper. Visit his website, Look See, to see much more.

BTW, Chris wrote about my work in his blog a couple of years ago. Then I curated him into my Luxe, Calme et Volupte show. (You see how my blog world has very few degrees of separation; but then, that's true for the entire art world, where three degrees will probably take you back to the Cave Painters). In the fall we're going to be in a show called "Calculated Color," curated by the painter Jane Lincoln, at the Higgins Gallery on Cape Cod. Oh, and we're both part of the Geoform.project, along with Lyda Ray, below. Full disclaimer, yo.

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John Tallman, Color Stack, 2007, polyurethane resin, 1o x 10 inch diameter

Tallman is a painter and sculptor for whom materiality is essential. Indeed, you can't disentangle the painter from the sculptor any more than you can disentangle the color from the form. Visit his website and his Color Chunks blog to see what I mean. I don't know him, but when I found his blog I felt an instant affinity for what he's doing.

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Bill Gusky, Crush, 2007, enamel on urethane, 21 x 19 inches

I didn't know Bill until we we showed together in the Blogger Show, organized by John Morris, in the East Village last fall. That's when I saw this painting and purchased it for my collection. (More no degrees.) I've still not actually met him, so I don't actually know him, but I feel as if I do, partly because I wake up to his painting every morning and partly because I read his blog, Artblog Comments, regularly. Anyway, I like the way Bill combines color and form and material. See more at Bill Gusky.com

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Lynda Ray, Float Copper, encaustic on panel, 14 x 18 inches

I was introduced to Lynda's work when I was looking at images for my book, the The Art of Encaustic Painting. Her slides vibrated right out of the envelope. Like John Tallman and Bill Gusky, above, Lynda mixes color, form (via sensuously slathered paint) and materiality--and she maintains a geometric sensibility as well. See more on Lynda Ray Art.com

I suppose "Friends of Mr. Biv" will become a recurring feature on this blog. Stay tuned.