Festival, market...art fair?

By Irene Borngraeber

Around this time a year ago I published what I thought was an innocuous article about the organizers of Jersey City's first self-proclaimed "art fair"--and ended up with the biggest backlash I've ever had.  The problem wasn't my coverage or what the event was trying to do, but the term "art fair" itself.  I had assumed that readers would understand the difference between fair, art market, and art festival (there's even an entry in wikipedia about it!)--but I was all kinds of wrong.

The artists involved in a weekly outdoor market jumped all over me for excluding them as the original Jersey City "art fair" and, even though I tried to explain that I had been using the term in its commercial sense (think Armory or Affordable Art), they weren't having it--and I began to get upset.  Not because they didn't like the article, but because it had suddenly become my responsibility to make them understand a turn of phrase that was so fundamentally ingrained in the commercial art market.  I had assumed any artist seriously interested in selling their work would have already been aware (like it or not) of the fairs and their importance, and what the idea of bringing one to Jersey City could actually mean for putting local artists on the map.  But the fact that people were so confused and angry about the term made me wonder what else was getting lost in translation.

Fast forward a year--and we're still having linguistic difficulties with the sticky "art fair" term.  But this time, the issue lies with the organizers' use--year two.  I realize these are tough times for JC art.  The museum, one of the event's creators, is on the brink, and I doubt there was little (if any) money available to put this show together.  But, simply selling art in a hotel-like setting for a weekend and sending out a press release the week before doesn't make a show an art fair.

I don't want to knock anyone involved in this project, because "art fair" or not, we need more commercial art outlets in Jersey City, and any step in that direction is an important one.  But I believe it's important to be both precise and honest about what we call these events.  I came expecting the press and posers and buyers that buzz around Red Dot or Pool--and was disappointed.  And I'm sure others came (and left) with a very different idea of what an art fair actually is, right or wrong.  Ultimately, we may not be ready to host a true commercial fair in Jersey City, but we can certainly provide valuable showing opportunities for artists and chances for buyers to take work home--let's just be careful about what we call them.  

Greetings from the contemporary No-Man's-Land

*Note: This post is terribly late, but lack of a keyboard and "quiet time" have led to a travel backlog.  I'll do my best to play catch up in the next few days.... but right now I've got to hop the night train to Budapest. 

I'm in Krakow on week three of my Eastern European art quest and, a Polish beer and a keyboard (finally) later I'm sitting down to give you an out-of-date-update.  Surprised?  In New York it's so easy to be surrounded by contemporary art, collectives, galleries, and, as an arts consumer, it's easy to get caught up in the idea that New York really is the center of the art universe--and that there's nothing happening between Berlin and Istanbul.  But there's a whole 'nother world out there (who must be making art, right?) so several un-answered emails, unsatisfactory responses, and a cheap flight later I had decided to try and find (at least some) of it.  Armed with artist contacts and a backpack, I set off.

The dilemma: Why don't we hear much about Eastern-European Art in the international press?  Ah-hem. Communism. "Contemporary art" has been put on hold for a dew decades. You'll most likely see exhibitions of work from the 60's, 70's, 80's, and even 90's in major museums/art centers- if only because the huge backlog of art censored by the state is just being made available.  This explains in part why the art press has been so slow to feature new work from these areas; the insitutional vetting process just isn't there.  That being said, there are artists living and producing now in Eastern Europe, and if you look a little deeper, you'll find a host of independent galleries and artists engaging in really facinating work.

Prague: Contemporary art in a historic Disney World?  Yes!  Like most places, you have to head slightly outsided the city to see where artists are working; the city center does play host to several contemporary venues, but they're intermingled with schmotzy traps.  Prague has several cutting-edge collectives and contemporary art centers providing much-needed venues for art now, though they're unfortunately not on the interntational radar.  I started with Futura, a center that hosts international exchanges, local work, performance and video screenings in its space west of the city center and downriver from the tourist-ridden New Town.  Their gallery space, located inside a rennovated factory masquerading as a townhouse, was hosting the work of... *first snag* artists from New York, but their gallery sitter assured me this wasn't the norm.

Really....?  Will Prague prove to be disasterous?  Will Irene survive another night train?  Should Irene go and have another beer before continuing this retrospective?  More to come.

How Holiday Windows Save my Soul

Maybe its the clean blue Wisconsin skies, the absence of security lines, Milwaukee's surprisingly good airport art, or the fact that I'm sprawled out over three seats in the waiting room with a cup of coffee and wireless internet, but I’m feeling warm and fuzzy enough to confess my most superficial, glittery addiction to holiday kitsch. 

I’ll admit to having an almost instantaneous, scornful reaction to things that are “pretty”.  Someone once came up to me during a group show and (in what he must have thought was a compliment) gushed over how wonderful it was that my pieces were “easy to look at”.  I had never been so insulted.  I wanted to rip my diptychs from the wall and stomp them to bits right there, hopefully embedding some glass shrapnel into the man’s meticulously-coordinated jacket and scarf ensemble.  “Pretty”, without irony, makes me want to commit murder.

But, once a year, I let myself out of my uncharitable restraints and run with abandon into the arms of the glitzy and sensual.  I let go of all my fears about art degenerating into emotional mush, of ideas getting lost in precious moments, of letting my eyes and heart slaughter my mind—and I run to the window displays to become a temporary member of the glitterati.  

The windows are intoxicating.  They are a rescue team that airlifts me out of my own mental quagmire only to drown me in a flood of fake pearls and plastic icicles.  They are so secure in their superficiality, so joyously transparent in their purpose that there is absolutely no way I can hate them.  They are icons of consumer lust and highbrow vanity, visceral eyegasms that are meant to steal thoughts and replace them with ohh-want-want-look-if-only’s.  They are demons or fairies or gods or whatever else can bewitch you by showing you what you want—what you need—who you could become, while stoically restricting their world to a tiny glass box you can never enter.  I need them.  Blatant frivolity is my palate-cleanser.

For your viewing pleasure, the blog AnotherNormal has the best photos I’ve seen around of these (and previous) years’ holiday (and non-holiday) displays. 

Not art, but mass-market glam at its most seductive.  Ying, meet your Yang. 

Studio Tour or free-for-all?

The studio tour has packed up and moved out after a loaded weekend that has left a lot of us Jersey City art folk in fallout mode.  This year's installment had no large venue to host multiple group shows (unlike the huge unfinished space rented from Canco Lofts last year) so seeing a good number of artists was a challenge, and since show descriptions weren't included in any of the accompanying press even figuring out which sites looked promising was a feat unto itself.


That's the (relatively) objective part.  But the reason it's taken me so long to get something posted about the event is that besides the standard cliches I just don't know what to say.  The JC Studio Tour is (diction fails me)...weird.


I wrote an article for JCI on the first Art Fair to take place in Jersey City (in conjunction with the Tour), and it got me thinking--what exactly is the point?  Most of the venues in this year's event were not artist studios, rather alternative exhibition spaces in people's houses, garages, or vacant condos.  I didn't see one working studio during my rounds of 20 some stops, but because there weren't any descriptions about the venues I can't really be certain how many there actually were--and that's a huge problem.


Part of the reason why artists didn't open up their work spaces might be because there are few people who have dedicated studios--Jersey City doesn't have much in the way of artist buildings, and it's kind of awkward (though cool) to traipse through someone's house in order to get to the room in which they make art.  It may also be that the Tour has gotten large enough to attract artists who don't live and/or work in Jersey City (I talked to artists from Hoboken and Bayonne) who import their work to vacant spaces.  For whatever reason, there are fewer and fewer actual studios on the Tour and more and more alternative exhibition venues.


This isn't a bad thing, but, on a critical level it has led to growing pains.  Studio Tours are generally community-centered events where artists demonstrate how they work to visitors who might not know that much about art in order to educate the public and replug culture into neighborhoods.  The Gowanus (Brooklyn) Studio Tour is a great example--their mission: "to provide the public a unique opportunity to visit and engage one-on-one with working artists for the purpose of gaining a broader appreciation of the various types of visual art media", and that's what they do.  The main focus of the event is not selling work, but selling the idea and passion of creation.  It's like the "making of" feature on a dvd.  


On the flipside, many artists who participate in the JC Studio Tour are looking to sell or get noticed, not necessarily to teach.  That's why there aren't demonstrations and even people who have accessible studios don't often open them up; they prefer to put their work in shows where they have a better chance of being seen.  The only problem is, the artists aren't selling much, and the non-artists aren't coming out in force.


The JC Studio Tour is in between and something's got to give.  Artists don't know what to expect or how to publicize, and content-wise, just about anything goes--which has some bailing out (I'll expand on this later).  Visitors have to shoot blind picking what to see, leaving people pleasantly surprised (at best) and disappointed (at worst).  What is the Tour?  What does it aspire to be?  That's for ProArts and the City to decide, but I really hope these growing pains will ultimately lead to a more focused, purposeful, and ultimately successful event.


For the record, I think either approach (or even a mix) would be great--as long as the events were well-publicized and documented so people could actually make educated choices about what to see.  And Hudson Reporter: either publish descriptions of show venues, minimize typos and listing errors (yikes), or move over and let someone else do it.  


Thoughts?

Jersey City Studio Tour Art Fair tries for a new market

Update: About an hour ago Nj.com basically published the museum's press release straight.  Way to go journalists who give themselves by-lines for reproducing other people's text.  

I just got an email from the Jersey City Museum inviting me to tonight's preview of the "Jersey City Art Fair at the Beacon", an event apparently aimed at collectors who might be put off by the traditional studio tour slog from venue to venue (understandably- it's supposed to rain).  Since this is the first real art fair in Jersey City (indoors at least) I'm curious how it's going to come off--especially because this is the only concrete PR I've read about it.   

Many artists I've talked to who participate in the annual Tour have said they do it just to get their work out there and show the community what they're up to--not in the hopes that they'd sell a piece.  Part of the reason many have written off sales might be because most Jersey City arts events are billed as local opportunities for community building rather than opportunities for people to view (and buy) works of art.  Just take a look at the democratizing language used on the ProArts website:

"All events are free and open to the public and there is truly something for everyone. The Studio Tour unites Jersey City's artists, art groups, galleries and more to create an outstanding weekend for all to celebrate our talented and vibrant artistic community."

Do not be afraid.  The art won't bite.  We're in this together.  Oh, and it's free.

Jersey City doesn't have its own collectors market and buyers haven't exactly been flocking in to purchase pieces from artists based here, but it looks like the Jersey City Museum, along with Victory Hall and JC Cultural Affairs (event sponsors), are trying to change that.  Or at least, they're changing their language, billing this event as an opportunity to: "mingle with nationally and internationally recognized artists, curators, gallery owners, and the arts community".

It's an important start, and I'm glad to see the studio tour evolving to potentially support what could become a true Jersey City art market...but six hours notice is kind of short.  It will be interesting to see who shows up.  

"The Jersey City Art Fair promises to be a wonderful opportunity for serious collectors, art connoisseurs and the general public. This event allows everyone the chance meet new people and to discover latest developments in contemporary art. It's not to be missed!"

Confessions of an errant blogger

Forgive me LeftBank for I have sinned; it's been two months since my last post. Five hail Saltz's and an entry a week?  Ah.... sweet absolution.

Art exposion: New Orleans

One of several Banksy tags seen in NOLA

About ten days ago I suddenly decided to hop in a van with volunteers from the NOLA Preservation Society and drive to New Orleans. I had always wanted to see the city, and after the national attention given to P.1 and the fact that one of the magazines (ArtVoices) I write for is headquartered there, I couldn't resist the trip. The perks of freelance! Twenty-six hours and 1300 miles later I found myself working on a documentary, interviewing artists and cultural preservationists about the the evolving creative life of the city.

Surprisingly, when asked how the arts in NO have changed post-Katrina, most people said they've gotten better. It was like the city had taken a step back to examine what really made it unique, realized that it was music, art, and food, and actually took the steps needed to protect and infuse those industries with new life. In a city of 300,000 and growing (June 2009 census estimate), where you still see abandoned, condemned houses lining the streets, there are over 70 functioning galleries. Think about it. And this doesn't include those ubiquitous restaurant/cafe/bar/hotel crossover spaces. For reference, Jersey City has a population of about 242,000 (2007 census estimate) and 7 galleries (my count of spaces that are full-time, single use).

Yet what is striking about New Orleans is not only how similar it really is to Jersey City and Newark population-wise, but how close the three are demographically, and how many of the same problems they share. Sub-par schools, inadequate recreational activities for kids, high violent crime, economic inequality, undereducated populations--I won't launch into a play-by-play, but what New Orleans has done to try and address a lot of these issues is turn to culture. By recognizing the importance of the city's art and music people have begun to both preserve their own cultural heritage and turn it into a vehicle for community development.

Now, this is me we're talking about....so I can't say all the art I saw was stellar, all the non-profits well-functioning, and all the galleries beautifully curated, but what struck me about the local "arts scene" was that it was more of a way of life. Musicians and artists alike are nurtured, supported, and criticised by the community--their neighbors, their friends, (and their government)--not isolated in studios. I wasn't there long enough to experience the full-extent of this "phenomenon"--but artists from all over the country are flocking to NOLA just to be a part of it, and I'll definitely be back.

Compare as much as I like: Jersey City is not New Orleans. Culturally speaking it's not nearly as developed, communal, or unified, but I wonder: if Jersey City chose (and really committed) to build itself around one unique, marketable trait, what would it be? Not art. Not music. (Those have a hard enough time existing as it is) Not science or industry, not food....definitely not green-space. History's first high-rise suburb? Ouch (sorry, it just slipped out). Is there something I'm missing here? Some magnificent heritage that could become the backbone of a rebirth? Shout it out.

Public Art in the PAD

I was walking back through the heart of the "arts district" after a conversation with the owners of the new JA Project gallery on Marin, when I came upon this peculiar installation of public art. You see garbage-filled evidence of lazy shoppers? I see a wry comment about condo-induced creative blight. Too bad it's just reality.

Sophie Calle at Paula Cooper

©Sophie Calle/ARS. Courtesy of the Paula Cooper Gallery, New York. Photo: Ellen Wilson

I meant to post this when the exhibition was still on view but, good intentions simply being what they are, I got a little side-tracked. Bad blogger! Perhaps there are some of you out there who wouldn't mind thoughts after-the-fact...

Sophie Calle has a history of creating works of art that test relational boundaries. Her newest show at Paula Cooper, the first US presentation of the exhibition selected to represent her native France at the 2007 Venice Biennial, continues the artist’s tradition of challenging our definition of public and private space—while still managing to be fun.

“Take Care of Yourself” is an exhibition inspired by a seemingly impossible break-up email Calle received from a former lover. The translated letter: convoluted, hyper-intellectualized, full of subtle blame-filled phrases, is the first thing you pick up as you walk into the gallery--it’s not the original (that’s in French) but this translated version, duplicated with all the telltale streaks left by a cheap photocopier, feels like it could have come right out of the printer. We read the letter.

Now beings an exercise in empathy (or in some cases, empathic rage). Calle sent copies to women all over France, asking them to develop a response and send it back. She solicited the opinions of lawyers, psychologists, secret service agents, singers, sharp-shooters; all of whom were either photographed or filmed reading the letter, performing it, destroying it, memorizing it, dissecting it. They, as much as the mysterious “x” (the sender remains anonymous) become characters in an emotional pantomime, as Calle puts her own personal experience on stage and invites us to commiserate.

She steps back and lets others play the lead—and that is what keeps the ensemble of vignettes from becoming overly mired in self-reflection. It feels like each piece is a part of a larger attempt to analytically classify her own feelings through the responses of others—like Calle was so thrown by this bizarre form of separation as to have literally needed to engage in a worldwide examination of its possible meanings. Not to say that there isn’t an element of stick-it-to-him-ness to the show (nothing like a universal, public denouncement of personal ineptitude to make melting into the floor seem like a pretty good option for Monsieur “x”), but Calle avoids making “the breakup” an international soap opera.

What is odd about the show is that none of the written responses that Calle received from other women are translated. The texts of these often hand-annotated, color-coded return letters are blown up and hung below the photograph of the women who sent them, becoming purely aesthetic elements rather than meaningful writings. Yet they’re not gibberish: one lawyer describes how Calle’s ex could be considered in breach of contract for misrepresenting himself as a writer when the poor quality of word choice and syntax in his letter practically refute that claim; another highlights the number of times “x” switches from formal to informal personal pronouns (another grammatical zing). These documents do enhance the overall show experience, but not being able to understand them does not necessarily detract from Calle’s fundamental exploration of collective empathy. The point here is not arriving at an ironclad breakup conclusion, but working though the emotional consequences, both real and imagined, of a hurtful (and slightly absurdist) situation. Calle is a conceptual artist; her visual products are ultimately secondary.

What made the show for me was Calle’s video of her and “x”’s letter at an appointment with a conflict mediator. As Calle explains the circumstances surrounding her breakup with “x”, I couldn't help but be touched by her honesty, her genuine search for closure, and her own desire to document something that would normally be lived out quietly in private. Not to mention her carefully controlled hatred of “x”.

I'd say "see it", but you can't and I'm sorry. But you can wikipedia her.

Top art picks for tomorrow's JC Friday (June 5)

There are a ton of events going on for this first summer installment of JC Fridays, and I've weeded through the listings to bring you my top art picks (in no way comprehensive); notes on why I selected these shows follow each entry. It's probably not possible to see all of this amended list in one night (unless you have superhuman art-viewing powers), but keep in mind that a lot of these shows/pieces will be on view at their respective locations through the end of the month: don't despair if you miss something tomorrow.

Presented by relative location (from JC Friday's brochure):

5pm-6:30pm ART HOUSE PRODUCTIONS and COSI CAFÉ AND RESTAURANT present an Opening Reception for Hoboken artist Marni Fylling. Fylling combines her love of the natural world, art, and sometimes food, in colorful block prints. Curated by Emily Helck. 1 Exchange Place (directly across from the Light Rail stop), (201) 451-0535. Barrier-free. Map

Why: because Marni is a wonderful scientific illustrator and I've never seen any of her print-work; it will be interesting to see how the two mediums compare

6pm-8pm JERSEY CITY MUSEUM at THE MAJESTIC THEATRE CONDOMINIUMS invites you to an Opening Reception for “Fluid,” a painting installation by Marti Lawrence. The exhibition will be on view by appointment at The Majestic Theatre Condominiums through August 30, 2009. Refreshments will be served. The Majestic Theatre Condominiums, 222 Montgomery St (Grove/Barrow Sts), 201-413-0303 ext. 144. Barrier-free. Map

Why: because I want to know what this "painting installation" looks like--and hopefully see Marti's artist statement

7pm-11pm 58 GALLERY presents an Opening Reception for “United Saints of Oil,” new works by Dylan Egon, documenting the new religion of American pop culture in the traditional art of oil painting. Our new icons...true, or false. Live performance by Flaming Fire at 10 pm. DJ Street Justice all night. 58 Coles St (3rd/4th Sts), 917-349-1693. Map

Why: because 58 is probably where you'll see the most artists and JC arts aficionados in one place. Pop icons may not be your thing, but the process of cannonization can say some powerful things about the values of hip contemporary folk; maybe this show will be revealing.

7pm-10pm ATELIER PRODUCTION presents an Opening Reception for “at:muss:feer,” a multi-media exhibition. Paintings are acrylic on canvas and appear as “collisions of color,” bright & bold with no representations to religion, politics, or nudity. Wooden sculpture exults intriguing cuts & fits the space as if made specifically for it. Mixed-media works seemingly ask the viewer, without words, to consider recycling. After party hosted by Ox Restaurant. The Wells Fargo Building, 299 Pavonia Ave, Loft 2-9 (Coles/Monmouth Sts), 551-226-3632. Map

Why: because I honestly have no idea what that paragraph just said.

11am-10pm SAWADEE THAI CUISINE presents “The Final Frontier: Photographs by Edward Fausty,” April 10 – June 6, 2009. Come explore the artwork in Sawadee’s dining room and enjoy their exciting Thai menu. 137 Newark Ave (Grove/Barrow Sts), 201-433-0888. Barrier-free. Map

Why: because I've seen this already and, aside from presenting excellent group of photographs, Ed worked with Sawadee to change the lighting and layout specifically for these pieces (yes!). An example of what a restaurant show can become if artists and owners are willing to work together.

7pm-9pm FISH WITH BRAIDS GALLERY presents an Opening Reception for “Animal Pharm” by Lee Johnson. Animal Pharm: An exploration of pharmacotherapeutics and modern medicine as it impacts the environment, humanity, and society. Are all equal, or are some more equal than others? June 4th – June 18th, 2009 (Opening reception June 4th and 5th, 7-9pm both days). 521 Jersey Ave (Columbus Ave/Newark Ave), 201-451-4294. Map

Why: because this is a show topic I haven't seen very often and I want to hear more about the political and artistic inspirations for this body of work; I hope the conceptual element here is as instinctively engaging as the physical aesthetic of the pieces themselves.

5pm-8pm D.E.E.N. DESIGNER BOUTIQUE and 140 GALLERY present “Powerhouse Arts District Local Artist Displays.” Join us for a demonstration of the best local artist of the Powerhouse Arts District. You will enjoy amazing art, wine & cheese, and live music (local DJ). Stop by between 5-8 and you might get a chance to meet some artists. 140 Bay St (Provost/Warren Sts), 908-296-7679. Barrier-free. Map

Why: because I want to see who has the guts to call him/herself the "best local artist" in the PAD

7pm-11pm THE J.A. PROJECT GALLERY invites you to their Grand Opening event, located in the heart of downtown Jersey City. Complimentary wine all night. Music provided by DJ Unkle Chips. Launched with the idea to showcase artwork of superlative quality by up and coming artists. We are dedicated to introducing and promoting diverse artists looking to express their voice through various mediums of contemporary art. 341 Marin Blvd (Morgan St/Bay St), 973-981-5991. Map

Why: because this is a new gallery, they've launched a website, and I'm thrilled to learn more about them and see what they're about.

11am-8pm JERSEY CITY MUSEUM invites you to enjoy free museum admission with extended gallery hours. 6pm: A special evening featuring “Investigations of Place,” curated by Natalie McKeever and featuring short videos that use experimental imagery to explore how personal narratives are imprinted on landscapes. Short films shown on rotation, ambient music performed by Jeff Thompson and Matt Ortega in the atrium throughout the evening. Refreshments will be served. 350 Montgomery St (@ Monmouth St), 201-413-0303 ext.144. Barrier-free. Map

Why: because I'll be speaking to the curator for a feature article about the show later in the evening, and the concept could produce some different types of work. Not exactly sure what to expect.

6pm-7:30pm LILA STUDIO invites you to a Figurative Drawing Session. Please bring your own materials (bringing a drawing board is recommended). No photography allowed. Live music at The Barrow Mansion hosted by The Attic Ensemble will follow this event. The Barrow Mansion, 83 Wayne St (Barrow St/Jersey Ave), thelilastudio@gmail.com. Map

Why: free figure drawing? Sounds great!

Art Markets (and Creative Grove): Democratising or Demeaning?

The brand new Creative Grove art market kicked off yesterday at the Grove Street PATH, and it got me wondering about the social standing of such pedestrian (literally) events within the artistic community.

From a "fine art" perspective (aside from selling your work on a street corner) an outdoor booth is about as low on the totem pole as you can get. People: normal, common-denominator people, stop by, talk about your pieces, and--heaven forbid--sometimes try to touch them. But why does this sort of public display strike so many artists as demeaning, rather than as an opportunity for community engagement? Is it the nature of fine art to want to ascend into some otherworldly cloud and escape the prying eyes of the "less-enlightened", does wanting to withdraw really just highlight the fears these artists have about how the general public will react to their work, or is it merely pragmatic (how much do they actually sell-really)?

Showing in a gallery, or even at an established fine art fair (outdoors or not), is not the same thing as popping up a table at a major-transit-hub art market that also sells baby t-shirts. It all comes down to audience, and it's in this sense that Creative Grove is extremely democratic. Who knows what it will become as it continues (hopefully) to grow, but for the moment it is really smack dab at the intersection of art and life--and I like that.

Perhaps it's a romantic notion, but I really believe--or want to believe--that someone off the street can walk up to a great work of art, recognize its communicative or aesthetic value, and be moved enough to take it home. And I don't think that's anything for an artist to be ashamed of. I'm really not talking commercial design, or even screen-printed t-shirts, though they are an important first step in getting people comfortable with the idea of fine art, but rather drawings or paintings that aren't as instinctively functional. Jersey City isn't quite there yet. I think we need more jewelry and decorative wall-hangings before we can fully jump into the swampy territory of fine art markets and develop the more limited audience they rely on to survive.

Ultimately I think this type of market can serve as a source of civic artistic empowerment, but what's your take?

Note: Creative Grove will continue to run every Friday with a rotating group of artists and craftspeople throughout the summer.

The Hudson Current is dead

The bells have tolled for the Current. In more disappointing news on the local print media front, I heard today that the Hudson Reporter newsgroup will no longer be publishing the arts/ entertainment weekly. According to the editor, the Hudson Reporter will instead become a bi-weekly publication with some cultural listings. It's nice to see that the Reporter will be coming out more frequently, but...Jersey City has just lost its only dedicated arts publication.

UPDATE: Sean Allocca (former Current writer/editor) will no longer be on staff, but may be contributing freelance to the new bi-weekly Reporter. All future cultural or arts submissions should go straight to the chain's editor: editor@hudsonreporter.com

As my personal rants about the lack of arts coverage in the press seem to be falling on deaf ears, I'm taking this one step further. From now on, I am declaring myself Jersey City art media guru. Call it what you will, but I'll be posting the reviews (go ahead and demonize me) and features I've been longing to see right here.

Why isn't Jersey City Art a big deal? (because the press doesn't make it one)

In every city I've lived in new museum shows and elaborate cultural events created buzz. Trustees, board members, politicians, and artistic pundits would all crawl out from their meeting rooms to support (if only for the price of admission) the latest event on the artistic calendar. The newspaper would be there, snapping grainy photographs of the elites in action, and though I didn't always agree with the deference given to social rank and financial power at these happenings, their media presence ensured the status of both the hosting institution and the art they advocated for.

The Jersey City Museum had it's annual Artrageous Ball two weeks ago, and the press hasn't even whispered. According to the museum, 200+ people attended the event (its biggest fundraiser of the year) including the mayor, other government officials, and high-ranking professionals with a soft spot for the creative. Regardless of how I feel about the tangled web of artist/museum/patron relations--this is news.

Events like this are more than just fundraisers providing money needed to keep cultural organizations up and running (the museum will put these proceeds towards operating expenses- not such a sexy sell), they are reminders that the arts are a powerful force deserving of community recognition and respect. When the Jersey City Museum's press releases never go any further than it's own website and a few message boards, that's a failure--not of the organization, but of the local media. In fact, it's an affront.

I know art is sometimes difficult to understand and that the Jersey City press as a whole is wobbling already, but the reason we as a community tend to undervalue the Museum and our own artistic production is due in part to a lack of media attention. The museum contributes to the health and vibrancy of this community, but we so rarely hear about it that it's easy to forget what it has done, what it's working towards, and what it stands for. But the fact remains that it is a museum, "a permanent institution in the service of society and of its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity...", in charge of representing the finest art Jersey City has to offer and exposing it so we--the public--can better understand our own existence here and now.

Museums can put on bad shows too (and it's important to recognize that), but the press has got to step up to the plate and say "art matters". It's not the quality of Jersey City art that is sub par; it's the media coverage that makes it so.

PS. I write art features for JCI and they actually run them; thanks for covering the art news the Jersey Journal and Hudson Reporter often don't. If you've got an idea for a story-drop me a line.

I am not an artist

Jumping on Charles' question (Why did you become an artist?) and after much hemming and hawing have come to the happy understanding that I'm not one.

I have a studio, I’m constantly thinking about making things, and I sometimes show what I produce, but becoming an “artist” is something I’ve tried desperately to avoid. I’m still running away from the term. I have always been creating (in one sense or another) but what makes me differentiate myself for the A-word is an intense uneasiness over how I have come to define it.

I did not pursue a studio degree in school; I majored in other disciplines because I knew that no matter what my area of expertise was when I graduated, I’d still continue making art. Not having a BFA was not going to stop me. What I made I created out of personal desire; it didn’t matter if anyone else ever saw it or if the work just lived in a box in the basement. What I thought was a success I kept—what I hated (most things) I destroyed. To me, this wasn’t being an artist; artists exhibited in galleries, wrote statements, framed things, actively sought attention, and I didn’t really want that. I wouldn’t have said no to a little press, but I liked my anonymity and didn’t care if I was ever singled out for my work.

But I also wasn’t looking to studio art as a career: credentials didn’t matter—neither did the state of the market. At the time I didn’t personally know any artists who were supporting themselves off their work and, though I often would have liked more time to develop my ideas, working in other disciplines made every art session fresh and productive. I probably produced the most pieces when I was in grad school for French and working in information technology, just because of the variety. I don’t live and breathe art, and I can’t without going crazy. In the one “intro to drawing” class I took as an undergrad my professor told me that sometimes the most important thing you can do to a piece is to walk away. I walk away a lot.

Not that much of my time is actually spent making art, which is why I twinge at being called an artist. I don’t want to trivialize the dedication of people who actually spend most days in studio, or box myself in to a definition that is so malleable. Plus I think when most people ask you what you “do” they mean “for a living”, and I lose money on my art (I think that's ok).

I also think people hide behind the term artist to escape accountability, and that we let them get away with it. So I make things. Sometimes the things are art and sometimes they’re crap. But I keep making them, out of the need to express some vision that I can’t articulate (otherwise I would). That’s why I am—a creator, I guess.

Jersey Journal cuts out Art (and sports)

It looks like the Jersey Journal is sticking around: limping on to see another day--minus a few staff members--including arts editor Jeff Theodore and sports reporter Leon Banks. I'm curious how many writers the paper can actually cut until it reverts to only carrying syndicated news (AP anyone?). I suppose we'll see.

Though I didn't always appreciate the type of coverage given to the arts in the Journal--the *aww, feel good, let's be pc!* kind that negates creativity to the level of goopy precious moments-- now that Jeff has gone the way of the passenger pigeon...what's next?

A quick call to the Journal later and it seems the Independent knew what was up before the receptionist. The writers accepting the buyout leave at the end of this week, and after that, there isn't yet an official plan for who will be accepting story submissions, or writing content.

Tough times for journalism, tough times for art. The Journal editorial director will be calling back once he gets a handle on where local arts coverage will go from here--hopefully we'll still have a place in print.

Not-for-profit not so good?

Firings at Parsons and the New School, layoffs at the Met, the visual arts are definitely in the throws of a funding crisis. But as I made my way back to Jersey after an interview with Robert Elmes, the founder of Galapagos Artspace in Brooklyn, I couldn't help but feel that it is how we think about arts funding that has gotten us, as cultural producers, into trouble.

Most arts organizations, community performing arts venues, and museums are not-for-profit. There are a few out there who choose to buck the system and actually try to make money, but, for the most part, we're a low-budget enterprise whose main concern is the quality and content of artistic programming- not the pursuit of the ever illusive $. Or, at least, we are in theory.

According to Robert, non-profits spend 30% of their time trying to find funding sources, and having had experience working in museums and arts non-profits, I'd say the percentage is even higher. Especially when you include the time spent planning donor galas, member newsletters, the myriad of "support" materials that are supposed to help your bottom line, and the hours clocked by the interns who normally take the brunt of all this grunt work but never seem to make it into statistics.

The problem is twofold: that, even in the best of times, organizations are still spending at least 30% of their time looking for money, and that--in the worst of times--when this support suddenly vanishes, *poof*, so too does your main source of income followed by most of your programming.

Robert's idea in starting Galapagos was not a radical one: create a performing art space open to all that showed content people in the community cared enough about to come and see. Having lived through three "mini-recessions", one attempt to starve the NEA of all funding, and the failure of his first art venue due to a lack of calamity planning (a couch caught on fire and burned out the roof), he didn't want to rely on external organizations for funds. He decided rather, to pursue the radical notion of creating a by-the-people-for-the-people art space that would actually make money.

The idea is that if an organization (or dare I say business?) spends 30% of its time on marketing instead of searching for cash, they will be able to develop a way to ride out the uneven waves of foundation funding through solid income. Makes sense. And you'd have the added incentive to keep producing new and different content (as opposed to resting on your laurels because a grant came through and now you just have to spend it in accordance with your proposal) because if you don't, you're out of business.

This does assume that the individuals involved really care about producing upright, quality work, that people will recognize good content paired with excellent branding, and that the business model is solid enough to be sustainable, but it's an interesting alternative to the ubiquitously struggling arts non-profit.

And Galapagos is working. Established, wiser, and (according to Robert) riding out this big R in good shape. They now have seven resident artists, a way-cool floor with water pools, a new building in the heart of DUMBO, and ever-evolving content. Plus a fabulous aerial dance troupe booked for an upcoming show (I caught the end of their rehearsal).

Maybe being not-for-profit isn't all it's cracked up to be.

JC's newest mural- live in urban technicolor

A dash more color downtown--the mural is complete! Now let's just hope no one tags it... For more info about this and future projects in the works check out my soon-to-be-released (this weekend?) article on the Jersey City Independent website.

So what's this "Independent" you ask? It's the newest addition to Jersey City news media, covering local issues with a critical eye and giving art affairs the attention they deserve. Check it out, especially if you're sick of the Journal's omnipresent shrieking three-inch tabloid font.

Jersey City gets a mural project

If you're in the neighborhood, stop by Hudson County Arts Supply to see the first mural of a new public arts initiative take shape. Local artist Ron English, New Jersey native (and now resident West-coaster) Bigfoot, and fellow street artist Jason Maloney are working collaboratively today and tomorrow to cover the side of the store with an original work of art.

The first of several more Jersey City murals to be created by well-known local and national artists, the project (initiated by Dylan Evans) aims to draw art tourism and attention to Jersey City in the hopes of creating a thriving artistic community.

Mayor Healy arrived to see the progress this afternoon; stop by yourself and see how the work is going, and check back for a photo update.

JC Fridays is not about art

I try to make it out to just about every JC Friday (spirit of community!), and though I love the idea of people going to local establishments to see or listen to the work of resident artists, I just have to say--JC Fridays is not about art.

Restaurants and bars open up their spaces to artists not because they're feeling altruistic, but because special events are a great way to pack a room on an otherwise normal night. They're out to make a buck, and hey, I don't think anything's wrong with that. But what I do take issue with is the uneven display and treatment artists' work gets from venue to venue because of apparent disinterest. I could barely even see the paintings on display at Hard Grove: they were squashed across from the bar, hung over a curtain, and stuck so high up that I kept running into people trying to get a good look (I never really did). Other venues are often guilty of the same transgression, which just isn't respectful to the artists showing work in the space, nor to the people who have come to see them. It is a trade after all, and these businesses wouldn't have been advertised citywide (and in that handy JC Fridays brochure!) had they not had artwork to show.

So if you're an artist who's interested in bringing work out for JC Fridays, take some control over how your art is hung and where you can put your statement; and if you're a participating business, don't forget that without these artists and their work you wouldn't have sold all that extra booze.

Props to the Stockinette and LITM for consistent, courteous display of artworks and artist info, and to 58, Arthouse, and the JC museum (via some condos because they don't have the money to keep the museum open at night??) for representing the more artistic side of these Fridays.

No contemporary art for the CAA?

After spending the last five days session-hopping at the College Art Association conference in LA and trying to understand how this behemoth of theoretical knowledge treats the study of contemporary art, I'll be frank: academia has some major issues. This was my first CAA conference and, recently out of grad school and struggling to find my own publish-able blend of art history and journalism, I'll admit that I was floored by the thought of attending critical panels and debating with my former professors on the nature of art. I was warned by colleagues not to expect too much, but I was still almost giddy with anticipation as I made my way to the convention center and anxiously poured over the binder of session abstracts.

I came back, loaded with books, but disappointed. The College Art Association--the organization for scholars, professors, and teaching artists--had very little to say when it came to actual contemporary production. In fact, no one could even define the discipline (considered 1945-present in most colleges and 1960-present in others), let alone offer a proactive opinion on how the study of this "mystery topic" should be approached. Panelists on "Historicizing the Present..." and "What is Contemporary Art History" seemed to be more interested in talking about their own work than proposing solutions for the philosophical dilemmas involved in studying contemporary art--or answering the main question posed.

Within the canon then, contemporary art history is basically whatever the academic makes of it, and that frustrates me. I have read enough articles on Stella and 1950's pop artists to last me a long while, and have been waiting for something more, something different, something new to come out of academia. Instead of re-hashing the classics, why aren't art historians studying living artists, or taking risks writing about talented individuals who haven't been "made" yet? For me, contemporary study begins with an analysis of what's being produced now and culminates with putting this new method of working within the context of the larger discipline of art history. Analysis on current issues has to be different than those of the past, but that doesn't make it any less worthy of scholarly debate.

I wish those within academia would start taking risks, putting ideas out there that are different from the accepted (and anticipated) norms, instead of leaving the press to have its way with contemporary art while refusing to criticize fellow members of the academic club. I want to hear statements worth defending and historians really thinking about what it means to be a modern academic studying events that aren't yet--and may never be--historic.

I don't think this is revolutionary, yet creating a standard definition of contemporary art history as well as one for studies that are truly grounded in the present (they are, perhaps, two separate topics), doesn't seem to be on the horizon for the CAA: no one seems willing enough to challenge or potentially offend.

Photo: Marylin Stockstad's happy 80-something birthday cookie, given out at the conference bookfair. Cuteness from the reigning Queen of Art History 101.