It’s time for my weekly round up. In the studio, I’ve been determined to finish my latest piece by the end of the month. I have a show deadline in May that I would like to meet — so I’ve become something of a hermit. (I hope my friends and family will forgive my absenteeism.) I finished quilting, and added the binding with all of the machine work — and now I’m down to the hand sewing part. I always find this hard. My skin is not tough & I typically push the needle through at least one finger — there’s blood and swearing — but eventually it comes to an end and I can proceed with the photography and computer work. That’s where I’ll hopefully be by tomorrow afternoon.
I delivered two of my pieces, Golden Moment and Worry, to the Abernathy Arts Center in Sandy Springs, on Thursday. The Georgia Artists exhibit opens on Friday — reception is 7-9 pm — hope to see you there! Since it’s local Atlanta, it’s one of the few openings I can attend in a year and I look forward to meeting all of the other artists.
By the way, they have installed a new bronze sculpture outside Abernathy Arts Center that I love. It’s made by Don Haugen. Isn’t it charming?
I also had a few opportunities to tweet. If you want to follow me in real time, I’m @vsgreaves. All of my social media links are above the menu on the right hand side.
I present, as usual, a summary of my tweets for the week.
This article was written by a black photographer, discussing the racially biased calibration of both cameras and film development processes. Having spent many hours struggling with my camera to accurately photograph some of my pieces, I understand that cameras are not as accurate as the human eye — although many people assume that they are. Extreme value changes cause shifts that can be impossible to overcome without splicing the picture in Photoshop — so when I came across this article, I realized that I had never before considered the possibility of camera limitations in terms of photographing value shifts in skin color.
“Teaching The Camera To See My Skin” I’ve struggled w/ light&dark in my camera-never realized it’s calibration biased http://feedly.com/k/1grBtsp
Edward Winkleman never disappoints in his intellectual discussion of the modern art world — and in this blog post, he approaches the subject of long term value of contemporary work.
“Determining Long-Term Value” A thoughtful discussion on historical significance from Winkleman. http://feedly.com/e/IgY7Vgaz
As I mentioned last week, Pearl Paint in New York was set to close. Now it has. A real loss to the art world — in terms of its iconic position, its supply to artists, and the building’s worth as an architectural piece of history (as they plan to tear it down).
“Pearl Paint Closes” Sad. http://feedly.com/e/iAL4UwOW
My mother, an oil painter, always signed her last name on the front of her artwork. When she remarried and her name changed, which name she would use on her work became an issue. She also never added a date as she felt that would date your work and buyers always wanted your freshest pieces. Since my work is rooted in the quilt world and its different conventions, I never sign on the front. I always sign on the back and add a date. This article presents a discussion of signage and dates on the actual artwork.
RT @ArtsyShark: Where do you sign your artwork? http://buff.ly/1mMLzKt
As someone who spends time studying the human profile, I found this discussion of silhouettes compelling — that deleting extraneous details can lead the artist to a truer interpretation of their subject.
RT @ArtsyShark:The Value of Silhouette http://buff.ly/1iqbZ5b
Facebook is at it again — it plans to change the format of business Pages — compelling all of us to redo our banners and profile pics to account for a new presentation.
RT @abstanfield: New Facebook Page Timeline: 4 Things You Need to Do Now to Prepare http://zite.to/1rkdHEJ