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(Source: emmawebsterart)

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hoardingwithcuratorialintent:

#studiovisits with Emma Webster #art #exhibitionprep #painting

hoardingwithcuratorialintent:

#studiovisits with Emma Webster #art #exhibitionprep #painting

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hoardingwithcuratorialintent:

My Valentine for Brian.
Note my ever apparent lack of drawing skills.

hoardingwithcuratorialintent:

My Valentine for Brian.

Note my ever apparent lack of drawing skills.

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hoardingwithcuratorialintent:

Happy Valentines Day! I love you almost as much as Rothko. Almost. And that’s saying something, because I really, really love Rothko.

hoardingwithcuratorialintent:

Happy Valentines Day! I love you almost as much as Rothko. Almost. And that’s saying something, because I really, really love Rothko.

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Working hard on the ponylion

Working hard on the ponylion

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Brian M HaysCliffhouse, 2013Oil on canvas48 x 60 inchesThis painting was inspired by the historic Cliff House in San Francisco, an elegant mansion perched above the pacific that burned down in 1907. In the painting the house is broken down with geometric facades revealing bursts of colorful activity inside. The walls of the structure appear two dimensional at the edges where the grey sky blends into the corners, yet windows open up to spaces that appear 3D. Warm oranges and reds could be from a fireplace lighting a winter party or from escaped flames on the verge of engulfing the house.

Brian M Hays
Cliffhouse, 2013
Oil on canvas
48 x 60 inches

This painting was inspired by the historic Cliff House in San Francisco, an elegant mansion perched above the pacific that burned down in 1907. In the painting the house is broken down with geometric facades revealing bursts of colorful activity inside. The walls of the structure appear two dimensional at the edges where the grey sky blends into the corners, yet windows open up to spaces that appear 3D. Warm oranges and reds could be from a fireplace lighting a winter party or from escaped flames on the verge of engulfing the house.

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Beyond Patronage

Throughout history art has been funded by lords, popes, and other wealthy and powerful people— patrons of the arts. More recently we’ve seen galleries occasionally take on this role and governments invest in society’s cultural enrichment.

Experiments like Kickstarter and Etsy have proven that artists can raise funds for a project themselves. Artists can now appeal to their audience instead of the rich individual. When funding is spread across a group of people, the individual funder has little influence over the artist and the art, but when there is only one money person their opinion counts a great deal and can potentially compromise that project’s artistic integrity.

Technology has made it so governments don’t need to be the proxy between a community and their art anymore.

I don’t expect patrons or the NEA to go away, but I do wonder: In a world of crowd-funding and ecommerce is patronage necessary? Do we still need the state to allocate our cultural spending?

Add your comments here.

Tags: art funding
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[S]eriously—is writing really all that difficult? Yes, of course, it is; I know this personally—but is it that much more difficult than other things? Is it more difficult than working in a steel mill, or raising a child alone, or commuting three hours a day to a deeply unsatisfying cubicle job, or doing laundry in a nursing home, or running a hospital ward, or being a luggage handler, or digging septic systems, or waiting tables at a delicatessen, or—for that matter—pretty much anything else that people do?

Not really, right?

In fact, I’m going to go out on a limb here and share a little secret about the writing life that nobody likes to admit: Compared to almost every other occupation on earth, it’s f*cking great.

[…]

To choose to be a mere writer in this tearful world, then (either for pleasure, or for a living) is a profoundly luxurious act. Because let’s keep it in perspective, writers: Our books don’t exactly feed the hungry. We ain’t saving the planet here, people.

But even more than being a luxurious act, writing is a voluntary act. Becoming a novelist, then, is not some sort of dreadful Mayan curse, or dark martyrdom that only a chosen few can withstand for the betterment of humanity. … If you’re lucky, you might be able to make a small living out of this thing. If you’re exceedingly lucky, other people might come to appreciate your gifts. If you are phenomenally lucky, you might become lionized in your own lifetime, like the great Philip Roth himself.

And if that should ever happen to you—if you should ever find yourself both successful and loved—please do try to keep in mind that you have been blessed, not blighted.

"

Yes, please! Elizabeth Gilbert responds to Philip Roth’s unbelievably grumpy and toxic advice to young writers

Gilbert isn’t alone: As British novelist Amelia E. Barr counseled aspiring writers in 1901, “One of the great helps to success is to be cheerful; to go to work with a full sense of life.” More than a century later, the great Ray Bradbury made it his legacy to advocate for writing with joy

(via explore-blog)

(Source: , via explore-blog)

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Brian M HaysMore than a Walking Chemistry Set, 2013Charcoal on paper14 x 11 inchesThis poster is part of a series influenced by James Victore and Hugh Macleod’s posters. Each piece follows the same format: a phrase coupled with an expressionist drawing. The phrases are pulled from my life, often directly from one of my notebooks. The expressionist drawing is always made after writing the phrase and reflects the mood at the time of its making. These drawings are made through a process of marking and erasing with vine and compressed charcoal. Fine art reproductions are available for purchase.

Brian M Hays
More than a Walking Chemistry Set, 2013
Charcoal on paper
14 x 11 inches

This poster is part of a series influenced by James Victore and Hugh Macleod’s posters. Each piece follows the same format: a phrase coupled with an expressionist drawing. The phrases are pulled from my life, often directly from one of my notebooks. The expressionist drawing is always made after writing the phrase and reflects the mood at the time of its making. These drawings are made through a process of marking and erasing with vine and compressed charcoal. Fine art reproductions are available for purchase.