Tape all the pieces together with glue

Uh, this is so ugly and unprofessional-looking. I really need to learn how to do some REAL basics. But I really love these little pieces that I’ve thrown together. So, here. Enjoy.

SaidNothingOneSaidNothingTwo

More comics!

Hi! I have more comics! And a brief review of a performance that came through town.

Donna Oblongata’s performance of All 100 Fires at the renovated Caritas Village started with two combat booted feet sticking out of a make shift tent, asleep. And it with the most dramatic use of Kool-aid I’ve seen. While engaging her 20 person audience and even eliciting what I saw as some actual acting from this audience, All 100 Fires reminded us that everyone dies eventually. It kept a good pace, startled us with some impressive props (especially for a one woman show with no sound or light booth), and left me as an artist jazzed to get back into the studio. That’s a necessary factor for me rating the experience an 8 out of 10. Oblongata is a strong performer, and worked with an impressive team to make this show of outlaw revolutionaries (and you’ll actually be shocked to found out whom she is leading in the takeover) preparing for war.

I’m still sorting out the title, which I do not believe appears in the show. The puppetry and the fact that she is on tour alone in her SUV makes me take these other performances very seriously. And so I recommend Donna Oblongata as a performer/teacher and All 100 Fires as a well-worth $10 evening when it comes through your town this summer.

“[Donna Oblongata] directed an illegal production of Les Miserables that toured the East Coast with a cast and crew of 55 and a stage that revolved on rollerblade wheels. She has made works for Art Shanty Projects, the BareBones Halloween Extravaganza and the People’s Climate March (with Patrick Costello). In 2015, she had her first solo gallery show, UsTube at Practice Gallery. She earned her MFA in Theater Arts from Towson University…and teaches Pochinko Clown technique in Philly each Spring. More info at donna oblongata.com.”

And the comics:

“Blogs are for Barf”

By popular demand, I give you more comics. I held off too long bc I wanted to edit them, but editing also takes two hours for every 3 minutes spent drawing. But as my wise mother said, “blogs are for barf”, they are sketchbooks, they are process. So, behold, process barf 🙂 🤮

And some with some editing:

Aquaman

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More to come when I retake 30 pictures because my PHONE DECIDED TO MAKE THEM PERMANENTLY HEIC FILES (why for would I want you to automatically make a file type I NEVER USE????!!). Editing sucks sometimes. 🤮

Art Basel -How Much Does This Cost?

For Christmas this year I tackled a bucket list entry I learned about first in a team-taught course as a first year student at Rhodes college- Art Basel. This is a for-profit, privately owned and managed, international art fair that happens in three cities every year- Basel, Switzerland, Hong Kong, and Miami Beach, Florida.

The idea is that high-end galleries pay around $30,000 USD for a convention center cubicle, ship 5-10 of their best (most likely to sell) pieces and a handful of art handlers and sales people to the convention center, and potentially make half of their gallery’s annual income in one week.

 

So the question for me: Do I want to aspire to be a cog in the money-driven art world machine?

Answer: I don’t loathe the idea yet. (I’ll explain why).

 

The best way I can describe what I experienced is literally a mall for some of the most expensive art in the world. It was set up with corridors like a mall, not quiet, but fairly orderly and laid back. Lots of strollers and young people there, and “stores” where you probably shouldn’t touch the merchandise, but if it looks like you’ll buy something, the sales people won’t chew you out (a sculpture by Joyce J. Scott was selling for $240,000). And the fashion game was tip-top.

Some pictures:

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As an artist, people say going to an art fair might be like this:

“…no better way to become humble than by going to an art fair”

—Leigh Connor, Connor Contemporary Art, Washington D.C.

 

“Detractors might argue it’s commercialism at its worst…on the flipside, fairs enable one to see a survey from across the globe in a short amount of time.”

—Helen Allen Executive Director, PULSE Contemporary Art Fair

 

“…It made me feel like the screaming Edvard Munch head.”

—Fred Tomaselli, artist, Brooklyn, N.Y.

 

“It’s something I struggle with because it gets overwhelming at times. But every time I go, I’ll see something I love, or make a great connection, and ultimately it’s always a really good thing. That said, usually I’ll leave freaking out a little bit. Overwhelmed. Exhausted.”

—Stephanie Diamond, artist, N.Y.

Stephanie’s quote sounds the most like how I feel about most everything, so I did a lot of research like the indispensable, Art/Work: Everything You Need to Know (And Do) As You Pursue Your Art Career, suggested. (The quotes, and the following comic all come from this book too. Sometimes I just read it cuz it’s so fun). And I went into Art Basel with an open mind and as lackadaisical as I could. (I narrowed what I had to see to two tiny wings, and then browsed about ½ of the convention more in walking between those two points.

More pics:

And lucky me, I DID see something that KNOCKED MY SOCKS OFF: Leon and Cocina’s La Casa Lobo film

 

I and a bunch of high-schoolers sat through the 45 minutes completely enthralled for every second of  the film.

So I came away energized to make work, realizing my work can be appealing and entertaining and still have clout in a serious market, and impressed to see more women artists’ work and LOTS of work in fabric, like I do.

Last, I saw this. Hello Hannah Wilke’s chewed gum.

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https://en.wikipedia.org/wiki/Art_Basel

https://www.artbasel.com/basel

León and Cociña

Art/Work Book

Hannah Wilke

-Sophia

2018-2019

I have a lot more ideas than I have follow-through for most of said ideas. And this goes to show how much work (ugh-exasperated eyeroll) an idea takes me to go THROUGH to the thorough end.

That party hat from Christmas needed to be a New Years’ hat, duh! so I’ll make a picture of 2018 scrawled on the back, from behind, and 2019 scrawled on the front, from in front.

Well, then the rooster needed a hat too, and I got sidetracked, and so some of the universally blatant meaning lost its way in the mess and this is what I have instead:

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In my head I was really going for a white backdrop, folk-musician album look…

Which to be fair to myself, last week’s picture satisfied me in it’s closeness to this mode. Probs why I thought I’d replicate and heighten that again a week later. But dang. It is just really hard to photograph yourself alone. As Jerry Saltz says in his latest Article, “Form small gangs.” And, “Artists must commune with their own kind all the time.” Sure makes impromptu photo shoots more interesting. But also, “work, work, work…Jasper Johns famously said, “One night I dreamed that I painted a large American flag, and the next morning I got up and I went out and bought the materials to begin it.” Also from Jerry Saltz. I dreamed it. So I got the pictures together to make it. It’s not quite Vogue. I’ll try some other stuff while the energy returns and the gang organically forms for stuff like the Vogue idea in satisfaction.

Vogue has out takes too.

Luv, Sophia