the EXHIBITION LAB

"Founded by gallery owners Sasha Wolf and Michael Foley, The Exhibition Lab is a study center for people involved in various aspects of fine art photography.The Exhibition Lab will provide a vibrant modern-day salon for artists, scholars and others who are interested in engaging the world’s diverse and vital photography community through the gateway of New York City.Classes, in the form of seminars, workshops and semester-long courses, will be offered on subjects geared to practitioners of the medium as well as to those in the academic community.Located in Chelsea in a space shared by Sasha Wolf Gallery and Foley Gallery, the Ex Lab will function as a hub for the study of photography outside of traditional academic venues..."

http://www.theexhibitionlab.com/

The Exhibition lab opens doors for artists of all ages. It is a great way to network and get inspired. Critiques will be given by Sasha Walf as well as Michael Foley, and are divided as a six group critique once every week. A the end of the eight weeks students will receive two, one on one critiques as well as a group show in Chelsea.

Portfolio review day will take place on Sunday, June 27, 2010, starting at 11:00am - 11:00pm.

The review will consist of four 20-minute reviews with four of the 10 reviewers. Two of them being:

Kris Graves, Director, Kris Graves Projects. Kris received his BFA in photography from SUNY Purchase College. He will be teaching one of the seminar classes in July.

http://www.krisgravesprojects.com/

Jackie Ladner, Assistant Photo Editor, New York Magazine. Jackie is also a SUNY Purchase college graduate.

To apply, please provide the following materials via info@theexhibitionlab.com

1. A written description of your work, no more than 100 words

2. 10 jpegs sent either in a zip file or attached to an e-mail )jpegs should be 72 dpi and 6 inches at the largest dimension. Deadline for submission will be June 12th. Artists will be notified of acceptance by June 14th. Payment is due upon acceptance. There is no cost to apply.

Like It or Not, Artists are Married to Their Dealers by Daniel Grant

"The art market is an odd mix of money and affection"


Like It or Not, Artists are Married to Their Dealers

In The Huffigton Post, Daniel Grant, discusses the different types of relationships between: dealers, artists and collectors. He raises the many issues that occur when, business and friendship are faced with one another.

"Painter Richard Haas has noted the state of one's relationship with a dealer may be measured in the frequency of phone calls and who's calling whom. "The dealer is calling you most of the time when you're in favor," he said. "When you find yourself calling the dealer most of the time, you're not in favor anymore. There are not enough phone calls, not enough visits to your studio; you don't get invited to dinner. You know you're at an end."

"When Jackson Pollock signed his first contract with collector and dealer Peggy Guggenheim in 1943, he was able to quit his job decorating ties to concentrate on painting. That first contract paid him a stipend of $150 per month, with guaranteed sales of $2,700 annually (if there were less than $2,700 in sales, Guggenheim would be paid the difference in paintings). His second contract with her two years later raised the stipend to $300 per month and gave Guggenheim ownership of Pollock's entire artistic output for the year with the exception of one painting that the artist could retain. The terms of those contracts might not satisfy artists nowadays, but it was beneficial to both Pollock and Guggenheim then, reflecting her trust in his talents and allowing him to work unencumbered by financial constraints. This was a true partnership."

"For better or worse, it is the volume of money pouring into the art market that has led to evolving relationships between artists and dealers. For dealers, that sometimes means dropping an artist after one or two unsuccessful shows, because rents are too high and other artists' work is too sought-after to put energy into nurturing one person's career. For artists, that may mean not committing to a long-term relationship with a gallery. Ultimately, these questions lead to one at the heart of a relationship with a dealer, "Is loyalty a hindrance to my career?"


Article by, Daniel Grant.



http://www.huffingtonpost.com/daniel-grant/like-it-or-not-artists-ar_b_605677.html