Have you heard of WAYN (Where Are You Now?)? An interesting concept! I hadn’t until I got repeated e-mails from them a few months ago. Apparently, an acquaintance had added me as a "friend" and I needed to confirm that we do, indeeed, know each other. The first notification said I had three messages waiting for me. Then, a matter of hours later, I got another notification stating that I needed to "confirm friendship" and that I had 11 messages waiting for me. (I didn’t respond.) And, just as WAYN stopped e-mailing, another unknown (to me) Canadian/Ontario social networking site began, Two Ones.  Another "acquaintance," apparently, wanted me join him there. Only two notifications this time. (Again, I didn’t respond.) How many on-line social/networking groups can one join, and be active with on an on-going basis—especially if invitees who already know each other (and are seldom in contact) off-line?  More to the point, how much time is it possible to spend on-line?  What’s happened to old-fashioned ways of going out and making "real live friends"—spending actual time with people you’ve known for a while , or would like to meet in person.  As many others have done, for professional reasons, and due to "friends’" urging, I joined Facebook, Myspace, and Linked In.  However, I have only been moderately active with one of them—Facebook.  This is the site that where the majority of people I know (or one might believe I know) seem to be active, for one reason or another… 

Tis the season when artists get solicited to apply to art shows.  And, when you’re juried in (supposedly chosen by noteworthy judges, due to your artwork being of a particular standard) it’s easy to feel chuffed.  In fact, the excitement might help you overlook how much you then have to pay to register (on average, between $1000 and $3000) exclusive of accommodation, transportation, importation tarifs, printing, and other costs.  

Having participated in three international shows, back to back (December 2007 - April 2008), Florence Biennale, Toronto Art Expo, The Artist Project (Chicago), I’ve had ample chance to discover the expectations and disappointments such experiences can generate.  While the organizers make money (mostly from the artists), artists can feel short-changed and become frustrated for a variety of reasons:

1.  Feedback isn’t seen to be responded to, or remedied, when things go wrong, or aren’t as suggested.
2.  Conditions (for setup and takedown) can be as exhausting as they might be chaotic.  There are a lot of logistics, but not every protocol is logical.
3.  Booth location might be unfair (yielding unequal opportunities)—attached to seniority of participants, favoritism, or the luck of the draw.
4.  Advertising and ticket sales (on the show’s part) might be insufficient.
5.  Inconsistencies (who gets away with showing/selling reproductions) or expands beyond their allotted physical space could be overlooked.
6.  Excess charges for sundries, like lighting, electricity, flooring and furniture, usually supplied by third parties (that aren’t as good quality as advertised) can mount up, unnecessarily.
7.  Out-of-towners travel expenses receive little, if no, subsidy.
8.  Shipping (from out-of-town) is problematic, organizers neither subsidizing charges nor helping resolve practical/procedural complications.

Of course, the above is just a partial list.  The photos included below (taken at The Artist Project, 08) reveal additional glitches. All photos were taken during show hours, and this is just a small selection:

1. Busy aisle (but booth 4123A was almost the only booth not in an aisle).  Caution:  Object to being isolated. Neighbors matter!

2. Display and cleaning closet alongside each other. Caution:  What’s next to you is important.

3. Empty café opposite the booth.  Caution:  A café might appear like an attraction, but only if people go to it…

4. Garbage bin infront of display frequently. Caution:  Nice to have amenities close by, but not that close…

5. Endless cleaning stuff passing in front.  Caution:  In an out-of-the-way booth, distractions like these don’t make things any better!

6. Open closet and show guests, side-by-side.  Caution:  Not every booth can be ideally placed, if organizers are maximizing on floor space (and revenue).

7.  Traffic flow to the aisle marked "exit" (misses the booth completely).  Caution:  Organizers might argue that this is not a "problem," but when they bypass the booth, themselves, distributing "feedback forms" it’s a little ironic.

8.  Raised wall joints that make hanging difficult.  Caution:  After-the-fact, you might be told that these could have been attended to.  But, by whom and how at a time when any "special request" makes it seem like you’re a "fuss-pot"?

Typically, show organizers, no matter the stature of their show, appear unconcerned about responding to individual artist feedback post show, or prepared to compensate for problems.  Instead, it seems, their focus is on group solicitations for follow-up shows (expanding revenue options). There are plenty of fresh artists eager to exhibit their work who’d be thrilled to have it accepted (regardless of organizational issues and expense)!

Keep your eyes open—and camera handy—wherever you are, even close to home.  Nature will surprise, delight and astonish if you give her time and consideration.

Some things are easy to pass by. Others make us stop and pay attention:

• Tree stumps by a dried up river bed:  Connecticut, US, November 07

• Frost coated fallen apples:  Liverpool, UK, December 07

Boston and New England are craft-enthusiast-friendly.  Each time I’m there, I want to start working on a new project.  For basics, Windsor Button (open since 1936), close to Boston Common, has every supply you can possibly need.  This includes a vat of buttions at the entrance, from which I display a selection in my 2004 painting, "Memories."

Then, on Newbury Street, the more recent 1154 Lill Studio offers a few short cuts—assisting with the assembly of custom designer bags and accessories.  I checked it out, packed with clients the day before Mother’s Day.  Such a neat concept—for a personal visit, group party, or special gift!  Their prices range from $26 - $185, and there’s something to suit almost everyone’s taste. 1154 Lill came into being in Chicago in 1999 (where its headquarters are), and a local boutique in Lincoln Park.  Additional boutiques are located in Philadelphia and Kansas, and there’s in-home party opportunities as well!  Congratulations to founder Jennifer Velarde!

Earlier this week, I was excited to be part of a quartet that attended Dirty Dancing, at the Royal Alex Theatre in Toronto.  We took advantage of a mid-week special (four tickets for the price of three), making a spontaneous same-day purchase.  Sometimes, the best night’s entertainment happens when you don’t have long-term plans for it, but break routine.

Not only were the sets and costumes superb, but the cast was consistent and well-chosen.  This wasn’t the kind of show that had you wondering when the interval was going to happen. And beyond the actual performance, we were also struck by deeper story-lines, like that of a nuclear family with two adult-children.  

Siblings often have distinct personalities (and outcomes), and the daughters, Frances and Lisa, were excellent examples of this.  Sometimes, one child can be seen to do no wrong, and the other child, no right.  One has "higher goals" and she is misunderstood. The other ’s behavior is less commendable, but she’s more likely to get away with it (though not grow from her mistakes).  Also, parents often seem to forget their own pasts when making suppositions and demonstrating differential treatment.  Not knowing (or attempting to learn) all the facts, and making judgments for the wrong reasons can be problematic, unless non-family members have a chance to intervene.

Though much of the music was familiar, and there was a strong urge to want to go home and get dancing lessons, this staging of Dirty Dancing, it was clear, offered more than the immediately obvious.  Seeing the movie years ago, I’d been more focused on visual and auditory effects.  This time around (perhaps helped by the stellar performances of the leads) it was refreshing to be able to consider deeper messages and meanings. Lively afer-show discussion ensued!

Yet another accolade for Liverpool this month!  The Tate’s Klimt exhibit is a hit.  Last Monday, as an artist walking through, I became tearful in some places, identifying in different ways with practice, process, product, and response.  It was only on entering the gift store that I was disappointed.  A poster of the spectacular painting, "The Three Ages of Life," in my mind, had desecrated the original work.  It was up there for sale with only two stages of life—mother and child.  The old lady (old age) had been removed. 

As I start to make reproductions of my own artwork, I am extremely sensitive to what the artist might have thought about this crop.  A third of his vision had been removed without his consent or knowledge, and the greater meaning behind the piece damaged completely. Speaking to the manager of the gift store, I got an explanation.  It was all about commerce—financial returns.  She stressed how everyone cuts up Klimt, showing me images in a book of how fashion designers had made prints from excerpts of his work. This "nothing unusual" piece of merchandise (the two-thirds print) would sell better (allegedly have more mass market appeal) and bring income to the Tate.  It sounded like the message she was trying to give was that because the money would be coming back to the Tate (was not for "commercial benefit") that it was acceptable. As our conversation continued, the manager went on to tell me that postcards displaying the whole piece had already sold out, and there would be more later, once other images sold to make space again.

The postcard image that had sold out has been inserted at the start of this blog entry.  The two thirds image from the poster was also available at the store on a mini greeting card, and is inserted below.

 
The day after my visit to the Klimt exhibit (last Monday), the friends I’d been with there called to let me know that others were upset by the Klimt crop. The Guardian had just published a letter by a Maureen Everhsed which they’d headed "Age old problem."

With extended trips to Chicago in April and May, I have a growing list of recommendations for visitors. Even without much time to get out and about, because of "show schedules," I’ve been very impressed by what this city has to offer, and the well-known friendliness and kindness of locals.
 
You can’t have a bad meal, as the following easy-dining eateries demonstrated (in no particular order):

• Fulton’s On the River (fish)
• Ben Pau (Asian)
• Tizi Melloul (Mediterranean)
• The Brick House (fun)
• Shaw’s Crab House (fish)
• Lou Malnatis (pizza)
• McCormick & Schmick’s (fish)

And, for take-out, Fox and Obel (gourmet foods), close to Navy Pier, is hard to beat.

Spectacular architecture is everywhere. Don’t miss the legendary architectural boat tour that has the best views. You might even notice a city kayaker alongside.

Then, for a spot of exercise, check out the incredible East Bank Club (Oprah’s gym). A friend kindly invited me to a yoga class there.  The studio it was held in overlooked the river as the sun went down, making the experience all the more pleasurable.

And, for animal-lovers, missing pets or thinking of adoption, a visit to The Anti-Cruelty Society (157 Grand Avenue) is encouraging.  It occupies a whole city block and has a "transparency policy," domestic animals in-care viewable through all windows. 

Alternatively, a quick walk through Lincoln Park Zoo, in easy-reach of downtown, offers a more exotic break.

Nature and entertainment aren’t forgotten outside of parks, either—even on ("Magnificent") Michigan Ave.  Check out the Saturday afternoon street-performers. And then there’s all those shops…

But, if you are in town for "business," like I was, there’s other priorities, and staying at the Holiday Inn Merchandise Mart Plaza helped—consistently a comfortable, caring, and convenient environment.

Though I haven’t tried it yet, a Segway Tour is on my list of "must-dos" for next time.  I’d also like an evening out on Rush, which seems like a lot of fun…

With all Chicago’s summer festivals, as well as museums, galleries, parks, and lakefront, I really look forward to more visits to this super-friendly city, that’s clearly a shining example to others in so many ways.

Many tourists seem to be impressed with Toronto’s cleanliness. However, unfortunately, its warmth, joie de vivre, welcome, and energy aren’t quite as remarkable.  Locals point out obstacles too, like in Peter Kultenbrouwer’s May 10, 08 National Post article about Yonge-Dundas Square, "A public square that isn’t public."

The National Confectioners’ All Candy Expo is the most fun trade show I’ve attended. Since I enjoy painting candy, it was a great way to view (and sample) new still-life possibilities. Therapy and writing conferences might be stimulating, but they can’t compete. Held in Chicago at McCormick Place, May 20 - 23, 08, ACE also gave me a chance to spend more time in the US’s friendliest city. (A blog entry, "Chicago, My Kind of Town," coming next!)

All types of goodies were represented at ACE, and my favorite exhibitors (in no specific order) included:

Jelly Belly (beans)

Necco (hearts)

Pure Fun (candies)

Mama Mellace’s Naturals (nuts)

Black Opal Licorice

Melville Candy (lollipops)

Choclatique (organic hand-painted chocolate)

MarebluNaturals (crunch cubes)

Little i (mints)

Jelly Belly’s 110th Anniversary Party, hosted by Herm Rowland (Chairman of the Board), topped the list of most unusual entertainments and show hightlight. David Garibaldi, whose father happens to work for the company, put on an outstanding performance.

Garibaldi paints, dances, delights and amazes with his stunning portraiture. He’s also fun to talk to! At the end of the evening, guests went home with a Waterford Crystal commemorative Jelly Bean (that I’ll treasure)!

Despite ACE’s festive atmosphere, more serious political divides still weighed on some attendees’ minds…

At the end of December (07), I was on a another transatlantic flight.  I’d just visited a family member who was sick and ended up sitting next to someone who was returning from her mother’s funeral. Personal experience with funeral trips, as well as long-distance illness concerns, compelled me to pull out my notebook and record these poetic reflections.

Planes

Planes are for vacations
celebrations

Planes are for all kinds of reasons
Of life, reveal the many seasons.

Recently, an e-mail arrived inviting me to decorate a terra cotta plant holder to be auctioned off at a charity event, Eat Play Love, put on by Toronto’s Children’s Peace Theatre, this Saturday, May 10, 08.  Though I had no previous knowledge of the charity and wouldn’t be able to attend the event, I thought it was a fun idea and interesting cause.  This past Monday evening, the pot was delivered.  By Wednesday afternoon, I’d glamorized it with faux jewels and iridescent paints. Almost overnight, a non-descript container started to turn into a "Magic Pot."  Artists are often called on to give in whatever ways they can.  Whenever and however possible, most of us try our best—whether time and resources permit, or not.  The finished pot is inserted above.  How it looked before treatment is inserted below.

I have had the privilege of being an artist donor for Boston’s Art Connection for several years, already.  This is a marvelous one-of-a-kind artist- and community-friendly organization.  It would be wonderful if other major cities could follow its model, bringing artists and the wider community together, year-round, in mutually satisfying and innovative ways. 

I am thrilled to announce that Nicholas G. Vahlkamp is now my art dealer in Chicago and the Midwest.  He is co-principal of the Kamp Galleries:  Chicago, at the Drake Hotel, 140 East Walton Place (off Michigan Ave/The Magnificent Mile);  Winnetka, at 563 Lincoln Ave.

Please check out the galleries’ current shows:
• At the Drake, Chicago:  "Rediscovering Modern" (May 1 - May 31, 2008)
• In Winnetka:  "Chicago Artists We Love"  (April 1, 2008 - June 30, 2008)

A quick Google search to find other artists’ impressions of Toronto Art Expo (08) led me to the Artists Toronto blog.  After agreeing with some of the commentaries posted there about the event, I thought I’d look into membership.  Sharon Barr welcomed my "application."  What happened next was curious.  10 days later, she sent me a friendly-solicitation for ideas to help grow their site.  Suggestions wanted included the donation of e-mail lists and industry connections as well as initiative to devise a group show.  26 days later, I received an anonymous  "jury" rejection from a personal e-mail address that had the name "Jones" in it. A quick Facebook search enabled me to deduce that It was Stan Jones who’d provided the "glad tidings." It simply stated:  "It is the consensus of our committee that the images you have submitted for approval do not meet the subjective objectives of our committee."  I wasn’t sure what that actually meant, or what they could really be looking for.  All I was aware of were inconsistencies.  Note the time line for communications.  Application, solicitation, rejection.  Also note that they don’t have a 2-week application response turn-around, as posted.  One would expect elitism/run-arounds in the wider art world, but not from a parochial group that touts itself, in correspondence, as a "viable grassroots undertaking." By the way, you’ll find the Artists Toronto blog piece about Toronto Art Expo under the header "The Big Spring Art Shows."  The date given for it, right now, is March 8, 2009.  Of course, we know it must be 2008—and will likely be corrected, eventually.

p.s. Since posting this blog entry, I have received clarification from Mr. Jones about the AT "committee."  Apparently, it has five members (including him).  He states, "’Subjective objectives’ reflect the consensus of our jury in what we feel is a degree of artistic merit that we’re collectively comfortable with.  But it is only our opinion."  Unfortunately, still no explanation of the application, solicitation, rejection procedure.  Only a remark about  familiarity with "entrepreneurial drive."  If they do really intend their site to be "the main connection between Toronto artists and the art loving community" (as announced on their home page), they’ve demonstrated an interesting modus operandi with a target audience.
Perhaps it’s personal artist-artist-friendly experiences in the US, Europe, and beyond that make me all the more sensitive to Toronto artists’ (unnecessary) obstacles.

Children enjoy my artwork, at The Artist’s Project, too—strollers being rolled up to low hanging pieces, like Majesty and Flirt, the Giraffes.

Men really seemed to like my painting, Passion.  One man was happy to pose  for photos.  He just happened to be wearing a shirt that color-coordinated.  Pink-obsessed little girls were also drawn to this piece.

My booth at The Artist Project ended up being a retrospective of the last 18 months’ work.  

After two days of unpacking and hanging, it was time to relax and take a phone call. To take a closer look at individual pieces, please check out DocSusan’s Artist Galleries. 

Outside the Merchandise Mart main entrance, a wire face sculpture has just been errected.  US flags wave in the background on a warm spring day, with Chicago River architecture as backdrop.

 
Tonight is opening/preview night and my Artist Project booth is finally set up, after two days’ preparation. To take a closer look at individual pieces, please check out DocSusan’s Artist Galleries. 

p.s.  The face sculpture is called SHO, and was created by Spanish/international artist, Jaume Plensa who is represented by the Richard Gray Gallery.  In Chicago, he is known for his design of the Crown Fountain in Millenium Park.

As you’ll see from the photos (above and below), Poopals, Lev and Sage, approve my new Animal Magic Collection.  And, they have their favorites!  To see more, please check out the Animal Magic/Artist Project Gallery.

…and mine is Lev. Please check out the silouhette in the bottom left hand corner of the image below.

I, also, have the responsiblity to watch over Lev, and Poodle pal, Sage.  This morning’s Today Show discussed the alarming rise in dognapping, giving lists of recommendations on how to protect our canine companions.  The information provided is worth checking out.  Its in the form of an article called, Pets as Prey:  Alarming rise in dognapping:  Smart advice on how you can protect your canine companions from theft. 

Even after studying beginner Italian for three semesters at the Toronto’s Italian Cultural Institute, and buying a bunch of self-help books and tapes, I wasn’t confident enough to speak the language once in Florence (for the Biennale). However, this didn’t detract from my enjoyment of being there, and sensing what was said and written—taking in the ambiance, mood, and energy. In Italy, la dolce vita (the good life) is energizing, especially when a stark Canadian winter sets in.  At a quick glance, here is some of what seems to matter:  art(s), food, hairdressers, individuality, laughter, playfulness, style, uniqueness

Food tastes different—fruit and vegetables smell like they’re supposed to (haven’t been forced or altered), and time is taken over meals. Friends gather in large groups and share what’s on the table—at home and in restaurants.  There’s a lot there, but servings are adequate, not excessive.  People learn how to dine, course by course, and interact while eating, from an early age.  They also are seen out walking on a daily basis.

There may be chaos surrounding organized events and activities, but everything gets done, just in time, and happens how it’s supposed to.  Along the way, it might be realized that biggest isn’t necessarily be best.  More intimate gatherings and personal/neighborly relationships prevail.  Instead of being home alone, many are out doing their daily grocery shop, or frequenting destinations in easy reach, by foot.  The streets bustle with locals engaged in habitual activities that have existed for generations:  going to mass, errecting and taking down market stands, or standing up for an aperitif and antipasto at a corner bar. Even well-known bursts of rain don’t stop everyday life, or visitors.

A few local tried and proven recommendations in Firenze include:  Carlo Bay: haircare; Cellai: hotel accomodation; Grom: gelato;  Madova: gloves; Muniaciello: pizza, cocktails, music, Rivoire: lunch, pastries, home-made chocolate; Zaza: fun, central trattoria; Zechhi: art supplies.

The organizers of Artropolis have kindly given their Artist Project participants a link to share with friends and clients. By clicking on this, you will be able to download free passes for all five shows making up the Artropolis weekend. If you do attend the Artist Project, please stop by my booth (8-4123A) and say "hi." Look forward to seeing you there! The DocSusan Artist Project Gallery will have further updates and images closer to the time!

Painting for The Artist Project, I have animalkind on my mind.  And, whatever is on one’s mind can pop up, by coincidence, in other places.  The leapyear edition of the Tonight Show (February 29) was a wild-animal enthusiast’s delight.  An avid cat-lover, Jay showed fearlessness romping and head-butting with a lion cub, massaging hyenas, and cuddling with baby leopoard-kind.  After backing off from a a mongoose, he wasn’t phased to see his stage "marked" by a feline guest who was just doing what animals do. Even human guest human, Patricia Arquette, was coaxed to talk about her fondness for dickdicks—interesting to her because they mate for life and always poop in the same spot.  In just moments, Dave Salmoni’s animal parade, Patricia Arquette’s explanations, and Jay Leno’s playful jests had transported me back to the African bush. I felt truly privileged to have been able to see all animal types in their natural settings—and to be painting some of them now.  Jay Leno proved his versatilitiy and power yet again.  No wonder the media is abuzz as to what he’s going to be doing next, and at what price.  The Tonight Show (and painting into the wee hours) won’t be the same without him!

There are more international art fairs and artists than ever. While visitors may only witness final happenings, what goes on behind the scenes for artist participants can present a totally different picture (no pun intended). In Italy (at the Biennale), logistical idiosyncracies went with the territory.  In Toronto, for an established local event, like Art Expo, perhaps my expectations were too high.  When event dates were moved up, just before Christmas (with tardy website adjustments, and a clash with a competing art show), other surprises weren’t yet in the air. (Please see an earlier blog entry, "Change of Date, Change of Fate:  Toronto Art Expo 08 Snowed Under," March 16, 08)

Reminders were included in Art Expo e-communications assuring that "no other" show goes to Art Expo’s lengths to make things easy for those exhibiting.  However, return e-mails, phone calls, and receipts, were difficult to obtain. Also, pre-show move-in wasn’t happy. Arriving for a mandatory end-of-the-day slot, it was disappointing to discover that recommended (rented) booth equipment wasn’t in place, making eventual set-up uncertain and tense. (I am very grateful to those who took non-job related initiatives, well into the night, to help postion my display prior to the next morning.)

Art Expo artists incur heavy costs for the privilege of participation, no matter show actualities. Here’s my own tally:
Sums Paid to Rime Canada:  $1957
• Amount for the smallest booth (5 x 15 feet):  $1695
• Amount for participating in the Toronto Life Advertisement option:  $265
Sums Paid to "Recommended Decorators":  $859.34
Booth’s basic fixtures (not included in booth registration fee, and outsourced):
• Showtech:  rental of 2 high ceiling mounted floodlights (secured at a greater distance from the booth than anticipated):  $540.14
• Stronco Show Services:  rental of a 5 by 15 foot strip of (poorly cut) grey carpet, no underlay:  $166.95
• Canfence:  rental of a custom-made (yet rusty and broken) fencing enclosure on which to hang the artwork:  $152.25
Sums Paid to the Toronto Convention Center:  $55
• Parking Pass:  $55
(Internet connection not taken because it was $895 +5% gst for wired access, and $395 for wireless access)

Different art shows, I now realize, can be lighter on the wallet, and suggest less possibilities for set-up stress/additional costs. Take, for instance, the Artist Project (Toronto), which happened the same weekend as Art Expo.  Here are their booth rates: 5 X 10 $600 + $300 = $900; 5 X 15 $900 + $400 = $1250; 5 X 20 $1200 + $400 = $1600; 10 X 10 $800 + $400 = $1200; 10 X 15 $1200 + $600 = $1800; 10 X 20 $1600 + $800 = $2400. A note from the Artist Project’s user-friendly Website clarifies inclusions: "We have negotiated a great price for the gallery style hard-wall system. The cost for this rental is included in the price of your booth. This system will facilitate a smooth and easy move-in; all you need to do is hang your artwork  and provide your electrical and lighting. As well, these walls will ensure a high-end, professional looking show…"

Right now, I’m looking forward to exhibiting at The Artist Project, Chicago, April 24 - 29, 08.  So far, the greatest administrivia difficulties and financial expenses connected with this show pertain to cross-border protocols and logistics.  Shipping to an out-of-the-country event, and determining far-from-home transportation, accomodation, and on-site necessities presents fresh challenges and adventures…

If this blog becomes a little less active over the next few weeks, please understand.  Now, back up to the painting studio!

For Toronto Art Expo’s opening night, I wore one of my home-made crochet creations. Many times, we make hand crafted clothes and then feel too afraid to wear them.  But, for special occasions like an art exhibit, I thought it might be fun to do so.  This crocheted outfit had many commenting that I looked like my paintings!

For more Susan-of-a-kind crochet creations please check out the crochet gallery linked to a previous blog entry, (Crochet for Stress Reduction, Fashion, and Fun, December 25, 2006).

This Sunday morning (today) was crisp but spring-like. Woken by birds singing and seeing the snow melt, I couldn’t help but think back to last Sunday morning—having to dig myself out of the house.  Last Saturday night, I abandoned my car at the Metro Toronto Convention Centre parking lot because we were in the midst of a snow storm—weather conditions that didn’t bode well for Toronto Art Expo attendance.  Originally, Toronto Art Expo was supposed to be held this weekend (March 13 - 16) and these dates could have worked out better had they been kept.  

When Mr. Peter Maguire (President of Rime Canada/Organizer of Toronto Art Expo) confirmed the date switch (off-line, just before Christmas, and on-line, well into January) from March 13 - 16 to March 6 - 9, 08, I was uneasy.  Apparently, there were two main reasons for the date-change:  to catch March break big-spenders before they left on vacation, and to upstage Toronto’s Artist Project’s first-year, which Maguire didn’t want to have poach his audience a week in advance.  

Sometimes, calculations and manipulations just don’t work.  Mother Nature is more powerful than humankind.  What is meant to be will be, rash or reasonable decisions and changes having little influence over outcome.

Irony:  A week after the event, receipts still haven’t been issued by Toronto Art Expo for expenses already paid (despite pre-show requests).  However, on the Saturday of the actual event weekend, reapplication packages were hand-delivered to each participant’s booth for next year (2009). Then, on the Sunday two paper warnings appeared.  The first note stated that 5 pm would be the cut-off time for resign-up.  Those who didn’t do so by then would be subject to re-jurying and possible price increase.  They’d also lose seniority over booth allocation.  The second note extended the deadline till 6 pm because of "traffic on the floor."

As I sat quietly in my booth (few attendees in evidence) musing about how Toronto Art Expo 08 (at least from what I’d witnessed) seemed doomed from the start, any notion of feeling pressure/anxiety to sign up (and pay up) for a repeat performance seemed a little silly.

I am exhibitng my spring fine art collection "From Doodlemania to Organic Art" at Toronto Art Expo, March 6 -9, 2008 (Toronto’s Metro Convention Center). After the event, I will offer behind-the-scenes tidbits pertaining to this "happening" and its organization on this blog.  What artist participants experience and what the general public notices, will likely be interesting (and different)… Participating at the Florence Biennale had predictable bumps (some of which are already recorded on this blog).  Showing artwork in a foreign country with different ways and standards is always an adventure!  In Toronto, however, and due to the heavy costs of participating at an event that’s not in its infancy, my expectations have been higher…  Let’s see what happens!

My booth is 401 u/l.  It’s on the upper level, in the far back left-hand corner, at the bottom of aisle A and adjacent to the toilets.  Please stop by and say "Hello!"  Hang out for a while!  Look for sping colors and feelings. I hope to create a "cozy, welcoming corner":  a little sanctuary tucked away in an overwhelming, large, noisy hall.  

Painting through a  "long, cold, lonely winter," this "Litttle Darlin’" has been crying out for spring—imagining it in a myriad of shapes and colors. (Please click the link just given and listen to the You Tube song that you’ll find there!)

The paintings on display, I hope, will lift the spirits, and hearts, of Art Expo visitors.  Oh, and, by the way, most of them are for sale!  The Art Expo mandate is that only originally work can be displayed and sold there.  Reproductions are available to order, outside of the show…

We research some hotels in advance.  Others, are found by chance.  When the Florence Biennale travel agent billeted me at the Hotel Cellai, I didn’t know what to expect, but ended up being surprised and delighted. This boutique hotel, I think, might enhance any arts enthusiast’s visit to Florence—epitomizes the Florentine spirit and its evolution. 

Originally, a small bed and breakfast, the premise has been in the Carvallo family for three generations—passing from grandmother to daughter to son.  Francesco, the current owner/manger credits his three decades of "international renaissance education" with strongly influencing his hotel’s remodeling and expansion.  The Cellai now has 70 rooms, and is brimming with artwork, ornaments, fine furnishings, and old-world charm. Each room is different from the next and the lounge areas are comfortable and intriguing.  Magazines and books are are in key locations throughout, opened on pages with special quotes, images and articles.  Also, various contemporary artists’ canvases are exhibited on a rotating basis in a living room area.

Although the hotel looks complete the way it is, Carvallo is in the process of adding three more common areas:  a billiard room (with a purple-clothed table).  Geometry is one of this designer’s passions, and the room’s intention will be to give a sense of the "forces of the universe." The second addition will be a "love room"—one that’s not really intended for use, but to be viewed as an installation of sorts, built around a red velvet sofa (from a 1890 - 1905 "pleasure house").  "It cost a fortune," Carvallo admitted, reminding that people will be looking at it, not sitting on it.  There’ll also be special mirrors (from another "pleasure house").  Finally, there’ll be Libertine prints, showing people flirting. The third, and final, new space, will be a wine bar with books and silk curtains.  20th century style will be set off to advantage here, with black and white photos from 1920 - 1970 being an important decoration (from Carvallo’s extensive personal collection).

Interior design, according to Carvallo, is like "a medicine" for him.  His own home celebrates the 1940s - 60s, but has paintings from the 17th, 18th, and 19th centuries as well.  Carvallo especially loves still-lives from the nineteenth century that have dark backgrounds and Italian origins—mostly from Florence and Naples.

Carvallo appears a modest and diligent man, and blushes when telling that his interior designs have been featured in niche magazines. He is also very excited about another space, adjacent to the hotel, that is also nearing completion.  It is to be called the "Spazio Bianco" (White Space).  This is where his designs will have a chance to leap into the contemporary world (beyond the 17th, 18th, 19th, and 20th centuries).  He loves the idea of covering centuries, room by room, as he has done so far.  The "Spazio Bianco" (White Space), as its name indicates, will be totally white and have a wooden floor, also painted white.  Carvallo is particularly looking forward to creating special effects in there.  The simplicity of the decor, he thinks, will offer unique possibilities, like to change the color of the air.  

The event space/gallery is 150 square meters, and will be the hotel’s cinema, if there’s no special event or exhibition happening.  Carvallo plans to show Italian black and white movies from 1948 - 1968 (from his personal collection).   He’s also looking forward to playing there once a week, with his band, "The Pink Freuds."  Carvallo is the vocalist.  In the band, there’s vocal, piano, guitar, electric guitar, and drum.  Apart from a female lawyer, all the other band members are male—and professionals with significant day jobs:  an architect, economist, town planner, and geologist (responsible for Florence’s public water systems).

Carvallo’s attention to detail shows everywhere, and not least in his agenda for the event space/gallery.  The product line "San Zanobi" (local oils and wines) will be available for tastings.  Then, once a month, vintage dresses will be shown, from a flee market close by.   And, there’ll be a salon-type atmosphere with literary readings and art shows.  Carvallo is "connected," so the offerings are guaranteed to be interesting!  Cecco Mariniello, the number one (and reclusive) Italian childrens’ book illustrator is the Cellai’s postcard designer—and, right now, these postcards are "giveaways"!

Carvallo doesn’t have a secretary, and says he makes all his own decisions and designs.  His days are long and guests catch him fluffing cushions early morning, or with papers all over his desk well into the evening. In the day, he drifts in and out, covered in dust from construction. Carvallo explains how, in Italy, "Everyone wants to change things themselves, and put in their soul…and then there’s Italian mothers who ‘kill’ Italian boys…"  His own mother, at 83,  went paragliding in Florida recently, and his father lived a healthy life until his passing at 90.  Carvallo’s mother still helps out at the Cellai, and he says he’s appreciative of that.  "Traditionally, Italian men talk but don’t do.  Women do…," he stresses.  Carvallo might just be an exception to his own rule!

Carvallo is hoping to open all his new additions this spring.  Then, he’s planning to start selling artifacts that he’s collected, as well as artworks from displays.

At the Florence Biennale, sitting at my exhibit most days, I had a lot of time to reflect on what was happening there.  I either doodled my thoughts in a sketch book or wrote them up as poetry.  Here’s a poetry sample:

JUST ANNOUNCED! DocSusan is thrilled to have been chosen to participate in The Artist Project at Artropolis, Chicago’s citywide celebration of arts, antiques and culture, April 25-28, 2008 (preview opening, April 24).

The Artist Project is Artropolis’ key event showcasing independent artists. An annual exhibition and sale in its second year, it features original work from a juried selection of 300 established and emerging artists. Included artsists cannot be affiliated with galleries. This gives visitors a rare opportunity to discover and obtain interesting and affordable art directly from its creators.

Other Artropolis happenings include: Art Chicago, The Merchandise Mart International Antiques Fair, NEXT, and The Intuit Show of Folk and Outsider Art. They are all held at the The Merchandise Mart.  And, at the same time, throughout the city, an abundance of other activies are scheduled to take place at major museums, small galleries, world-class concert halls, cutting-edge clubs, lakefront parks, private parties, and more.

Please take a moment to be in touch with a friend who doesn’t have a Valentine, and let that person know how much they mean to you/you care about them.  A simple phone call or e-mail may be just enough!  If you’re happy—and fortunate to have attention from a "special other"—try to be extra sensitive to whose circumstances are different.  Though Valentine’s Day (February 14), gives many a cause to celebrate (and for commercialism), more folks than seems fair feel uncomfortable as it looms. This poem tells a little more:

VALENTINE’S DAY

Loved?
I’m not sure about that

Happy Valentine’s Day!

Add to Valentine’s Day, Ontario’s first annual Family Day, four days later, February 18, 2008.  Apart from proving an inconvenience for some in the business world, this second "relationship-rejoicing" day may add to singles feeling more out-of-place (a significant percentage of the local population).  According to February’s Village Post, its very name is "puritanical," and just begs for satire!

 

Please vote for my artwork.  Just click on this link: http://www.saatchi-gallery.co.uk/showdown/index.php?showpic=118145. It’ll only take moments to click the star on the far right! THANK YOU!! Voting is February 11 to 18.