S/ART/Q, a new group of contemporary artists had produced its second major show, PROCESS.

By A. Charles Kovacs

S/ART/Q, a new group of contemporary artists, has produced its second major show, Process, now showing at GWIZ. S/ART/Q is a gathering “…of local contemporary artists providing cultural leadership for Sarasota County through exhibitions, fund raisers and community outreach projects” (www.sartq.com), and includes “…painters, sculptors, photographers and new media experts.”

Clearly, there have been other art movements in the area, and a long history of the visual arts through the presence of the Ringling College of Art and Design. In fact, most of the artists in S/ART/Q are graduates or instructors at Ringling College, many with advanced degrees, national fellowship awards, and international reputations; many of the individuals in this group have had exhibitions at galleries in New York and Europe.

However, the show provides more than the title implies, for this group has established a presence in Sarasota that is rare and welcome. The defining thrust of Process, now showing at the G WIZ, provides the viewer insights into the procedure of creative generation in an attempt to “…demystify Art as well as the techniques used to make it…[by providing] The finished artworks… exhibited alongside these process pieces, bringing the experience of the viewer full-circle.” Through on-site demonstrations of the artist at work in interactive and hands-on involvement of the viewer, each S/ART/Q member takes a turn at showing how they do their work, the techniques used, and offering an opportunity for the visitor to try their hand at the process.

More, each artist shares a common commitment to the area and the contemporary art scene that transcends the popular street fairs one encounters seasonally in Sarasota. This is a group of serious and dedicated artists with cutting-edge sensibilities typically only seen in major art centers or in the pages of national art publications. This exhibition strikes with visual cohesiveness and profoundly centered techniques and materials found in European and American artistic traditions.

Conceptually, each artist reflects a critical understanding of technique in an elemental way. For example, Havelock’s drawings rely heavily on the daguerreotype. As starting-point and reference, these historic records are only seminal for his evolved finished pieces. His insistence on the purity of line and form that is both minimal and elemental. We see a similar historic focus through the primary forms and techniques used by all the artists in the show. Their creations, their art, relies on a keen mastery of technique expressed through a very refined conceptual lens. Moreover, the emphasis on purity of technique doubly reinforces the linear framework of drawing as the primary or core foundation for their finished pieces. We see for example in Schwartz’s paintings of the Hob Nob Café the preliminary drawings are rendered with an analytical precision and exact rendering that one might initially assume the hand of a draftsman. Throughout the show there is an insistence of linear structure that is a unique American trait, evidenced through the history of American art from the Hudson River School, the precision of Thomas Eakins and James McNeill Whistler, the Ashcan School of the early 1900s, the abstract movements of the 1960s, through the photo-realism of the late 1900s and early 21st century. In all the S/ART/Q artists and historical movements cited above, the linearity and compositional definition of space and form is profoundly evident as an American characteristic. Finally, all of the works in Process affirm reality as a reference, subject, or inspiration; this is doubly evident from the pieces’ titles.

It seems clear that these artists are influencing and inspiring each other in remarkable ways. It is rare to find a group of practicing artists who, while uniquely expressing their styles, share a common vision of a redefined formal approach that assumes advanced proficiency of their craft.

This shared vision may stem from their common experience of the Ringling College of Art and Design, the emphasis of core or foundation classes for all students, or a trait that all these artists share as teachers in this process. Whatever the sources, their commonality through technique lays at the core of a possible definition of both a school and a movement: a shared vision and understanding of art and a mutuality of visual influence in a cohesively defined way. We have before us such a potential school or movement for contemporary art in Sarasota. Moreover, if Ringling College decides on a graduate program in Fine Arts, they may have a potential of inaugural faculty in this group.

I strongly encourage you to visit this show before it closes and see not only the revealed potential of these individual artists but of an art movement. Note particularly that quite a few of the works have already been sold: a local collector with an eye towards talent has already snapped up some of the best works before the show opened.

A brief overview of Process reflects only a small sense of the visual accomplishments of its artists for indeed, they all deserve a fuller catalog and analysis.

Arnegger

Arnegger brings to the group a unique combination of the painterly with the graphic. His vertical triptych entitled A Hero Says What is a large multi-panel work, possibly the largest in the show, which uniquely captures both commercial and painterly aspects with a linearity that defines and recombines forms with graphic clarity. His bold inclusion of lettering with a hint of the figural presents visual and color harmonics that draws the viewer into the special ambiguity implicit in the forms. His other work, The Anatomy of a Happy Accident, has visual echoes initially to the French Impressionists in the flounced dress of the female reclining figure. This piece again shows his masterful combination of lettering, form, color, and figure as he presents a piece with strongly defined spaces in a tentative floating composition hovering between completed elements. Moreover, both his works show the process of creation through the inclusion of the telltale drips from his loaded brush. That inclusion brings the viewer back to the picture’s surface and so negates and highlights illusionary space.

Evens

Evens’ large piece is at once sculptural, objective, subjective, and engaging. Entitled Real: Break this piece produces in wood, PVC, and other mechanical elements a large three-dimensional construction that is as impressive as it is mechanically useless. The dichotomy between functionality and objective engagement draws the viewer into the complexity and mastery of the process of construction with a yearning desire to understand its functionality. The resulting humor derives from the stark realization that the well done construction is critically built but serves the sole purpose of defining space internally and externally within the piece, and for the viewer, as one circuits seeking a way of comprehending the elusive utility of this massive sculpture. If your thoughts wander to the sketchbooks of Leonardo Da Vince, you are on the historical track to understand this unique sculpture.

Haverlock

Haverlock’s works uniquely combine elements of defined graphics,
daguerreotypes, and print materials with a linear purity that is as rare as it is defined and lyrical. With an effect of reductionist simplicity, his images are childlike in their economy of line, tone, and form yet profoundly serious in their intent. His large She Who Dreams of Popsicle Shops, while echoing the familiar poses a daguerreotype, distills the elements of a purity of linear approach in a refreshing and immediate way: his lines are sure and direct. The same approach is seen in his Portrait of a Man Wearing Helmet and Horse where overlapping horizontal parts of the drawing contain elements both of his linear purity and profound attention to meticulously applied graphic details that are the hallmark of his earlier works. The detailed inclusion in some of his works of words, sayings, and sentences – some within cartoonlike bubbles – are a unique addition to his work.

Jaeger

Jaeger’s signature images incorporate his defined iconographic reference to roosters. His never-ending fascination with this avian species brings to mind Francis Bacon’s reliance on images of popes as a source of artistic inspiration and formal generation. In all of Jaeger’s works, the ever-present reference to this avian species is at once both delightful, comedic, and familiar. His combination of painterly elements with defined iconography such as his CS #4, hark back in many respects to some of the works of the Abstract Expressionists in its vibrant almost ecstatic forms in uniquely combined “action paintings.” The initial formality of the inclusion of recognizable elements – the bird – becomes secondary in the progress of his work: they are carefully balanced, almost compositional color constructions.

Maupin

Maupin’s work hovers in the exhibition like a quiet pool of colored, balanced compositions with total clarity and harmonics that belie both a complex composition in painterly lines. His The Boar (process piece) and the Boar, Totem/Moment Series both exhibit a critical mastery and craftsmen-like combination of elements that intrigues and draws the eye in to the explosive force implicit in the act of creation. There is a delicate and profound subtlety in his work that is intensified by the small size.

Miller

As a video artist, Miller’s work is perhaps the most ephemeral in that it captures documents the other members’ creative processes in their studios electronically. His camerawork, close-ups, and editing effectively reflect aspects of the modes and techniques within the creative process for each of the exhibited artists. Moreover, Miller is responsible for the outstanding website of the group providing critical and necessary Internet presence. Finally, his documentary gives rare glimpses into other works by the artists in the exhibition that are not currently on display.

Otto

Otto’s work while linear has a preponderance of color that both enhances and defines his composition in an almost sculptural manner. His Fence has an impasto technique that is definitional, compositional, and oddly lyrical in its application and formal definition of space, texture, and form. There is a clear historical echo in his work of Van Gogh and that Postimpressionist movement where the process of creation and the fierce application of primary color reflect the artist’s visceral engagement with reality. Otto’s work relies on a sense of reflected reality as we realize through recognition combined with an abstract emphasis of elements in the Fence panel. There we engage transitions from the flatter applied paint at the top towards the weightier sculptural layers of paint in the lower strokes below.

Perales

The unique quality of this artist’s portraiture and large photography has clear historical echoes in Western art. The smaller changing electronic images, large Giclee print entitled The Blue One, as in the other framed photographic variants in the proof sheets, rely heavily upon Dolci’s Madonna. The unique and profoundly sensitive and personal approach of this artist produces both a haunting and attractive melodic combination of the older artist’s forms in new ways using contemporary media.

Purek

Purek’s work uniquely combines sculptural forms with aspects of primary elements in mounted compositions. His Babel Wheel is a refreshingly new combination of both historical references to the Biblical Tower of Babel in mandalas-like spiral compositions that use traditional gold leaf in refreshingly new ways. His work bridges that which is cultural and that which is painterly through an elemental understanding of the nature of both and of how they are combined. More, the inclusion of gold leaf in its light capturing and reflective placement, and the profoundly evocative sensibility this precious metal has, takes his work to a high-level of cognition while redefining historical and visual contexts. Moreover, historical references surpass the limitations in his new combination of elements that also have mathematically enhanced universal implications.

Schwartz

Schwartz combines the familiar with the definitional evolution of remembrance and effect. Using the Hob Nob Café as the primary inspiration, his paintings evoke the local and familiar iconic nature of this landmark combined with painterly elements in unique ways through technical variation of color, linear intensity, and formal and graphic modulations. Much like a Bach fugue, his works play on the visual elements of the recognizable in recombined ways. Moreover, as evidenced in Hob Nob Storm Effect, the process of exhibition — painting — and its effect, the drips from the loaded brush, redefine both the spatial and visual elements.

Skiles

Skiles’ constructions rely upon the familiar, specifically cuckoo clocks, yet he combines the recognizable in profoundly humorous deconstructions. His Unfinished Clock 1 and Unfinished Clock 2 show both a reductionist and constructionist approach of the dimensional elements of the clock. Using all the elements of this well-known timepiece, he analyzes in one of his wall assemblages the manifestations, graphic, and sculptural elements of this popular Germanic item. In that regard, his work critically crosses between
constructional sculpture and defined historical analysis, all with the formality of a scientist yet with the combined effect of a child: His work both amuses and seriously engages perception, cognition, an exposition in a reflective manner. With the delight of discovery, one realizes that none of these clocks works or keeps time.

Small

Smalls’ work has a quality that is at once profoundly subjective and uniquely objective as it combines a delicacy of linear sensitivity of drawing, and an emotional quality that is reminiscent of German expressionism. Her work shows a graphic mastery that engages through her very personal forms of organic elements. One of her larger works, Seated Dandy, uses color to emphasize the form and exposition of her delicate, hair-like lines that have organic implications that only the artist can really fathom. Her smaller pieces, such as Bust #1, shows a degree of preciousness through its diminutive size that is at once vulnerable and enticing. In all her works, including her assemblage of Victorian styled furniture with an improbably positioned light, she exhibits profound sensitivity, a wink of a smile, and personal insights.

Stephens

Stephens’ works are a unique expression of color, paint, form, and patterns that are combined compositional displays reminiscent both of repeat fabric patterns, tribal art, and an echoing of computer-generated forms. His heavy and deliberate impasto applications of oil and acrylic paint have a jewel-like effect that in some of his larger works, such as Coat of Many Colors # 36, progresses from a barely perceptible application at the bottom to the heavy impasto, almost sculptural, build-up dimensionality at the top. One is drawn into his compositional patterns and lingers over the brushstrokes and the deliberate yet seemingly spontaneous application of paint that grows upon layers and yet oddly harmonizes its final effect. His smaller works Coat of Many Colors #24 have a preciousness that draws the viewer and encourages a lingering attention to surface and pattern.

A. Charles Kovacs completed his PhD course work in art history at Harvard.
His paintings are in various private collections in Europe, Canada, and the U.S. He works at Ringling College of Art + Design as the Director of the Center for Career Services and has published several monographs and essays on career and art topics.

Steven Holdaway is the one that developed this ‘product’ which is a very clearly defined text book on Google Adwords, and how internet advertising works and the best practices to follow in order to be a successful online advertiser. This is not a special program that gets you running with your feet off the ground, it teaches you how to be part of the world of internet sales and advertising in a ‘to-the-point’ way of setting up and implimenting your Adword account. It also discusses how to become an affiliate to other companies and make money that way. What is an affiliate program?

“Online affiliate marketing is where someone advertises for another person’s website and in return the advertiser receives commission for each sale their advertising brings to that website. You are considered an affiliate if you’re advertising for a website that you don’t own, and you are getting paid for each sale your advertising produces.”

Source: G Money Pro 2 (11 of 181)

Mr. Holdaway even provides a list of the best Affiliate networks to his knowledge. Here are the most poplular affiliate networks he lists;

1. ClickBank – www.clickbank.com
2. PayDotCom – www.paydotcom.com
3. Commission Junction – www.cj.com

I truly feel that this 181 page document is a good thing for people that see the future of online advertising. I view this as a class on Online advertising that anyone can learn at their own pace.

Domino's Pizza Online

It was a good experience, I was able to pay online and tip when the driver got here. Pretty freakin cool.

The downside to Comcast is their customer service. At all possible cost, avoiding customer service is greatly advantageous. If you have a connection problem, unplug your modem and router and let it be for fifteen minutes and plug it back. It will most likely work. They will most likely make you set up an appointment for someone to come out to your location, charge you for it, and do what I just suggested above. It is this that hinders me from using them again. Their appointment setting is never convenient.

My dependency on Comcast left me searching for something reliable, yet more convenient than the appointment setting, rude and unhelpful customer service I received from Comcast. Enter the all mighty Verizon Network. Honestly, they scare me. They are big, not local and are taking over everything. I would prefer something local but recently I was looking for something reliable and convenient. When signing up (online) with Verizon, they sent me all my equipment in the mail within three days. Customer support (outsourced to who knows where) was very friendly, available and effective. Download rates are much different and not as good as Comcast, but effective. Price is half what I was paying at Comcast.

I am set up with Broadband access. The FiOS network is supposedly amazing yet my neighborhood does not get it, so until they expand I’m using broadband DSL which is working great. All one needs is a phone jack.

* When signing up with Verizon, go to Best Buy and purchase Verizon – Ethernet/Wireless-G Gateway DSL. I do not recommend the dinky Westell modem they provide, it was near impossible to set up the D-Link wireless router I had, and then when I bought a Linksys router to see if that would connect me, I was told by Verizon to call Linksys to get it connected! Too much hassle, once you get your stuff from Verizon in the mail, buy the Gateway from Best Buy and save yourself wasted time, energy and cell phone minutes!

This historical landmark in New York City has been there since 1894 and ships all over the country! That is quite tempting to say the least! It was by far the best cannoli I have ever had!

Venieros Italian Bakery, best Italian Pastries!

Regardless of the seats, Halimah and I were going to see Radiohead. After seeing Wu-Tang January 26, 2008, I had to fulfill my fix and see this amazing band with the possibility of this being my only opportunity. So the back seats to the side were going to do, and we’d appreciate them.

May 06 was a Tuesday and we arrived early. One of the most populated events I’ve been to in Tampa, the crowd was awesome, making the experience much more enjoyable than past events.

The visuals were so cool, these tall, thin tube lights that went with the music revealing live video of the individual band members in juxtaposed angles as they played their music to perfection. Song after song, every note and lyric rang through the amphiteatre as if we were listening to a new cd. No faults or imperfections. It was an amazing show. I will definitely see them again!

p.s. the Ford Amphitheatre has veggie burgers!!!

An exclusive selection of 200 leading art galleries from North America, Latin America, Europe, Africa and Asia will exhibit 20th and 21st century art works by over 1500 artists.

The exhibiting galleries are among the world’s most respected art dealers. They will be showing exceptional works by both renowned established artists and cutting-edge newcomers. Special exhibitions will feature young galleries and video art. The show will be a vital source for discovering new developments in contemporary art and rare museum-calibre art works. Art collectors, artists, dealers, curators, critics and art enthusiasts from around the world will participate in the event. Top-quality exhibitions in the museums of South Florida and special programs for art collectors and curators, will make this art show a special place for encountering art and the art world – the favorite winter meeting place for the international art world.

Art Basel Miami Beach is the most important art show on the American continent and a cultural and social highlight of the Americas.

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Through all the mess that has washed along our news outlets and media sources, it’s hard to decipher what is propaganda and nationalism swaying the American opinion into going with the Administration’s goals. Who do we believe or how are we to make our own opinions if we are not given the whole story? Contrary to our conservative neighbors, the U.S. media isn’t as objective as one would like. “Fair and balanced “, is what they claim but we all know that isn’t the case.  Rather than citing sources, I will leave it up to the reader to do their own research, I am not writing this to argue anything, rather express my own thoughts on the video.

It is fact that the United States is occupying the country of Iraq. It is also fact that we went into that land under false pretenses that were told by our government like a parent lying to their children as to hide the truth. It is fact that the history of our country has done this to other people and territories with hostility and inhumanity for the bettering of our society. War is part of life and we all pay for it.

Samir Khader,  the program editor for Al Jazeera made a good point in the final minutes of “Control Room” stating something of the likes of how humans have a short memory for the victors. Ironic how Americans choose to forget so soon. Maybe because old news doesn’t keep ratings up.

I highly recommend watching this film with the fact that it is bias. It is your own knowledge and wisdom that will direct you into the truth. Why only read or listen to one side of the story when there is always two?

Gabriel García Márquez’s Love in the Time of Cholera plays with the counterbalance of illusion and reality, focusing on the context of love. Hallucinatory subject matter along with lush density makes for a wonderful read. Marquez’s tendency to bring the reader into his worldly experiences while making one wonder if such a wonderful environment actually exists, makes me want to live in Central America and live off the land with gypsies (One Hundred Years of Solitude) and live with macaws.

The story’s love affairs do become resolved, in some cases, but many of his introductions are opened with death. Through all the ‘fantasy’ exploitations, the reality of his characters are hair raisingly close to home. One of my ignorances though, is in the similarities to the naming conventions he gives his subjects. Many of them having the names which were passed down from generations. So everyone seems to be named the one before, making flashbacks difficult. And I did find the ending to be a little too, fairy tale in a negative sense … I thought of old people ‘doing it’ which kinda grosses me out to be honest. So, until the very end, this has become one of my favorite books which I will consistently recommend.