Isaac Aden, The Luminous Sublime (for John Frederick Kensett), 2023, oil on canvas, 144 x 324 in., and Saturn Devouring His Son, 2021, oil on canvas 144 x 108 in., Photography by Yao Zu Lu, courtesy of
David Richard Gallery
“Nothing is so painful to the human mind as a great and sudden change.” -Mary Wollstonecraft Shelley, Frankenstein As the seasons change profoundly here in
the northeast, my thoughts turn to the tumult of the last few years. What a banquet of change we have feasted on, sometimes to unpleasant excess. It is easy to wonder if the world will ever be quite the same – whether it even should be. Change is perhaps the only constant in life, the only thing we can be sure of. What is today will not always be. Starting with this knowledge, we can prepare ourselves and strive perhaps to live more fully in each moment, knowing there will never be another quite
like it. Isaac Aden joined us to talk about his show, The Numinous Sublime, part II of which runs through October 7 at David Richard Gallery. Part I closed on September 7. The exhibition comprises paintings without much brushwork, and some are quite monumental in scale. The show’s title comes loosely from the European idea
of the sublime relating to something that instills awe. Aden, who grew up in Alaska, also invokes nature, which can be both a destructive force or something uniquely personal. To learn more, listen to the complete interview. Will Pappenheimer sat down with us to discuss his recent show, 404:error, which ran from June 16 to July 16 at iidrr Gallery. The work was based on computer glitch, speaking to the way in which computer error can sometimes be more interesting than their expected function. Pappenheimer investigated what can be created from these glitches – or errors. To learn more, listen to the complete interview. Read the summary of this week's interviews and
resources. |
Rowan cut her chops in
the art world working in museums in the U.S. and Scotland. She eventually realized she wanted even more connection with the artists she represented and went on to be the Director of Gauntlet Gallery in San Francisco, CA, working closely with the artist community and letting the creativity flow. After Gauntlet, she partnered with interior designers on large-scale hospitality projects as an art consultant at Kevin Barry Art Advisory. Rowan has been taking on special projects with select clients
for the past several years through her own firm, Rowan Coughlin Art Advisory, that she continues to run in addition to working with SLATE's corporate and multi-family housing projects.
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Weekly Grants &
Resources for Artists
Every week you will find updated resources here to apply for grants, find residencies and more. |
Are You Feeling Overwhelmed? Good! Understanding all the opportunities available to you as an artist can be uplifting – and daunting. There is no question that the art world can be difficult to navigate, but sometimes that’s
simply because there are so many kinds of opportunities it’s difficult to know which ones could be a fit for you. To that we say, the only way to learn is to try. Read up on various residencies, grants, open calls, and submit to any – and all – that seem right. Will you get a resounding yes every single time? Absolutely not. That’s just par for the course. Don’t let it throw you off. Simply dust off, reset and start again. Here are a few to get you started. Read
more |
When the time is
right for you to turn your art into your livelihood, where do you turn first? How does one build a successful career in the art world, a place notorious for its roadblocks and exclusive members-only status? The truth is that you absolutely can forge a life as a working artist, you simply need the right tools, just like with anything else. One of those tools is knowing what sort of opportunities are available – and there are a lot of them – here are a few to get you started. |
These are positive and / or negative reviews of galleries, art fairs, consultants, writers, online pay to play offers, residencies and more – all written by artists so that other artists can beware of situations
where institutions treat artists badly, or that end up costing the artist money or are outright scams.
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