Advocacy efforts in March, April, and May resulted in the Ohio House of Representatives including an additional $3 million for the arts in their version of the state budget.
The budget is now in the hands of the Ohio Senate for their consideration and recommendations. With news of improved revenues coming into the state of Ohio and remembering the drastic 47% cut to the arts in the current biennium, we find ourselves at a pivotal juncture.
Please make personal contact with your senator to voice your support of the arts and the benefits the community derives from the work of arts organizations. SPACES sent letters to House Representatives and Senators who sit on the budget and finance committees. Now it's your turn!
There is something to be said for experiencing artworks in person. Digital approximations of art are fine to convey a sense of a piece, but does little to impart a visceral reaction. Google's Art Project (http://www.googleartproject.com/) let's you know about museums and their collections, but you don't actually get to know them. It is the same difference between reading a short bio on me, and meeting me in person and speaking with me.
Shamefully, it has been a while since I've sat down and experienced live music. The Tristan Perich concert that we hosted this past Saturday provided me with the excuse to relax a little and listen to sounds made live, especially sounds unadorned by flashy visuals or distractions.
The first piece played, Observations was performed on two sets of crotales along with a three-channel 1-bit accompaniment. Crotales are very dense small metal discs akin to cymbals, but with a brighter sound and a longer resonance. One of the most popular uses of crotales is at the opening of Rush's YYZ. Once the piece started, I noticed how the high-pitched chiming of both the crotales and the 1-bit music rang in my ears providing not just an aural experience, but a much more physical one. I could hear the music, and I could feel it. No headphones or consumer-grade speakers would be able to duplicate that effect. As each subsequent piece was played, I was reminded about the beautiful, sensory experience that a live concert affords.
The same goes for visual art. You can see an archive of our shows on our website, and you can see images in our mailers, but there is nothing to replace seeing the art in person, speaking to SPACES' staff about it, and when allowed, touching the work.
Our next exhibitions open on May 13th. Come see the art in person. Get immersed in Rainbow Lightning's "cave," watch live silkworms being raised (you may even have the chance to take one home to raise yourself), walk around the work, smell it, talk about it and let the live art affect you.
As this is my first blog entry, I should introduce myself. My name is Brenton Pahl and I have been a Volunteer at SPACES since August 2010. I graduated from Cleveland State with a Bachelor's in Art History in the Fall of 2009. This coming Fall I will be attending grad school for Art History. After being an Intern at the Cleveland Museum of Art for a year before this, this is by far my favorite gig yet. Since there is such a small staff, everything I do has a sense of necessity and there is a great feeling of belonging and camaraderie amongst us. What I enjoy the most is all of the hands-on work that I get to do.
There is a lot of work that needs to be done during shows and even more so in between them. I have had the opportunity to do the lighting for the past few shows, helped Machine Project artist Nate Page find the couches for his couchbleachers as well as build the platform for them, and also assisted in hanging South African SWAP artist Nandipha Mntambo's paintings that were up from Nov. 2010 – Jan. 2011. I don't know of another place that is as accessible as SPACES-where I get the chance to work with world artists and other experimental artists and still lend a very helping hand.
OK, so this isn't exactly a how-to guide, nor will it solve your employment woes. I know many artists who have full-time or part-time gigs working as designers, consultants, or free-lance creatives. The worst part of this is that many of them never really received business training, so they are feeling their way around in the dark, and stumbling occasionally.
Creative Mornings (http://www.creativemornings.com/) "is a monthly breakfast lecture series of creative types." These 20 minute talks are often geared directly toward designers, but there are some broader applications as well. They cover aesthetics, industry trends, nuts and bolts, and the business side of things. If you'll pardon the cursing and anatomy jokes in the presentation below, there are some helpful tips for any of you contract laborers out there.
Keywords: design Author: Christopher Lynn, Executive Director
It never fails: for every exhibition at SPACES there is an artist who needs stuff—good stuff, new stuff, old stuff, borrowed stuff, tech stuff, free stuff, cheap stuff, expensive stuff, your stuff, our stuff.
So, to make things easy we've listed all the things artists have requested we locate. Can you help? Most likely yes.
How you can help:
If you locate items on the list send us an email at firstname.lastname@example.org, Attn: Stuff List
let us know what you have located, which artist it is for, how many there are, price, where it is, or if the item(s) be dropped off at SPACES.
So let's begin... Rainbow Lightning (SPACELab, Akron, OH):
Here is a list of items they need for their SPACELab installation:
The next Season Pass members-only event is a sneak peek of our upcoming projects, on 1/23, where you can speak with Mahwish Chishty (Kent, OH) and Julia Christensen (Oberlin, OH) as their work unfolds. Then,... More...
SPACES opens 2018 with newly commissioned projects by Julia Christensen (Oberlin, OH) and Mahwish Chishty (Kent, OH)-two regional artists who have shown their work extensively, around the world.
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