Part B

Part B. ’nuff said.

Another in a series of regular announcements about Part B and related shanigans.

We have our first meet scheduled for Saturday the 22nd of January, which will be at Pieces of Eight’s new gallery in the city.  We’ll be meeting at ‘Pieces –  28 Russel Place Melbourne – from 2pm.

Come along!

(now to let you in on a little secret – we’ll be talking about the organisation of our next caper. If you’ve not made it to a meet before but you think you might like to get involved, this is the meet to get to. Oh, all right, one more hint…)

I went to Sydney!

Melissa visits Sydney for two show openings; and fits in time for some professional development

Zoe Brand coaches TurboNerd at Burgerman while Nina Baker muses at the fact that he’s not yet selected the right game…

In Sydney we went to the University of Sydney to see Beauty and Betrayal at the Nicholson Museum. It was an interesting collection of ancient and some more modern works with some really thoughtful and interesting curatorial input on the surrounding panels, taken from the catalogue essays. (I bought the catalogue and learned even more about these finds.)

I also finally met Jasmine Matus, the curator of The Box Project as well as a bunch of other artists at both this show and the Wrapped one at Studio 20/17.

More soon!

part b – june 26

Who wants to see a Karl Fritsch show? Part B does!

We’re back out an about, and visiting Gallery Funaki again. This time we’re going to see Karl Fritsch’s show, Freeling.

It’s at the usual start time of 2pm, and will certainly involve coffee afterward, somewhere nearby.
As always, the more the merrier.

previous part b, and an even earlier edition…

being crafty

Melissa sidesteps the craft-art argument, by using David Byrne as a shield and Marcus Westbury as a diversionary tactic…

David Byrne – yeah, him of Talking Heads fame, amongst other things – has weighed into the craft-art debate in his latest journal post. He has an interesting perspective, relating the debate to music, of course, and photography.

Now to spoil the very end of the post; his suggestion is to go renaissance and apprentice yourself to a master. It’s an interesting idea, especially in light of something I read on Marcus Westbury’s blog recently, Are volunteers in the arts exploited? The connection being that if you were to apprentice yourself to the person you really wanted to learn from, would you expect payment? I have been applying for funding to do just that – learn from a master- and I have not once thought that any fruits of my learning would be of such value as to attract monetary compensation from the teacher. To put it another way, I am seeking an unpaid apprenticeship.

All this is hot on the heels of a email I received yesterday, seeking advice on how to become a jeweller. Going by the questions put to me, to those with little knowledge of ‘art jewellery’, it would seem that an apprenticeship is the gold-standard learning model. (The ‘traditional’ poorly paid apprenticeship, that is – hello to my sister the furniture manufacturer!)

So we have agreement, as those outside art-jewellery think David Byrne is correct. To the apprenticeship! So why are there no artist-jeweller’s offering traditional/paid apprenticeships? Is it because of Marcus’s call to arms, which is essentially; why be exploited, when you can exploit yourself? Or does it come to another arm of his argument – there’s not enough money, not to pay you, anyway.

save galerie ra?

Melissa wonders about the world, and posts about it. In the form of Galerie Ra – the post, not the world.

save galerie ra

Now I saw this on a blog I read last week, and I would have thought there would be more on the web about it, but since I’ve seen nothing, I figured maybe the person who reads this blog (hello you! how’ve you been?) might also have heard something?

The short story is that Galerie Ra in Amsterdam is being forced to move, but cannot find new premises. I’m not going to say that I doubt the original post just because it says ‘Gallery Ra’ and I’ve not heard anything else about it (me, of all people, not in the loop! – please note tongue just about piercing cheek on that one), as the link with the petition document to send to Liesbeth den Besten seems pretty authentic. And the Galerie Ra calendar only has exhibitions scheduled until this month, seemingly nothing is happening after Manon van Kouswijk closes on the 19th.

And on that, having done a bit of research on van Kouswijk for my MFA thesis, I would really love to see her new work. Oh well, maybe next year.