"Hey Whitney" goes to National Drawing Show

My drawing "Hey Whitney" continues its course, as it will soon make its way to the National Drawing Show at the South Shore Art Center in Cohasset, MA. Academy Art Museum curator, Brian Young, says it appears to extend drawing. But words can't do it the justice that seeing it will. Rachel Rosenfield Lafo, Director of Curatorial Affairs at the Decordova Museum and Sculpture Park, is this year's juror for the show.

A sense of mission underscores all these drawings that I submit to shows. I want to be the best I can be in expressing this flow, this dynamic poetic flow. But it is also a battle there, to keep this dream alive. And so, this pen is likened to a sword, and the quest is little different than Achilles' quest. He flowed with his instrument. He had a mission. He was fearless. My problematic "tendon" is by metaphor, the many distractions that try to tire me, and pull me from my ongoing mission. But that's what we carry a shield for. A shield of Focus, Skill, and Determination.

"Hey Whitney" itself was a drawing done in response to a rejection in the International Show at Summit in 2007. The juror was from the Whitney, from the department of Drawings. That drawing won recently in the Madison National Show in GA, juried by Sylvie Fortin of ART PAPERS. And it will continue shining.

HEY WHITNEY

In response to my rejection in the International Show 2008 (Summit,NJ), a show I really wanted to be in - the juror was from the Whitney and from the department of Drawings, I drew "Hey Whitney." The Best in Show award for the Int'l show was a meeting with the juror at the Whitney, and a Cash Award of $1,000. I entered that drawing in the Madison National Show in Madsion, GA, and it won a $1,000 Best in Show Merit Award, one of three awarded. The juror was Sylvie Fortin, Editor of ART PAPERS. Lesson: Take that artist's angst and channel it.

But the story doesn't end there. I sent a copy of this drawing to the Whitney to see if they wanted to purchase it. It's been months and still no response, which means there is no interest, because if there was they would certainly contact the artist. I sometimes find if a story is too good, too appropriate, or too relevant, it isn't wanted. Perhaps those that make the decisions prefer something they don't understand, which would make a big ego feel that it is important because it is after all, unexplainable by their cerebral cortex, and if it was easy to understand then it would be an insult to the inquiring mind if it wasn't easily grasped in the first place. Perhaps sometimes an artist should not try to explain the art, thereby making it mysterious, and exciting. But then doesn't art history try its dam nest to make our expressions understandable. Isn't that the point of lectures, books, and exhibitions, to a degree?

At any rate, there are a lot of reasons that determine an acquisition, and some may have nothing to do with the sheer freshness or spiritual value of the work. Look at dealers who may sometimes only look at the existing monetary "value" of a work as the informing factor in their acquiring of it. So, back to this fresh vision where an artist is gaining curatorial favor via juried art winnings, yet not one work has sold, and an artist has to struggle, searching car seats for coins, just to afford the most basic of materials, paper. Do collectors not have vision????