Frieze is pleased to present a careful selection of over 180 of the world’s leading contemporary art galleries. A strong contingent of US galleries is particularly in evidence, with 55 participating galleries from the fair’s host city. Galleries from the following 32 countries will show at Frieze New York 2013: Argentina, Australia, Austria, Belgium, Brazil, Canada, China, Colombia, Denmark, France, Germany, Greece, India, Ireland, Israel, Italy, Japan, Korea, Lebanon, New Zealand, Norway, Poland, Romania, Russia, South Africa, Spain, Switzerland, The Netherlands, Turkey, UAE, UK and USA.

Emerging galleries will be participating in the Focus and Frame sections of the fair. Focus is for galleries less than ten years old debuting works previously unseen in an art-fair context. Focus galleries will show curated projects or solo stands conceived for Frieze New York. Frame is a section dedicated to galleries established less than six years ago and, this year, is supported by Joe Fresh. The Frame galleries selection is made on the basis of a proposed solo presentation and has been advised by curators Rodrigo
Moura and Tim Saltarelli.

Frieze Projects New York. The program includes seven specially commissioned projects. The participating artists have been invited to conceive site-specific works that either react to the exceptional location of Randall’s Island or engage with the experience of the fair. The Frieze Projects program is realized annually at Frieze New York and is curated by Cecilia Alemani.

The five artists participating in the Frieze Projects program this year are:

Liz Glynn, Maria Loboda, Mateo Tannatt, Andra Ursuta and Marianne Vitale.

The program will also feature a special tribute to legendary artist-run restaurant FOOD, originally conceived by Gordon Matta-Clark and Carol Goodden in 1971. With a menu that changes daily, the artists chefs at FOOD 1971/2013 are: Matthew Day Jackson, Carol Goodden, Tina Girouard and rieze New York Press Release, Page 2 of 8 April 29, 2013, Frieze New York 2013: Highlights
Jonathan Horowitz. The Frieze Projects program also features a literary project, Frieze Story, this year with an original text by novelist Ben Marcus.

Interviews with all the commissioned artists, plus a special homage to FOOD as a continuing source of inspiration, appear in the Frieze New York Catalogue, which is available to purchase at the fair, and via frieze.com, and is priced: $39.95 / £24.95.

A daily program of presentations, panel discussions and conversations that takes place at Frieze New York, Frieze Talks features leading artists, writers and cultural commentators. Frieze Talks is programmed by editors of Frieze Dan Fox (Co-Editor) and Sam Thorne (Associate Editor).

This year’s participants include: Douglas Crimp, Lydia Davis, Joan Jonas and John Maus.

Frieze Sounds
For its second edition Frieze Sounds will feature three commissioned audio works by artists: Charles Atlas and the New Humans, Trisha Baga and Haroon Mirza. Frieze Sounds is programmed and curated by Cecilia Alemani and presented with BMW. The sound works will be premiered in the BMW 7 Series cars that operate the VIP shuttle services from Randall’s Island. Additionally, the works will be accessible at friezenewyork.com, available to download from May 10, 2013, and at a listening station within the fair.

The Sculpture Park at Frieze New York offers a rare opportunity to see a significant group of international work that is addressed on a public scale. The Sculpture Park is located along the waterfront of Randall’s Island overlooking the East River. New work made for the 2013 Sculpture Park includes Paul McCarthy ’s Balloon Dog (2013), an 80-foot-high inflatable work, as well as pieces from: Fiona Connor, Style Guide Spa (2013); Saint Clair Cemin, Fotini (2013); Martha Friedman, Amygdalas (2013); and Nick Van Woert, Primitive (2013). Also on show will be works by artists: Tom Burr, Tom Friedman, Andreas Lolis, Charles Long, Jason Meadows, Pae White and Franz West. The Sculpture Park at Frieze New York is selected by curator Tom Eccles.

Education
A new addition to the fair this year, the Frieze New York Education

ArtBeats Supported by Artmeme and Art House Productions

Artmeme and my amazing friends at Art House Productions are proud AND excited to introduce ArtBeats, art jamming in Jersey City every Friday evening! ArtBeats curator, Sam Won, is the mastermind behind this fabulous art group aiming to inspire and bring people together in the community in the form of visual art, music and drinks!

Please join ArtBeat and Artmeme on JC Fridays for a special night of painting with an instructor while listening to beautiful live music and sipping a beverage of your choice (it IS BYOB BTW). RSVP a seat here as space is limited. Otherwise, please join us for artworks on view by local artists with option to buy! 

ArtBeats Location supported by Artmeme and Art House Productions

Thank you community!

Stay empowered and be well.

The web has changed how graphic designers do their jobs. In addition to creating great looking designs that communicate, designers of today must also consider some web-specific functionality elements such as multimedia or a web page’s scroll bar. While some of these design elements don’t cross over from web to print, several important ones do. Designers of today will want to incorporate these cross-over elements in their design if they work with clients that plan advertising campaigns that include both print and web elements. These common elements will provide visual continuity between the two types of design, helping these designers’ clients maintain their company’s branding strategies.

Fonts

Even with cascading style sheets (CSS), some web browsers just don’t like certain fonts, and a designer’s work can be for naught or at least not as effective if he chooses a more uncommon font. Some good common fonts that work well for both new and old school designs are tried and true fonts such as Times or Times New Roman, Arial, or Helvetica. These fonts look good in print and on the web and will cause the web designer fewer design troubles down the road.

Narrow the Color Focus

Although the problem with web-safe colors isn’t what it used to be, it’s still a good idea to narrow down the range of colors that a designer uses in print design. One very simple and effective way to combat this is to design much of the pieces in black and white and then add spot colors. It’ll provide visual contrast, which makes the designs easier to read and help with the color situation. The other method is to design with the CMYK setting on in the design program. It’ll more accurately reflect how the colors will look when printed out.

Chunk Information

The internet has changed how people consume written information. While a business owner may want a long text to tell everything about her business, a better strategy is to have the designer work with the copywriter so that the written information comes in smaller chunks. The print designer will want to keep paragraphs short and use subheads on printed materials such as brochures or newsletters to adhere to this principle.

Conclusion

Some design principles hold true for both the web and for print. However, for the designer who is working on crossover campaigns requiring both types of media, it’s best to design printed pieces such as catalogue printing, so that they will look good both on paper and on the computer screen.

Art of Business Success Workshop Session III w/ Alex Tryon Artsicle, Founder/CEO and Matt Ross, One River School Art & Design, Founder/CEO

Time flies, doesn’t it? I think it was George Harrison who said, “It’s being here now that’s important. There’s no past and there’s no future. Time is a very misleading thing. All there is ever, is the now. We can gain experience from the past, but we can’t relive it; and we can hope for the future, but we don’t know if there is one.”

As the third session of the four week workshop, Art of Business Success, came to an end, an overwhelming feeling of satisfaction, cheerfulness and gratefulness washed over my body. I am so thankful to have a resilient and compassionate community full of amazing partnerships, friends, and of course, artists. Without any of you, Artmeme could not survive.

I am truly very indebted to everyone! Especially to those venturing out every single Wednesday from various parts of NY and NJ  to dedicate their time and resources to the greater good of helping visual artists attain the business resources and information to build a stronger foundation for themselves as a working artist.

I look forward to launching another workshop series soon – keep a look out. It might be different and different, as well all know, is GOOD.

Stay empowered and be well.

"Copyrighted Stamp" by Stuart Miles

Any professional artist creating artwork knows the single most important thing you can do for yourself is to copyright and protect images. However, this single most important “thing” may not always be a crystal clear process so below are tips when preparing artwork for copyright registration and protecting images as much as possible within the United States. For those outside the United States, please refer to your local government office.

What is Copyright?

Copyright is a way to protect “original works of authorship” including, “pictorial, graphic, and sculptural works.” Therefore, any copyright owner with original artwork has the exclusive right to make copies, prepare derivative works, sell or distribute copies and display the work publicly. If you’re interested in using artwork in any kind of manner and are not the original owner, you must get permission from the original owner who has derived rights through the creator.

The Copyright Law is defined as “publication” such as: distribution of copies to the public or by means of a sale or other kind of transfer of ownership such as rental, lease, or lending. A work of art that stands as a sole copy, such as a painting or a sculpted statue, is not regarded as published when the single copy is sold or offered in a sales transaction via art dealer, gallery or auction house like Stotheby’s.

When Did Copyright Begin?

Years ago, like back on March 1, 1989, copyright registration was mandatory for all published works, and any first published works before March 1st. After March 1st, artists had the option to register their pieces. As soon as a piece of artwork is created, the work is automatically protected by copyright but keep in mind neither registration in the Copyright Office nor publication is required for copyright protection. However, that shouldn’t stop you from registering artwork with the Copyright Registration Office because there are several advantages to registration. For example, you’ll receive a registration confirmation indicating a public record of said pieces. For more information, consult with the Copyright Office found here.

What’s Protected?

As stated above, copyright absolutely protects original pieces that are “pictorial, graphic, and sculptural works,” which include two and three dimensional works of fine, graphic, and applied art. Examples are below but not limited to:

• Advertisements
• Bumper stickers
• Cartoons
• Enamel works
• Greeting cards
• Mosaics
• Photographs
• Posters

Unfortunately, copyright does not include such things like ideas, concepts, discoveries, words or short phrases such as names, titles and slogans. Copyright also doesn’t protect mechanical work of technique.

How To Register

To apply for copyright protection, there’s a three page application form that includes a non-refundable filing fee, and a nonreturnable deposit. You have two options to file for registration via online or printing out documents and mailing the information directly. The fastest and most preferred way to register is online as it saves money, time and might save a few days from the filing process. If you’re filing a basic form, the fee is about $35 and it includes online status tracking seen here.

The date the Copyright Office receives your application and finalized paperwork is considered the official registration date regardless of how long the process takes. Should you have an infringement situation, the office must have acted upon your application before filing any kind of unfortunate situation. In other words, the infringement must have occurred after registering artworks. If the artwork was infringed upon prior to registering, you might still have coverage if the effective date of registration is no later than three months after the publication of said artwork.

Registration Forms

The forms to focus on include: Form VA and Form CON as well as payment. Applying online provides you an email notification when the application is received. If mailing forms directly, you will not receive a confirmation notification but will receive a certificate of registration once finalized. Keep in mind that you can submit a group of artwork as a single registration (I did this for my former employer). Make sure to use the appropriate forms when filing a group registration as it requires different information vs. single registration.

Lindsay is a professional writer providing information to visual artists regarding legal and law tips and suggestions. She also enjoys collecting artwork and traveling extensively.

Artist: Roberta Murray | Spring Melt – 8×10" – Oil on panel

I came across Roberta Murray’s work on Instagram and had to reach out to her after I noticed she was working on a 30 day challenge. Roberta was kind enough to share her experience with myself and the community. I hope you enjoy and get inspired.

Roberta Murray – At the beginning of January I saw a post by a fellow artist about a painting challenge. California painter, Leslie Saeta was starting a challenge to paint 30 paintings in 30 days here. I had started the year with one of my goals to paint more and improve my abilities, so this seemed like the perfect motivator to get me going. Besides it would give me something to focus on through the long cold January days. I started off enthusiastic with some partially finished works that had been set aside before Christmas. But enthusiasm quickly turned to panic when I realized I couldn’t actually paint what I’d been doing in a day.

I had been working on a series of Native American inspired expressionist paintings. Most were larger acrylic on canvas paintings. Vision Quest series plus I had several days coming up where I was going to be away all day, meaning I’d have to get two paintings done the day before. I was struggling to even get one done, so I had no idea how I’d get two painted in a day!

I thought I’d switch to watercolours, but I was forcing myself and they weren’t really working out well. So out of desperation and the need to clean my palette I started swiping paint onto a smaller canvas which had a photograph printed on it that had become damaged. I had one of those aha moments as a landscape started to develop. In about 2 hours I had a completed painting that I really liked (Day 5 – Sailing on Sylvan). So the next day I did another one, and another, and another….. I started to figure out how to manipulate the palette knife to get the paint where I wanted it, and add smaller details. All of the sudden my enthusiasm was back, and I even manage to do two or three paintings on a couple of days.

On day #14 I switched from acrylics to oils. Without the drying time of acrylics, oils presented a new challenge for me to lay paint down without muddying the colours. On day #15 I painted Spring Melt (my challenge paintings are always painted the day before – so painting #16 was actually painted on day 15).

I’m a weather geek, so I tend to paint a lot of prairie landscapes with big skies. Last year I spent a bit of time focusing just on painting skies; and it’s one of my goals again this year, so that’s what I was doing with Spring Melt – trying to get the perfect sky. The foreground, like the prairies themselves, is more abstract lines and colours. I don’t want to bog the viewer down with details. I want to create impressions with colour, movement, and energy, and let the viewer react to that however they see fit.

Image Above: Sprint Melt is oil on canvas panel – 8×10″. It’s available from my online gallery: Daily Paintworks Gallery.

This piece is called "Nicola Harwood's Future" by Natalie Hughes

Did you know that this day is especially special because of the following that all began back in the 1900′s:

1908
Great unrest and critical debate was occurring amongst women. Women’s oppression and inequality was spurring women to become more vocal and active in campaigning for change. Then in 1908, 15,000 women marched through New York City demanding shorter hours, better pay and voting rights.

“Annually on 8 March, thousands of events are held throughout the world to inspire women and celebrate achievements. A global web of rich and diverse local activity connects women from all around the world ranging from political rallies, business conferences, government activities and networking events through to local women’s craft markets, theatric performances, fashion parades and more.

Many global corporations have also started to more actively support IWD by running their own internal events and through supporting external ones. For example, on 8 March search engine and media giant Google some years even changes its logo on its global search pages. Year on year IWD is certainly increasing in status. The United States even designates the whole month of March as ‘Women’s History Month’. So make a difference, think globally and act locally !! Make everyday International Women’s Day. Do your bit to ensure that the future for girls is bright, equal, safe and rewarding.”

Fountain Art Fair was founded in 2006 by David Kesting, Lincoln Capla, and John Leo as an attempt to leverage support for smaller independent galleries, collectives and artists who wished to gain access to a larger audience of collectors and critics. From its roots deep within the independent Williamsburg, Brooklyn art scene, Fountain has grown to represent over 60 international avant garde galleries and projects, showcasing progressive primary-market works in New York, Miami, Chicago and Los Angeles.

Fountain Art Fair has received critical acclaim for its uniquely alternative art fair model and genuine dedication to the artists and galleries who share in its vision and ideology. Celebrated as the first of a new influential generation of alternative fairs, Fountain is reinterpreting the concept of the art fair experience and paving a new path for the future of contemporary art.

When Marcel Duchamp arrived in New York for the first time to exhibit his work at the original 1913 Armory Show at the 69th Regiment Armory, he left a lasting legacy that challenged people’s preconceived notions of what art can be. One hundred years later, Fountain Art Fair is challenging people’s preconceived notions of what an art fair can be. Based primarily in Miami and New York City, Fountain bridges the gap between art and contemporaries delivered to America all those years ago.

Like Duchamp, and his famous ready made Fountain, Fountain Art Fair is the foundation upon which a whole generation of working artists and galleries are able to engage the global art market on their own terms. As a family, Fountain comes together to define an accessible alternative vision for the future of contemporary art.

Friday, March 8

12 – 5pm: VIP/Press Preview
5pm – 7pm: Open to the public
7pm – Midnight: Opening Night Reception

Music Lineup:
TBA

Fountain Art Fair
69th Regiment Armory
(25th Street & Lexington Ave.)
New York, NY

Fountain is centrally located in Manhattan and is within walking distance of all New York City fairs and galleries. Street parking is available.

Widely regarded for its influential voice in the emerging art market, SCOPE New York 2013 will feature 55 international galleries alongside 20 Breeder Program galleries, selected by curatorial panel. Hailing from four continents and eighteen countries, SCOPE exhibitors represent the best and brightest contemporary work from emerging and mid-career artists.

SCOPE New York opens to Press and VIP’s on wednesday, March 6 with the First View benefit and will run March 7 – 10, 2013. Alongside our featured galleries, SCOPE New York will also present cutting-edge special programming, collector tours and special events that feature innovative work across multiple creative industries, including fashion,
film, music and performance.

APP IS HERE: We’re delighted to introduce you to SCOPE’s next step  into the future of information sharing and outreach. With over a decade of art fairs and creative initiatives, SCOPE Art Show has built a legacy of bringing emerging, contemporary art to a diverse, international audience. Constantly seeking the cutting edge, SCOPE leads the art world with the introduction of its App for  iPhone and iPad. Powered by COLLECTRIUM, the art world’s digital sharing solution, the SCOPE App now serves as a means of collecting your favorite pieces, identifying the art and exhibitors you have seen, and accessing SCOPE Catalogs from 2010 onwards. stop by the COLLECTRIUM check-in desk to learn more about the SCOPE App.

Location:

SCOPE NEW YORK PAVILION
Skylight at Moynihan Station
New York Main Post Office
312 West 33rd. St.
New York, NY 10001

Deciding on a good logo for your business isn’t usually at the top of your priority list when you’re trying to build a viable enterprise, but it probably should be. A well designed logo can make all the difference when you’re trying to form a first impression at a glance. It needs to attract attention and connect with your audience while remaining professional and concise. Many small business owners don’t consider their logo to be a particularly important part of their business identity anymore; however the reasons for having a logo haven’t changed. Proper logos are specifically designed for fast first impressions by being simple and easy to remember while being noticeable enough to catch the eye. Your good logo isn’t just a sign on the front of your door; it’s a symbol that identifies you like a face and engages more of the observers’ brain (and memory) when seen. When you see an ad you’re much more likely to notice it if it’s got a well-designed image accompanying it.
Even if you’re planning to hire a graphic designer you’ll need to have some idea of what you want to see, and in order to get a good end product it’s up to you to do your homework and give the professional something to work with. Here are a few important bits of advice to help you. 
 Color
When initially designing your logo you should always get a grayscale version of it first. The reason for this is that it’s almost certain that you’ll have to used a non-color version of your logo somewhere on a t-shirt, pen, or wherever else you decide to stick your logo, and you need to be sure that it’s recognizable when it’s not colored. 
Once you’ve approved a grayscale design from your graphic designer you’ll need to decide on the colors in your logo. Don’t just pick your favorite colors and call it a day. Go and read this article about color matching and pick something that actually works visually. Choosing colors at random will produce a generally unsettling effect on the viewer and could actually cost you business. 
 Simplicity 
Keep your design simple. This is, of course, a relative statement, but my general rule of thumb is that if you’re not someone who knows exactly what you’re doing (i.e. a graphic designer) you can do a quick test to see if your idea is simple enough. Grab a sharpie (NOT a fine tipped one) and draw your logo in a 1 inch square on a piece of paper. If it comes out recognizable you’re probably ok, but if you end up with a black mess it’s time to simplify. Think about the logos of major corporations like IBM, Apple, or Microsoft. 
 Scalability 
The most important reason for simplicity in design, besides making sure that your design is simple enough to take in at a glance, is scalability. You never know exactly where you’ll need to print it. The one in front of your business is likely to be quite large in order to be highly visible, but you also need to think about the small stuff. What about tiny logo printed on your promotional pens, t-shirts, or ads in the paper or on the internet? Make sure your logo looks as good shrunk down as it does full-size. 
 Formatting/Digitization 
In order to make your logo nice and versatile you’ll need to make sure that it’s in the proper file format. Never create a logo as a raster file, and don’t let a graphic designer sell you a raster file (that’s any file that saves images in pixel form like .jpg .png, or .bmp). The problem with this is that you can’t make a raster file bigger; it will only become more pixelated. Instead get everything in vector format (like .eps or .svg) which saves your image as a series of vector equations, meaning they can be scaled to any size you like without losing any detail.