There are countless reasons why I chose the content we work with, I always worried about what we constantly hear or read “the lack of progress for women in the art world” (questionable?) , I think today’s art world (or art market?) woman are very powerful (The 50 Most Powerful Women in the New York Art World) to some minority number yes I know :
- Only 8 percent of the work that the Museum of Modern Art exhibits is by women.
- Only about 23 percent of solo gallery shows at top New York sites feature pieces by female artists.
- Women are consistently only 15% of the names on Artforum‘s, Art + Auction‘s, and ArtReview‘s annual “power lists.” source: http://feministing.com/2011/05/18/the-lack-of-progress-for-women-in-the-art-world/
IRREVERSIBLE stories are about woman (sometimes man) to demystify the art world, make introductions and give artists the tools that guarantee a path to success.
Success is available, and can be accomplished by all….
to read the full story please visit http://www.irreversiblemagazine.com
GOLDMINER began in May of 2009. It was conceived by, and is photographed and written by, Sarah Trigg, who is a painter and photographer based in New York. She is an invited artist of the United States Artists project and was recently awarded an artist residency at LegalArt in Miami where she conducted studio visits for GOLDMINER. She is currently working toward a book of the US artists in the project to be published in the fall of 2012.
During each summer of her childhood, Sarah Trigg would visit her grandparents in Detroit, Michigan. At their cottage across the Canadian border, she would pore through her Grandfather’s amateur photography that he had bound into dozens of books, and would read the commentary he had written beside the images. Her grandparents shared the place with another family, which she had never met, and on every visit she would find objects they had left behind—a joke book, a record, a vase, a souvenir of someone else’s life. Now a highly regarded painter based in New York, Trigg has taken this annual ritual to a new realm by photographing and writing about the curiosities of visual artists for her archive: The Goldminer Project.
Inspired by Carol Bove and Gordon Terry’s Walk-in vault, a whole new dimension in the project has opened up to accommodate the examples specific to artist’s actual workspaces-peculiarities that if the artist were to leave, would remain. Also included in this category are the unusual living conditions that some artists endure for inexpensive rent, and how they see opportunities (where others may not) to carve out workspaces in unexpected places.
Unassuming and highly methodical, Trigg has exhibited her paintings widely in New York and across the U.S., including at the Neuberger Museum of Art (Purchase, NY), the Bronx Museum of the Arts (NY) and the Weatherspoon Art Museum (Greensboro, North Carolina). In the spring of 2009, she started writing down ideas—seemingly disconnected at the time— which soon coalesced into a much larger idea: to document the habits, objects of inspiration, and environments of artists from an anthropological perspective.
She wondered what future anthropologists would think of artists’ studios if our society were frozen in time by a catastrophic event. As they investigated the remains, they might ask why these dwellings were so aberrant from those nearby. “I wasn’t looking to develop some big project at all,” says Trigg. At the time, however, she felt the idea was so important historically that she felt she had no choice but to pursue it. “There are lots of books about artists’ studios but this didn’t exist.”
Documenting the project, meant slowing her painting practice temporarily, but her past experience in art directing, photo editing, and web design allowed for Goldminer to come together in a short amount of time. Trigg has visited over 150 studios in the US, Germany, and Buenos Aires. “A lot of the work by artists in the project is not necessarily easy to understand immediately,” she says. “You have to give it time and open up to it.” To present her documentation, she categorizes each of the artist’s examples into one of the following six categories: mascots; objects that inspire the artists; rituals and belief systems; tools they have customized; residue from their work processes; and habitat which includes examples specifically tied to their actual workspaces.
“Irreversible – an International art project – is a pioneering exhibition platform for all projects that transcend the classical art show including small format, large scale installations, theatrical events, mixed media, video projections, massive sculptures, music, live performances, unlimited kids programs and THE MAGAZINE.”
“I am constantly on the lookout for what is meaningful of my era. Art is a language possibly more important than words as it directly assails the emotions and feelings. Irreversible – an International art project – is a collective adventure, we want to reach everyone, adults and children and we want to make sure we all remember that most adults have difficulty dreaming… and I have this childish desire to bring our dreams back”