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ibilbideak-blog · 6 years ago

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The balkanization of the novel

French author Mathias Énard

Through the fractured mind of a narrator in crisis, a new novel traces 2,000 tangled years of Mediterranean history and politics.

First, let us dispense with formal concerns. Zone is a 517-page novel that, with one notable exception, is written as one mammoth run-on sentence. It encompasses three continents, scores of wars, entire historical epochs, kings, fascists, freedom fighters, Guantanamo torturers and a number of literary greats. Representing the absorbing and frequently unhinged consciousness of one Francis Servain Mirkovic, it soon reveals that our narrator is on an overnight train from Florence to deliver a briefcase full of dirty secrets to the Vatican.

In the opening chapter Francis declares that he is headed “to the end of the world”. This seems an appropriately apocalyptic start for a book that seeks to sum up thousands of years of conflict across cultural, national, and religious lines. For the past decade Francis has worked as a spy for the French government, murdering, bribing, digging up evidence on some and destroying others throughout the Mediterranean basin – the titular Zone. But now he has decided to escape from this life that is slowly but surely driving him to the brink. In order to do this, he plans to end his life as Francis and assume the legal identity of a man locked away for the rest of his days in a mental ward – a former colleague and a casualty of the very work Francis now fears will lead him to his own ruin. This is an apt choice. Francis’s dark work for the Zone’s elites has pushed him to the edge of insanity, but he thinks he can buy his freedom with the Church’s “thirty pieces of silver” – the money he expects in exchange for his briefcase full of secrets. Already Francis is debating his future, be it a quick suicide with a gun, a slow one with alcohol, or a torpid counting of days in some unobtrusive corner of the world. All are equally likely.

Mathias Énard’s attempt to tell Francis’s life story in this particular way is certainly noteworthy, but Zone is not a groundbreaking book. One-sentence novels are not nearly so rare as they might seem: the Congolese writer Alain Mabanckou’s mediocre Broken Glass, published in English by Soft Skull, pulls the same trick. So do the Czech author Bohumil Hrabal’s Dancing Lessons for the Advanced in Age and dozens of others.

Moreover, Zone‘s language is far from experimental. Whereas, in Eden Eden Eden, the French novelist Pierre Guyotat used the one-sentence format to shape words in a manner that Michel Foucault claimed “no one has ever spoken [before],” Énard’s vocabulary tends toward the quotidian. Clean and clear, his thousands of narrative shards are easily consumed, marshalled by a phalanx of commas. Once a reader becomes accustomed to the flow of Francis’s thoughts, Énard’s prose becomes sharp and smooth as a knife’s edge. This headlong stream-of-consciousness style quickly picks up steam, obscuring the fact that Francis makes for rather an anaemic protagonist and making the extreme fragmentation of the story easier to bear.

Although Énard’s petit modernism should not be taken for experimentalism, Zone is nonetheless impressive. Its great success is in the author’s ability to use the novel’s structure to portray Francis’s scattered mind and to map out an extraordinarily broad historical terrain. He has taken Francis’s entire adult life, plus the 2,000-year history of the Mediterranean Zone and pulverised it into linguistic smithereens. These have then been painstakingly arranged it into something resembling Francis’s frenetic mind. Shot through with vivid characters, taut stories, bizarre flights of free association, and pages of historical erudition, Francis’s journey becomes a looping, digressive, spasmodic text – one that lashes together geographies and epochs.

This history of the Mediterranean à la Francis assaults contemporary visions of Europe as a community of fixed nation-states, turning the countries of the Mediterranean basin into plots of land that have for centuries been criss-crossed by various ethnicities, religions, cultures, languages, and political systems. The familiar demarcations of the world as told by western scholars give way to a new entity – the Zone as seen through Francis’s shadow-history. Zone’s lack of periods becomes a true asset. Confronted with a bewildering new geography, the reader is all but forced to crash along with Francis through the boundaries of character, time, geography, logic, and culture, just as Francis’s thoughts crash through syntactical barriers that would typically be forced by hard punctuation. One does not so much read this book as become absorbed in it. The cacophony of images is vast and and chaotic, yet this is a kind of bewilderment that engages, instilling a desire for repeat readings in order to gain a clearer view.

Zone’s expansive sweep makes it a tour de force of historical information, girded by the seduction of fascism (echoes of which seem to crop up like a plague wherever Francis travels), the long Mediterranean history of tension between the East and West, and fascination with the Other. Énard’s knowledge ranges from the major to the minute, the latter including the slipper collection of King Alfonso XIII of Spain (the last monarch before Franco), the Nazi Rudolf Hess, who absconded to Britain under mysterious circumstances just before Hitler opened the Eastern Front, and a young Cervantes who is conscripted onto a warship and almost dies before he writes Don Quixote. Reflecting Francis’s literary pretentions, the book is studded with writers who have passed through the Zone. William Burroughs, Malcolm Lowry, and Ezra Pound all steal scenes. There are also cameos by Jean Genet, Curzio Malaparte, Apollinaire, Maurice Bardéche (the infamous French collaborationist), Céline, Robert Walser, and Ibn Khafaja (the 11th-century Arabic poet who lived under Moorish rule in what would become Andalusia), to name a few.

But Zone is not all dislocation and discord. There are some fantastic stretches that, taken out of context, would make impressive short stories. Early on Énard spins us a tale from Francis’s time as a Balkan soldier in the 1990s, where he is initiated in the ways of war. It is a wonderful five-page anecdote of a foray into no man’s land made by Francis and his comrade Andrija as they hunt a pig that refuses to die:

“He went over to the animal took out his bayonet the sow tried to bite him and began squealing when the knife slashed her fat, I was seized with mad laughter too, despite the bombardment, despite the Chetniks who must have been thinking about preparing an attack I had in front of me a soldier black with wet mud dagger in hand in the process of running after a crazy animal in the roar of explosions, a machine gun began firing on the Serbian side, Andrija took advantage of it to shoot a bullet from his Kalashinikov into the animal 7.62 too small caliber to drop the pig he’d have to hit it in the head it went on squealing even louder as it limped…

The incident of the squealing sow comes through with palpable realness. The chaos that Francis finds in the Balkans is beautifully evoked by the image of two trained killing machines making a hash of slaughtering a pig, risking their lives for a pitiable meal.

As here, Énard continually shows his skill at efficiently building up palpable moments and memorable characters, but there is at least one notable misstep: the novella Francis reads on the train, which marks this book’s one break from one-sentence rule. It tells the story of a group of Palestinian soldiers resisting Israeli forces during 1982’s Siege of Beirut and functions as Énard’s attempt to let the East speak amid the clamour of Francis’s thoughts. This story about a rebel’s attempt to claim the body of her dead lover from Beirut’s war-torn streets is not bad, but Francis’s more authentic, more original thoughts so far outshine it that the East feels pale and diminished – an outcome that is clearly contrary to Énard’s intentions.

Zone’s formal conceit will undoubtedly scare some readers off. It shouldn’t, though. This book is far more immersive than intimidating. Moreover, its meaty historical trajectory means that its appeal reaches far beyond the strictly literary, encompassing both history and politics. Charlotte Mandell’s translation from the original French nimbly traces Francis’s shifts in register as he moves through guilt, pride, resignation, rage, and hope, while still maintaining his personal quirks and cadences. At length, Zone comes to feel like a book that has contained multitudes, one that can support a hundred theories and spark a hundred arguments. It is not quite the work of high art that some have claimed it to be, but it is a startling, stimulating read, a document that should stand out as a memorable part of the long history of its setting.

Scott Esposito

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wineanddinosaur · 4 years ago

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Advanced Cicerone Chris Leguizamon Is Using Beer Education to Make the World a Better Place

It was the two-hour bus ride to and from his previous job at Stone Brewing Co. in Escondido, Calif., that gave Chris Leguizamon time to become one of only two Advanced Cicerones in San Diego. Armed with a collection of beer magazines and books like Randy Mosher’s “Tasting Beer: An Insider’s Guide to the World’s Greatest Drink,” Leguizamon honed his expertise as a craft beer expert, eventually becoming the education program manager at Pure Project, a 1% for the Planet Company and certified carbon and plastic-neutral organization known for ultra-complex and highly sought-after brews. He shares his knowledge with beer drinkers of all levels through an Instagram livestream series under his account @chris.thebeereducator, with a goal of helping San Diego become home to the most Cicerone-certified front-of-house staff anywhere else in the world.

Sharing knowledge comes naturally to Leguizamon. As a former brewery tour guide for six years, as well as a first generation Latino/Hispanic American with a degree in physics and passion for renewable energy, he’s as well versed in discussions about the diversity in beer styles as he is about diversity and social justice. After the #BlackoutTuesday initiative permeated Instagram last June, Leguizamon says he found himself avoiding discussions about beer in order to focus on conversations around equity (and the lack thereof) outside the beer industry.

“I could not fathom educating people about anything that pertains to this fizzy carbonated beverage without addressing real social issues, because that’s what the world is going through,” Leguizamon says. When responding to critics who say breweries should “stick to beer,” he says, “If you just think that life is about beer, you’re missing the point … Beer is made by someone with hands, that’s working, that also has three kids — there’s more to it [than beer].”

With Pure Project’s backing, Leguizamon shifted his educational efforts online. (He calls his employer “the best leadership company I’ve ever seen in my entire life.”) In the following interview, Leguizamon discusses his entry into beer, his upward trajectory, and his desire to empower others to make their own impacts.

Ed. note: This interview has been edited for length and clarity.

1. How, when, and why did you get into beer?

When I was 15, I was visiting my uncle in Bogota, Colombia. I’d never really had beer besides like, family gatherings when you’re like two years old (laughs). He brought in a mixed 6-pack, sits it right down in the living room, and says, ‘Chris, today we’re gonna drink the products of our country.’ He presented one — Club Colombia, which has won a bunch of awards — and told me to look at the color (yellow, fizzy, straw-like), smell it, and then I tasted it. It was nothing like soda, and I remember thinking, ‘Oh, God, this sucks!’

The second beer was Poker, and it had this attractive amber hue to it. The two didn’t look the same at all, so I tried it and it had this recognizable toast that reminded me of breakfast with my mom, and a touch of caramel. Colombians are attracted to caramel because of our obsession with arequipe. We put that on everything, so right away I thought it was way better than the other one.

At that point, I went down a rabbit hole of: Why does beer taste different? There are cultures behind this. There are centuries of science and art. I began wanting to read, wanting to learn, and indirectly change the stigma of what a Latino or a guy that looks like me is in beer. I’m a brown-skinned kid from one of the poorest cities in the nation (Reading, Pa.) and I want people to have a ‘Oh, holy smokes, this kid knows his stuff!’ type of mentality.

2. So when did you formally enter the beer industry?

In 2014, I worked at a brewpub in Pennsylvania called Chatty Monks, and at that point I was the only non-family member that was on staff; it was just a staff of six, including the three owners. I was this bushy, big-eyed 21-year-old, excited to finally be in craft beer and I would sing praises about flavors, pairings, and there came a point where like the guests were looking at me and they’re like, ‘Dude, it’s just beer. Why do you have so much passion behind this?’ It got to a point where I became an outlier in my own industry-slash-town. So I thought, ‘I’m gonna move to the place I like to vacation, which is San Diego,’ and I did in 2014. I remember thinking, ‘Holy shit, these people get it.’ I worked at Mission Brewery as a tour guide until 2015, moved to Stone Brewing until 2016, and then AleSmith Brewing Company until early 2019.

3. You’ve worked at a few big name breweries in San Diego. But you’ve talked about getting burnt out on the industry after a couple of negative encounters. What kept you in beer?

In 2019, I wanted to leave the beer industry, defeated. I was like, ‘Maybe I could get into bourbon, maybe get into coffee’ … but Kira Bouchard [currently the regional manager at Pure Project], who is my saving grace, was having coffee with me and asked what ‘beer adventures’ I was having. When I told her I was considering leaving the industry altogether, she encouraged me to apply to Pure Project, despite there being no open positions at the time.

Things fell into place: Someone left, I applied. I went through the whole interview process and the rest is history. I went from not wanting to smell a beer or talk about it to signing up for the Advanced Cicerone exam three months later.

4. What was the [Advanced Cicerone] exam study process like?

I studied for five hours a day. I would wake up at 5:30 a.m., put a Jimmy Dean breakfast sandwich in the microwave, and then coffee. I’d just sit there every single morning and by 6 a.m. the books were open. I sacrificed a lot. I’ve missed out on a lot, but that determination kind of got me back into the rhythm.

5. Why is beer education so important to you?

I’m very team-oriented, and I hate when people talk down to beertenders or try to stump them, mainly because of gender. That ticks me off. A lot of people try to stump [female bartenders] and I can’t stand that, so I want to empower everyone to be able to hold their own.

6. After you achieved Advanced Cicerone, how did you start to share your knowledge?

We at Pure Project all push each other to be better, and the way that it evolved was I was homebrewing this BrewDog beer through their DIY Dog program [an annual compilation of open-source homebrew recipes], and I asked Mike Czech [Pure Project director of distribution], ‘What if we do something like this at Pure Project? We’re releasing two new beers every two weeks. What if you announce the title, the ABV, and three important keywords the beertenders can use?’ But Mike tailored it so well; he cut out the fluff. I’m very raw with my ideas and I need someone to edit, and Mike made it happen.

At the same time, Matt [Robar, Pure’s co-founder] saw potential in me because I was a tour guide for so long. He asked me to jump on an IG Live, since we were about to release Hazelsaurus Rex and a barrel-aged sour. It was one of the rawest IG Lives ever, I’d never had the two beers and Winslow [Sawyer, Pure’s head brewer], who is like a foot taller than me, pours the beers and my face lights up. I’m just geeking out. When we cut, they thought I did a pretty good job, so they asked me to do it again the next week. And it went from there!

7. How did that segment on Pure Project’s Instagram transform into what you’re personally doing, and how did it change during Covid-19?

I started a beer account called Chris the Beer Educator, and the first video you find is literally me in the back of my girlfriend’s backyard, laying out the intention of this whole virtual education thing. It was literally just to highlight everyone who got me to the point where I’m at now — never to focus on me; it’s to highlight other people and what they’re doing.

Then Covid hits and I’m sitting there antsy, wanting to keep teaching people about beer. So this spawned off that IG Live that Pure Project had me do for a couple months. I thought if I can convince people to read one of the most fundamental books, which is ‘Tasting Beer,’ then hopefully people will follow along. It made me want to read that book again, and it kind of grew into its own beast.

Weirdly, people have told me I built a brand. I didn’t mean to — I literally just wanted to empower people that were just at home during quarantine, not knowing what the world is gonna look like, to read ‘Tasting Beer’ and show how amazing San Diego beer professionals are. It’s San Diego craft beer in its rawest form.

8. What’s one episode that stands out to you?

When George [Thornton, owner of Home Brewing Company] and I were talking, things were flowing, and we were talking about Black is Beautiful — that was just the most human side of me, and George. There was a lot of frustration with what’s happening in the world, a lot of ‘How can people not just want to listen?’ George and I had that one moment where we both had pain, we both had frustration, and this was the least we could do being beer professionals, just being human, is telling people, ‘Listen, we know that you feel attacked, but just stop yelling back — just listen, learn, read a book about what’s happening. Try to understand people’s perspective that you don’t understand. They’re not part of the same walk as you. Celebrate that diversity as we like to celebrate diversity in beer styles.’

9. Ultimately, what’s your goal in the beer industry?

The main goal of Chris the Beer Educator is to have everyone pass their Certified Cicerone and to get that Level 2. I’ve always, always, always wanted to have people go from Level 1 to Level 2 and say, Chris was that person when everyone else says ‘Just do it yourself,’ he didn’t mind that I messaged him and said, ‘Hey could you clear up this section for me?’

I asked a lot of people for help during the Advanced Cicerone studying, and I got a good amount of ‘nos.’ Then there’s those people that mentored me, and I want to be that person for San Diego, so that we have the most Certified Cicerones, the most [Advanced] Cicerones, and ideally the most Master Cicerones in the nation. Imagine San Diego not just having the most amount of breweries — that’s nice — but the most educated staff anywhere, where everyone’s really on top of their game. Making it both female and male, Latino, person of color, Black, Asian, whatever it may be to diversify. That’s the dream, honestly.

The article Advanced Cicerone Chris Leguizamon Is Using Beer Education to Make the World a Better Place appeared first on VinePair.

source https://vinepair.com/articles/chris-leguizamon-beer-education/

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johnboothus · 4 years ago

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Advanced Cicerone Chris Leguizamon Is Using Beer Education to Make the World a Better Place

Ed. note: This interview has been edited for length and clarity.

1. How, when, and why did you get into beer?

2. So when did you formally enter the beer industry?

3. You’ve worked at a few big name breweries in San Diego. But you’ve talked about getting burnt out on the industry after a couple of negative encounters. What kept you in beer?

4. What was the [Advanced Cicerone] exam study process like?

5. Why is beer education so important to you?

6. After you achieved Advanced Cicerone, how did you start to share your knowledge?

7. How did that segment on Pure Project’s Instagram transform into what you’re personally doing, and how did it change during Covid-19?

8. What’s one episode that stands out to you?

9. Ultimately, what’s your goal in the beer industry?

The article Advanced Cicerone Chris Leguizamon Is Using Beer Education to Make the World a Better Place appeared first on VinePair.

Via https://vinepair.com/articles/chris-leguizamon-beer-education/

source https://vinology1.weebly.com/blog/advanced-cicerone-chris-leguizamon-is-using-beer-education-to-make-the-world-a-better-place

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aion-rsa · 4 years ago

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None of This Would Be Happening If Frank Zappa Had Been President

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The election is days away. No one knows if there will be an orderly turnover or the disorderly donut hole of malevolent maneuverings. The nation is divided and civil unrest is in the air. This follows a summer which was prophetically and perennially summed up in “Trouble Every Day,” a song from Frank Zappa and the Mothers of Invention’s 1966 debut album Freak Out!

“Wednesday I watched the riot,” Zappa sings on the song he wrote after seeing the Watts Uprising of 1965. “I seen the cops out on the street. Watched ’em throwin’ rocks and stuff, and chokin’ in the heat. … Watched while everybody on his street would take a turn to stomp n’ smash n’ bash n’ crash n’ slash n’ bust n’ burn.”

These and similar scenes were repeated during the global George Floyd protests in 2020, along with charges of accompanying police brutality.

Long before the #BlackLivesMatter movement highlighted white privileged compliance, Zappa sang “I’m not black but there’s a whole lots a times I wish I could say I’m not white.” Even in an era of major victories in the Civil Rights battle, Frank’s voice was progressive, independent, and ahead of the curve.

Zappa consistently ridiculed both sides of the two-party political landscape. He had been approached by the Libertarian Party for a presidential run in 1987, according to a February 1988 interview with Buzz magazine. But after finding much of their platform “either wrong or stupid,” he told them “Well, I’m not your bot. Thanks a lot. Goodbye.” The trailer for director Alex Winter’s upcoming documentary ZAPPA teases a sadly lost opportunity. Frank Zappa tossed his name into a hat for the presidential race in 1991, and told The San Diego Tribune he was considering H. Ross Perot as his vice-presidential pick.

To use the language of the trailer, Zappa’s campaign might have been as “loud, coarse, and strange” as his career, but it would never be “sleazy.” Zappa encouraged voter registration on every album cover since 1971, when the law allowing 18-year-olds to vote was passed. He set up voter registration tables at his 1988 live shows, ultimately registering about 11,000 people. He also shot voter registration ad spots which ran on MTV.

In 1989, Zappa was named Czechoslovakia’s “Special Ambassador to the West on Trade, Culture and Tourism.” Personally chosen by Czech Republic President Vaclav Havel, Zappa took the appointment seriously, and was making inroads in the media as a businessman, rather than a rock star.

“My main qualifications are that I don’t play golf, I don’t take vacations and I do think the U.S. constitution is one hell of a document and that this country would work better if people adhered to it more closely,” we hear Zappa say in archival footage of the film ZAPPA, which comes out Nov. 27.

Zappa told Melody Maker in 1974 “Most of my songs are not political, they are sociological.” But in the years leading up to his proposed run, Zappa strongly voiced his belief that fundamentalist Christians had too much political power, televangelism bought too much influence, and church and state came together to maintain control over a mindless population. Zappa was 50 when it came out that he was exploring the feasibility of an independent, non-partisan bid for the presidency. The incumbent George H.W. Bush had more balloons but unsolicited campaign contributions began trickling into Zappa’s Barking Pumpkin offices after word got out.

“The idea is that this is a zero-balloon campaign,” Zappa told Bob Guccione Jr. in a July 1991 interview with Spin magazine “You want balloons then blow your own balloons. And the goal is to run the cheapest campaign in political history. I can sit at home and do talk shows all over the country on radio and answer questions directly to people who might want to vote. And it would cost what? Nothing. I don’t believe that you really have to spend $50 million or apply for matching funds from the federal government and then be forced to abide by all those rules in order to do it. Because if you’re a nonpartisan candidate then what the fuck?”

Zappa would go on to mention former Harvard University professor and constitutional law expert Alan Dershowitz as his pick for attorney general. The platform centered on “getting the government out of people’s faces.” He proposed eliminating federal income tax because it was established as “an emergency tax and was supposed to have an end to it.” He said the job was better done by raising sales taxes on non-essentials. “If you gotta pay a tax, pay a tax when you buy something, not because you worked,” he reasoned.

Zappa told Spin he would “exempt necessary foodstuffs, because that’s where the poor get hurt. And I don’t think that many Colombian drug dealers are buying that many cartons of milk and eggs and stuff. And so you’re not really going to cripple the nation’s economy by exempting that sort of thing.” Zappa also planned to redefine the military so it was used for “protecting the country, not bad foreign policy.”

Zappa said he would put his music career on hiatus during the campaign. The guitarist-composer said he was “a reluctant candidate” who was “volunteering” to run, and not just to make a statement. “If I did run I would do a real run,” Zappa told Spin. “The problems about doing it are that in order to do a credible run you have to be on the ballot in every state. That’s about a million dollars in legal fees and organization and bullshit just to get on the ballot. That’s before you even buy an ad.”

Based on the interview, local news stations prematurely identified him as a presidential candidate, but TV stations conducted their own polls and found a Zappa run would have been feasible. Zappa cited a C-Span TV symposium moderated by Leslie Stahl as the inspiration for his presidential aspirations. Zappa got a resume from a GOP policy writer looking for a paid position, though Zappa said it would be better to hear that people resigned from the party they belong to because neither of the two major parties “delivered the goods in tangible ways.”

The self-taught rock and orchestral composer even spoke with Raymond Strother about a run until the veteran Democratic consultant started working as a publicist for future vice president and presidential candidate Albert Gore. Zappa had already come up against another Gore, Al’s wife Tipper, when he testified against the Parents Music Resource Center in 1985 in Washington, D.C. The Washington wives’ group was intent on censoring rock music, ultimately leading to the warning labels on albums which we still see today.

Zappa mimicked Treasury Secretary James Baker’s wife Susan’s Southern accent at the hearings. As Secretary of State under President Reagan, ZAPPA tells how the vindictive Baker had a low-level U.S. State Department representative tell the Czech Republic they can get American aid or do business with Frank Zappa.

While Zappa never officially contacted Perot, he might have given the late Texas billionaire the idea to run as an independent candidate in 1992. Perot pulled in 19 percent of the popular vote. Republicans blamed him for putting Bill Clinton in the White House. He ran again in 1996.

But Zappa’s decades old message resonates more frighteningly now. “Let me point out something about democracy,” he told Spin. “Does anybody remember how Hitler took over Germany? He was voted in. People said, yeah, he’s got the right message for us. Now when you have a democracy, there’s always the possibility that the guy who could turn out to be the biggest menace to the planet could just get voted in. And the place where it’s most likely to happen is here, because of the media saturation, the illiteracy rate of the population, the social desperation of the population. Hitler came to power because things weren’t so good.”

Zappa, who was diagnosed with prostate cancer in 1990 and died in late 1993 at the age of 52, ultimately decided none of the mitigating factors were “enough to convince me to go through the bullshit of a campaign,” and never got on the ballot. His family did release Frank Zappa for President in July 2016. While it would have been the first time the country was ruled by a posthumous leader, it was a good idea then, and a good idea now.

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Magnolia Pictures’ ZAPPA release date is Nov. 27.

The post None of This Would Be Happening If Frank Zappa Had Been President appeared first on Den of Geek.

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creativinn · 5 years ago

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How to Promote an Art Exhibition on Your Website

Solo exhibitions, as well as 2- or 3-person shows, deserve your full attention.

If you have an important exhibition coming up, give it the (virtual) space it deserves. Create a page on your website for your show.

You probably already have a page for all of your exhibitions, but I’m talking about a single page that features only your special show.

©Donna Iona Drozda, Coppice #1. Mixed media on paper, 9 x 12 inches. Used with permission.

This will be the premier place you send people for details about the exhibition, which will be easy for people to read because it only has one focus. It doesn't include anything else.

Why would you share this info only on Facebook or in an email when you can create a storefront for your art? You’re paying for the virtual real estate already. Might as well use it!

Everything will be in one spot rather than scattered around online or in someone’s inbox.

The URL (website address) should be one that’s easy to share and to remember rather than a string of slashes and numbers. This isn’t always as easy if you have a template site, but make it happen if possible.

Here’s what your exhibition page should include, and I suggest listing everything in this order.

Title of Exhibition

All of your exhibitions should have titles to distinguish them from one another. If they are solo shows, your name should be in the title.

Dates

When are the first and last days people can see the work?

Too often, we advertise only the opening, but some of your fans might not be able to attend on that date. Be clear about the exhibition duration.

©Kathryn Bowman, Daisy Patch Bracelet. Czech glass beads and handmade sterling silver toggle, 8.5 x 1.25, x .75 inches. Used with permission.

Location Name

At this point on the page, you only need to put the name of the venue. Below, as you’ll see, you will give more details.

Short Blurb about the Exhibition

Include a couple of sentences that describe what people will see when they attend. If, for any reason, your name isn’t fully visible on the page (i.e. if people have to scroll or it isn’t in the title), make sure to include it within the blurb.

Images of Your Art

This is not the time to hold back. Share images of the work that will be on view. You don’t have to show all of it, but show enough to entice people.

Size the images large enough to make an impact. The trend online is to have BIG pictures. Anything too small looks old-fashioned.

TIP: Link to any blog posts or videos that describe the artwork or process.

Include your prices if you’re in control of sales rather than the venue. Plenty of artists are selling their work before it ever goes on public view. Wouldn’t this be nice?

Exhibition Location Details

Repeat the name of the venue, and then add:

Open hours

A link to the venue website

Phone number

Street address, city, and state/province

Don’t leave off the city and state/province! Your website is available to people in all corners of the world. If people land on this page, you don’t want them to have to guess what city you’re in.

Include a photo of the location if it might be helpful for visitors to recognize or (especially) if it’s impressive.

As a courtesy, it’s nice to give any tips for parking.

©Jill Eberle, Slinking Away. Charcoal, watercolor and acrylic on aluminum, 24 x 30 inches. Used with permission.

What’s happening around your exhibition? People want to know they’re invited! Issue a heartfelt invitation around any of the following events.

Opening reception

Demonstrations

Tours or times you’ll be at the space

Note dates and times for each event, remembering to include an ending time as well as the time it begins. You don’t want guests embarrassed by showing up after most people have gone home.

Don’t forget to mention:

Any fees that might pertain

Whether it's by invitation only or open to all (Bring a friend!)

Here you could add another image, perhaps of you giving a talk or demonstration.

©Amy Welborn, Lowcountry in Sherbet. Oil on canvas, 16 x 40 inches. Used with permission.

Visitor Tips

Going to a gallery is part of a night on the town for many people. Can you suggest nearby attractions?

Other galleries? Restaurants? Museums? Include links to those sites.

Contact Me

Always provide a way for people to get in touch and ask you questions, even if it’s a link to the Contact page on your site.

If it’s your show, the invitees are your guests. Be a friendly and accommodating host or hostess.

A photo of you with your art would be a nice touch.

Putting all of this together on one page will make it easier to promote and show off your work. It's well worth the effort for an important show.

This post was originally published on February 4, 2016. It has been updated and republished with original comments intact.

The post How to Promote an Art Exhibition on Your Website appeared first on Art Biz Success.

This content was originally published here.

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apermanentsituation · 7 years ago

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Rules: Always post the rules, answer the questions given to you, then write 10 questions of your own, and tag 10 other people.

Thank you, @helakkas, for tagging me!

1. Autumn or spring?

I like spring better, but autumn is probably closer to my character, although it does make me feel incredibly blue. I like the wind, and the apprehension it brings is inspiring.

2. What is your introductory fic to SPN fandom, or which fic drew you in?

Before destiel, I didn’t even read slash, mind you, and I didn’t have a tumblr at the time, and it’s basically all just @debatchery‘s fault, because I was going through her blog, wondering when is she going to stop blogging about this stupid American TV show and get back to Doctor Who, and then a ficlet or two caught my eye, and...

I think the first SPN fic I remember reading was a ficlet about Dean showing Cas how to ice-skate or something. But the first fic that came to my mind when I read this question was Named, because honestly.

3. How many countries have you visited?

Not so many, to be honest, and much fewer than I’d like to, because I keep visiting different parts of the same countries. Germany, France, Monaco, Spain, Portugal, UK, Italy, Croatia, Turkey, Egypt, Netherlands, Czech Republic, Lithuania, Peru, Bolivia... 15, then?

4. What is your favorite book and/or writer?

No, please, don’t make me do this.

(Recently I love Italo Calvino, though.)

5. What’s the latest movie you’ve seen in theaters?

Dunkirk. To quote someone on Twitter: “I’ve never been this scared for so many twinks at the same time”.

It was very good.

6. Cinematically, what is your favorite SPN episode? Not because of the plot or the lack thereof, but because of the shots and angles?

Wow. Okay. This is one of those questions where I know immediately I’m going to come back to it in a few days and hate my answer, because it’ll turn out that I forgot about something obvious and major.

First of all, I kind of have a tag for that.

Let’s be honest here - SPN is not always all that great or exceptional when it comes to their cinematography, but it has its moments. But that’s the thing - imho, it’s more about moments/scenes than entire episodes in general? This video shows it quite nicely.

(Coincidentally, it’s also my absolute favourite SPN fanvid/the best SPN fanvid I’ve ever seen. If I didn’t watch the show and saw this, I’d pee myself out of sheer awe. I would immediately need to know what is it and where can I watch it.)

That being said, let’s go with a classic - Baby is a masterpiece. It’s fun, it looks incredibly cool, it’s very well done. Generally, I think SPN does surprisingly well with limited spaces - remember The Vessel? Or Jus in Bello? Yeah.

I’m also firmly in the SPN s1-5 darkness club. I don’t care it made all the gifs impossible to colour. I loved this shit. Looked so gritty, so incredibly badass. It sucked you in.

7. What movie/book/TV show world would you like to visit, or even live in?

Basically any of them where magic exists and mysterious things happen. The Edge from The Edge Chronicles. Night Vale. And the Discworld, even if just for a chance of speaking with Granny Weatherwax.

8. What’s the last CD you bought?

Morrison Hotel by the Doors. More recently - the vinyl of Kate Bush’s Never For Ever.

9. What are your favorite tropes in fanfic?

Oh man. oh man

There’s not enough time in the world to dive into all my ff preferences - and for me it’s more about avoiding the few very definitive squicks that I have and giving everything else a chance. God only knows, I’ll read it almost anything as long as it’s well-written.

(There’s this one ABO that I want to loathe on principle, because, duh, it’s ABO, but it’s... so... good...)

In general, I tend to gravitate towards stories about equal partnership. I genuinely love power couples (well, duh). I also have a huge soft spot for enemies/rivals-to-lovers. And slow burn. God. Give me some nice long angsty slow burn and I’m good.

10. Comments versus kudos - which do you prefer, both leaving and getting for a fic?

I love comments, obviously. And I actually even like leaving them, only I’m shitty at it, because of my very poor time-management skills and general chaotic nature. I can never just sit down, write two nice sentences and be done with it, you know? It always has to be a goddamn epic, much like the answers to this silly tagging game

My (very boring and predictable) questions:

1. Favourite SPN episode and why?

2. Favourite fictional character?

3. Any ideas you haven’t written yet because you keep procrastinating?

4. Favourite meme. Yes, I’m serious.

5. A fic that changed you forever?

6. If you could become someone else for a day, who would you choose?

7. Favourite famous real life person?

8. You can grab a coffee with one member of the entire SPN cast and production team. Who do you choose and why?

9. What is one thing about yourself you’re most proud of?

10. If you could pick one work of fiction that suits you the best, that has the most “you” vibe - what would it be?

Tagging: @debatchery, @smutverser, @bamf-castiel, and anyone else who feels so inclined.

#tagging game #about me

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tillyx644455877-blog · 7 years ago

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