The Foster Collective

Have Substantial Student Loan Debt?

2011-10-25T21:00:00.001-07:00

Student Loan Debt Art Project by the Foster Collective's Lead Organizer, Angela Watters.

Call for Participation:

I'm looking for people with significant student loan debt from art related college or university programs to mail or email me the amount of debt along with their name, the program attended, what subject was studied and the degree (if any) obtained from the institution. Please don't send sensitive information like social security numbers or birth dates. This information will be collaged on to the outside of a dollhouse I bought for $5 at a flea market. The dollhouse will be exhibited and for sale for the amount of our collective student loan debt. The call for participation will continue for a year or until we reach the highest selling work by a living artist, which is (depending on who you believe) either Damien Hirst's For the Love of God or Jasper Johns' False Start. I will need your real name for administrative purposes, but if you wish to remain anonymous or use a pseudonym for the public viewing just let me know. Creativity is encouraged, but unnecessary. If you wish to contribute artwork to be shown with the project or write something about your crushing debt problem, please let me know. I've not yet decided on a name for the project, but am thinking The Poor House or The ? Million Dollar Home.

Address:

Angela Watters

1809 West Main Street

#103

Carbondale, IL 62901

Email: info (at) angelawatters.com

Visual Response to the Gulf Oil Disaster at CUSN

2011-10-22T06:54:00.000-07:00

Visual Response to Gulf Oil Disaster – A Traveling Mail Art Exhibit

at California State University Northridge Manzanita Hall Gallery

In July of 2010 Chicago’s Foster Collective posted an online call for entries challenging artists to create art work in response to the April 2010 oil spill that devastated the Gulf region. Responses poured in from across the United States. The traveling exhibit of art work that combines gas station paper towels with traditional and improvised art materials is on a multi-city tour with stops in Chicago and Huntsville Alabama and other cities. This fall Visual Response to Gulf Oil Disaster comes to Los Angeles hosted by the California State University Northridge Public Art Club. More than a year after the Gulf Oil Disaster, as people of the Gulf region struggle to restore their lives, CSUN students add their voices to a lively visual debate on the politics of oil and preserving the environment. The exhibit at the CSUN Art Gallery’s Manzanita Hall Annex Gallery runs from October 17 through December 31. An artist’s reception will be held on December 8, from 6:00 to 8:00 pm.

Oil Disaster Response #72

2011-07-10T15:18:00.000-07:00

Michele Martinez

"Biloxi, 2-20-2011" (With song lyric from "Biloxi," by Jessee Winchester, 1970)

Alhambra, CA

Oil Disaster Response #71

2011-07-10T15:14:00.000-07:00

Jeanne A. Treschule

Dumfries, VA

Oil Disaster Response #70

2011-07-10T15:10:00.000-07:00

Wendy Deschene

Waveryly, AL

Oil Disaster Response #69

2011-07-10T15:08:00.000-07:00

Ginny Vogel Zanger

Boston, MA

Oil Disaster Response #68

2011-07-10T15:06:00.001-07:00

Harlan Lovestone, "Albatross"

Greenville, SC

Gulf Oil Disaster Response #54 - 67

2011-07-09T19:50:00.001-07:00

Wendy Deschene, a professor at Auburn University assigned the Visual Response to the Gulf Oil Spill call for entries to her Advanced Drawing students last semester. I hope you will be as impressed with the results as we are. Wendy writes, "Because so many of my students are from or have connections to the area effected by the oil spill. I made it a class project. Enclosed are the results of their efforts."

Lindsey Wilson

Cary Walker

Pleas Tolbert

Madeline Sweeney

Meghan Stewart

Ashley Stephens

Terrica Payton

Baily Parkerson

Tina McConnell

C. McCollough

Kara Field

Rebecca Campomanes

Cory Anchors

New Venue for The Visual Response to the Gulf Oil Disaster

2011-03-25T15:00:00.000-07:00

The Visual Response to the Gulf Oil Disaster Parts I and II is tentatively scheduled to be exhibited at California State University, Northridge at the Manzanita Hall Gallery, September (possibly through October) 2011. Thanks to Michele Martinez and Michelle Kim of the CSUN Public Art Club in Alhambra, CA for organizing.

Fukushima USA: Hell or High Water

2011-03-20T09:56:00.000-07:00

Richard (RJ) Eskow via Huffington Post

Visual Response to Gulf Oil Disaster in Carbondale

2011-02-20T21:39:00.000-08:00

The opening is March 5th at the Big Muddy IMC from 5-8.

"Notes from the Submerged" Essay Series - #2, Coco Papy

2011-02-08T14:13:00.000-08:00

I started this essay series out of frustration with only being exposed to the outliers or artists, who were traditionally successful in school. The reality for the majority of us is that it isn't easy making work, trying to pay the bills, and finding an audience. Bill Guy wrote the first essay in the series and now Counter-Rejection Artist, Coco Papy, writes about her experiences.

As I sit here, forming the very beginnings of this essay, I’m thinking about what I could say that would be the most effective, the most honest, and the ever dreaded “ what will make me sound like I know what I’m talking about “. And while pondering about how I can articulate all the things that I think are important on working, living and being an artist, all I really want to do is cruise the internet for funny cat videos, semi-deadening myself to the fact that I just worked a fifty hour work week in a city, that like a spouse, I love, yet drives me insane sometimes. This is not a complaint, more a fact. As artists, the holy grail that validates us is the idea that we will strive and struggle and then one day, like magic, we will be able to give up our day jobs and make art in our studios, be rewarded with successful gallery shows and live in a loft in SOHO, just like all the“ real “ artists. While this seems to have set the precedent for the past few decades, I happily accept that there is a reality beyond this ideal.

As artist, we have a lot on our plates. We worry if we will ever “make it“. I have personally not decided what this means to me, but I am excited that it does not always involve what has been typically presented. The basic foundation of our ideas on what it means to be successful, I find that you spend years unlearning. Sure there are truths in there – it would be glib to try and convince you or myself that I do not want some semblance of a traditional, successful artist career. But I do think that we have to start looking at the way things have been presented to us with a more disconcerting eye and realize that maybe not all the things we have had drilled into our psyches are right, wrong or even matter. And while I explain some of the things that day by day, I try and integrate into my life and my practice, they are in no way guarantees of success. All I can guarantee is that they may help you and serve you for building up strength that is needed for mapping out the long haul that is making art.

* Try not to resent your job or the fact that you have one. This I think is the most complicated one. Having a day job seems to correlate with somehow not being successful or serious as an artist, which to be very frank is absolute horsecrap. Having a day job, like death and taxes, is going to be a very normal part of an artist’s life. And this can be hard because you do have diminished time in your actual studio or maybe you are not making the money you would like and can’t buy supplies or perhaps there are aspects to your job that make you feel like you are dying on the inside. Your role as an artist is to try as hard as possible to find something that works well for you and bring yourself to a positive headspace. I say this with interpretation, as we are in one of the worst economic times and we can’t always be picky. Bad jobs, annoying coworkers and mundane details will happen. But while these things will change for either the better or the worst, you will always be in the equation. Changing your own perception about having a day job will help immensely. Try and find something you like doing and realizing the potential at your job. Day jobs are not a sign of failure, no matter what Holland Cotter or your professors have said.

* Work your ass off. Get in your studio now. Send out applications now. Put your work out there. I do not care if you’re tired. I am tired too. We are all tired. But you cannot move from where you are now unless you put one foot in front of the other.

* Relax. Funny to get to this point from that point. I recently had a bout of what I call T.A.E.S (total artist exhaustion syndrome). I didn’t want to make art, work on the business end of it, write about it- nothing. I think there is a certain amount of guilt we ascribe to not working all the time, but it is incredibly important to realize that we need to recharge our batteries, to break out of our artist mindsets and know that there is life beyond the importance of what we are doing in our studios. I see no way to continue to think abstractly and critically- to passionately work the second job that is being an artist without giving yourself a break and realizing that you are human. You will do everything you can and that is good.

* Reach out to the artistic community. Being an artist can be incredibly isolating. We stay in our studios, we work, and we are often an asocial bunch. But being in a vacuum isn’t going to ever really help you out. Reach out to artists, whether it is the ones you are in a show with or someone you just really admire. They might respond, they might not, but the idea is to realize there are other people out there with a similar struggle and love. This is how we learn and how we eventually, if we are lucky enough, form incredible relationships with people who understand where we are coming from and why we keep going. It also gives you all the gossip on who isn’t doing right to artists.

* Rejection will happen. It’s okay to grieve, but then pick up and keep going. Often its not about your work, it's a culmination of many random things. This was never clear to me until I experienced what goes in on picking people’s art. When I worked at a gallery, we only picked artist that the artist we were showing knew. When I have had the chance to help curate shows, it became not about whether the artist’s work was “ good or not “, but “ will this fit into the narrow scope of interest we are trying to represent “. In talking with artist peers who are often ten to twelve years my senior, you hear about how long they had to work before they even were noticed to prove that art is what they were dedicated to and that they had built up enough experience in making and showing work. When you are exposed to things like this, you realize there is so much more going on behind the scenes. Try to never take it personal, but as I type this, it’s like asking every artist to give birth to a baby, nurture it and then ride it to the bank only to be told no thanks. Of course we will take it personally, our work is an extension of ourselves. But as hard as it is sometimes, especially when the entire world just seems to be saying no, do not stop. Being an artist is being comfortable with the word no.

* Don't worry about the hype. Be aware of it, it helps, but just do your own thing.

* Be business savvy. Seriously, take a class on taxes for artists, get a website, learn how to put together a real artist packet, learn to negotiate. You are your business. I know this takes a lot of the great stuff about being an artist away, but it’s also a very realistic view of what an artist is going to be doing the majority of their time. Especially as emerging artist, as we are set free from the forgiving and nurturing environment that is art school and let loose on the beast that is reality. Sometimes, we have such an insatiable hunger for success, we don't realize the things that can hurt us as artist.

* You do not have to live in New York. New York is an amazing place that I love living and working in. But it is not the end all, be all apex of the art world. Sure there are many things that it offers, but it also has its drawbacks. It’s expensive as all hell, the art scene is difficult to penetrate, space is lacking and everyone and their mom wants the same success as you. Use the tools and the community that you have to grow and decide what type of career you want. If you want to move to New York, come on down. If you want to stay in Chicago, Atlanta, Berlin – etc. then do. Be where you are and make what you love making- then utilize every resource available to you. Often, I am more attracted to artist from outside New York because the work isn’t similar to the work that's being made here. Being able to bring different perceptions to the conversation is a huge strength.

I realize that life is much more complicated and nuanced than just following this advice and it becoming better. We all have been sort of dropped down in a forest with no map and expected to come out on the other side. Figuring out how to map a career that has no real rules, much less map out our day-to-day existence, our finances and our other relationships can seem overwhelming. And if you are curious, I struggle with the very same things listed not even two paragraphs above. There are days where the very nature of what I am creating, the career I am hoping to carve out and my own self , are so bogged down with doubt and fear that it seems so much easier to give up making art and quietly settle into something that can give me stability and retirement money.

But I know its not so black and white and as time goes on, the shades of grey get larger and larger, and the idea of a “ career “ and a “life “ and what really being an artist is, become intertwined with all the other things that we will be dealing with. Fear does subside and it will rear its ugly head again and again. There will be times that being an artist seems like the worst possible choice you have ever made. Money will be tight and then it might flow, you might be the next Dana Schutz and then maybe not. It’s unpredictable and all you can do is prepare yourself for what might come by being well adjusted and hard working. Well adjusted means being okay with going to that day job week after week, or being broke or being told no. These aren’t things we should glamorize, just know that they are going to happen – play the hand your dealt.

I have a quote on my desk at work from a commencement speech by one of my favorite writers David Foster Wallace, who I wish had half the writing chops of. It deals with perception and how we often forget about what we have as opposed to what we don’t. It goes “ These two young fish are swimming along and they happen to meet an older fish swimming the other way, who nods at them and says "Morning, boys. How's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes "What the hell is water? "

Take a deep breath and keep making your work.

Coco's blog and website

Visual Response to Gulf Oil Disaster to be shown in Carbondale, IL

2011-01-18T11:12:00.000-08:00

The Visual Response to the Gulf Oil Disaster will be exhibited at the Big Muddy IMC in Carbondale, IL in March.

Art/Life: Novak's Response to the Human Organ Themed Living Room

2010-12-16T11:39:00.000-08:00

Kelly Marie Novak, Lungs

Art/Life: Duckmann responds to the Pink Room

2010-12-16T11:38:00.001-08:00

By Christine Duckmann (Acrylic on Board)

Art/Life: Watters Responds to Panda Bless's Apartment

2010-12-16T11:29:00.000-08:00

Art/Life: Renovate My Dollhouse (Before)

2010-12-16T11:23:00.000-08:00

At the Art/Life event we displayed the dollhouse that Angela Watters is asking Panda Bless, Margaret Wright, Bill Guy, Annie Crumbaugh and others to help renovate.

Art/Life: Bless & Watters,"Portal to the Other Bathroom."

2010-12-16T11:08:00.000-08:00

Bless & Watters, Portal to the Halloween Bathroom

Bless & Watters, Portal to the Hello Kitty Bathroom.

Art/Life Exhibition: Watters's Response to the Barbies

2010-12-12T21:52:00.000-08:00

Angela Watters responds to Panda Bless's Barbie doll collection. Left: Portrait of Midnight Tuxedo Barbie and Right: Me as Avon Representative Barbie in front of the collection.

Art/Life Exhibition: Bill Guy's Response

2010-12-12T20:41:00.000-08:00

Bill Guy responded to Panda Bless's apartment by showing images from his My Apartment tumblr project.

Art/Life Exhibition: Panda Bless's Sculpture

2010-12-12T16:20:00.000-08:00

Art/Life Exhibition: Loren Kmp's Response

2010-12-12T16:16:00.000-08:00

Loren Kmp's photograph, Girls Night Out, was created in response to Panda Bless's dressing room.

Art/Life Exhibition: Organic Mechanic's Response

2010-12-12T15:59:00.001-08:00

The collaborative duo, Organic Mechanic, created this painting inspired by the bunny mask on Panda Bless's dressform.

Art/Life Exhibition: Margaret Wright's Response

2010-12-12T15:47:00.000-08:00

Click to view more of Margaret Wright's artwork.

Art/Life: A Visual Response to the Apartment of Artist, Panda Bless

2010-12-02T15:50:00.000-08:00

Please stop by our latest exhibition, Art/Life: A Visual Response to the Apartment of Artist, Panda Bless.

Kelly Novak's Counter Rejection

2010-12-02T15:48:00.000-08:00

There's No C in Novak by Kelly Novak

Cole Robertson's Counter Rejection

2010-12-02T15:47:00.001-08:00

Revenge Scenarios by Cole Robertson

Stacie Terwilliger's Counter Rejection

2010-12-02T15:45:00.001-08:00

Regret by Stacie Terwilliger

Fiona Liberatore's Counter Rejection

2010-12-02T15:43:00.001-08:00

The Universe Claims My Rejected Soul by Fiona Liberatore

Karyn Janowski's Counter Rejection

2010-12-02T15:41:00.001-08:00

San Francisco by Karyn Janowski

Bill Guy's Counter Rejection

2010-12-02T15:38:00.000-08:00

Ghosts by Bill Guy

Angela Watters's Counter Rejection

2010-12-02T15:36:00.001-08:00

Deidre Argyle's Counter Rejection

2010-12-02T15:32:00.001-08:00

Left Page Top: "This page intentionally left blank."

Right page: "Shut up, shut up, shut up..."

Left Page Bottom: "Bitch:

By Deidre Argyle

Peter Bullock's Counter Rejection

2010-12-02T15:30:00.000-08:00

Little Dark Cloud by Peter Bullock

Deniz Tirpanci's Counter Rejection

2010-12-02T14:44:00.000-08:00

Gimme Water by Deniz Tirpanci

Text, "Then I am condemned by both sides. Give me water and some food and I will go."

Loren Kmp's Counter Rejection

2010-12-02T14:38:00.001-08:00

Get Out... by Loren Kmp

Coco Papy's Counter Rejection

2010-12-02T14:35:00.000-08:00

Gave Me (Part of the Rejection Postcard Series) by Coco Papy

Ann Mansolino's Counter Rejection

2010-11-24T17:22:00.000-08:00

Ann Mansolino

Stuart Gibson's Counter Rejection

2010-11-24T17:10:00.000-08:00

For Your Wedding by Stuart Gibson

"Don't Humor Me

we aren't european

and we aren't going to the

'theater.'

All the cocktail swords and hotel matchbooks

in the world can't save you now.

I might miss you

in this life."

Steven Hadley's Counter Rejection

2010-11-24T17:05:00.000-08:00

Post by Steven Hadley

Counter Rejection - Opening Reception 11/06 NEIU

2010-11-03T14:28:00.000-07:00

Artists:

Deidre Argyle

Peter Bullock

Stuart Gibson

Bill Guy

Steven Hadley

Karyn Janowski

Loren Kmp

Fiona Liberatore

Ann Mansolino

Kelly Novak

Coco Papy

Cole Robbertson

Stacie Terwilliger

Deniz Tirpanci

Angela Watters

Photos from the Huntsville Opening Reception of The Visual Response to the Gulf Oil Disaster - Art on Gas Station Paper Towels

2010-11-01T20:28:00.000-07:00

Working Artist - an essay by Bill Guy

2010-11-01T18:42:00.000-07:00

This is the first in the series, "Notes from the Submerged." Bill Guy (a participant in the Counter Rejection show) writes about the challenges of making art, while teaching at three different schools and working at an office part-time. He gives some great advice for students and artists struggling to find time to make art, while working full-time. To see more of his work or read more of his writing check out his new tumblr project, My Apartment, his portfolio site and blog.

If I learned anything in graduate school it’s that good art takes time, commitment, and patience. There is a process to it. And while that process can differ from artist to artist, it is never like waving a magic wand. The problem occurs when an artist does not have the resources, either time or monetary, to make the work that they want to make or any work for that matter. How does one deal with this dilemma? So often people treat their art as “fame or bust.” Or, I either devote all of my time to art making and I’m given the time to do so, or I quit. It doesn’t have to be so. There is a way to be in the world, even the 9-5 world, and to make your art. It requires that you be creative about being creative.
Undergraduate and Graduate school is essentially a time when all you do is make your work. Of course there is still the matter of existence to attend to, while simultaneously taking courses in history and theory and perhaps working a job. But in the grand scheme of things, school is a privileged time carved out in the course of one’s life to develop creatively and to do so within a community of mostly caring individuals. But what do you do after school? Quite frankly there are not enough gallery and museum opportunities, grants, funding, and teaching jobs to accommodate everyone coming out of art school. So many of us find ourselves working jobs either loosely related or completely unrelated to our fields of study. In other instances, we work multiple part-time jobs in order to string together an income.
The solution is to be creative about being creative. There is just no escaping the challenges and necessities of existence. There are trips to the grocery store, rent/mortgage, utility bills, and student loans. And god forbid if you should want a little spending money. As an adult, our first responsibility is to figure out how to take care of these things, with it being even more pressing if there are children in the picture. Let me say this very clearly: take care of these things by any means necessary. Lucky enough to get a teaching job or sell your art? Great. If not, then you need to swallow your pride and work any job(s) that you can get your hands on. Resist the temptation to feel bitter about these endeavors and resist complaining about it to other people. You never know someone else’s situation.
Then you need to give yourself some time to get used to your schedule. The pressure and anxiety to make art will be there. Especially if you went to art school,as you were probably trained to approach art making with rigor and commitment. Hopefully you intend to make art your way of life. With that thought, art making is more of a long-distance race than a sprint. Once you get used to your situation, try to find the gaps in your day and week. Can you make art at work? I’m not advocating for skipping out on your duties and risking being fired. Instead, for example, can you compose poems or short stories during lunch. Or draw in a sketch book? Is there something about your job that you can use for your work? A particular feeling or insight gained by your daily experiences? Use that. If you are a photographer, can you make pictures before work or after work? Remember, you might not be able to do exactly what you want. You might only be able to work for an hour here or there. You can’t let that hold you back. The most important thing is to do something and to keep moving forward. You can still make good work. It’s just going to take longer than when you were in school. Resist the urge to move in the same pace as when you were in school. Let it develop organically. I would rather spend my entire life making one good piece of art than turning out mediocrity on a yearly basis. And remember to resist those feelings of bitterness.
Which leads me to remind you that no one cares about your art as much as you do. The desire to not have to work a day job is actually a desire to have one’s work validated to the point where that is all you have to do. It is the ultimate form of adoration for an artist. And that is just not going to happen for most of us. Feeling bitter? This is a reality, not something to feel upset about. The only one who can validate what you do is you. Art making requires faith. Validation from the outside is transient and forgotten in time. If you are waiting for others to immortalize your work, then you will be waiting for eternity.
Franz Kafka teaches us this lesson in his short story “Josephine the Singer, or The Mouse People.” In this story, Kafka tells us about a race of hardworking mice.These mice spend the majority of their lives working and taking care of the basic matters of existence. Their childhood is short, lives are difficult, and they don’t have time for art. On a daily basis, however, you can hear any number of these hardworking mice “piping” as they work, which is a form of singing. One of these mice, Josephine, loves to pipe so much that this is all that she wants to do. It becomes an art form for her, and a way of life. She wants people to listen, and they do. She wants to stop working and only focus on singing. Kafka tells us about her desire to do so:
“For a long time back, perhaps since the very beginning of her artistic career, Josephine has been fighting for exemption from all daily work on account of her singing; she should be relieved of all responsibility for earning her daily bread and being involved in the general struggle of existence, which—apparently should be transferred on her behalf to the people as a whole. […] Josephine argues, for instance, that the strain of working is bad for her voice, that the strain of working is of course nothing to the strain of singing, but it prevents her from being able to rest sufficiently after singing and to recuperate for more singing, she has to exhaust herstrength completely and yet, in these circumstances, can never rise to the peak of her abilities.”
Her people don’t comply and she has to go on working. They genuinely enjoy her singing, but simply don’t see it the same as Josephine. She even resorts to feigning injury in order to avoid work. She threatens to stop singing at one point. In both instances the mouse people continue on with their daily duties. At the end of the story, Josephine disappears. It is the end of singing and art among the mouse people. And though they are sad, again, their lives go on.
As I wrote, you cannot wait for external sources to validate your creativity. And you should not stop being creative if that validity never comes. In the end, all works of art crumble into dust. All artists are forgotten. Art is a way of dealing with the difficulties of existent, of communicating with each other. Your creativity, your “piping” is vital. Kafka worked full-time in an insurance firm and part-time in his father’s factory. At night he would write. He always said that he would go on creating in spite of everything. I hope that you will, too.
-Bill Guy, 2010.

Bill Guy Prepares work for Counter Rejection.

2010-10-27T15:46:00.000-07:00

Bill Guy prepares a piece for the Counter Rejection show, revealing his framing process and asking for titling advice. Visit his blog to learn more.

Visual Response to Gulf Oil Disaster opens in Huntsville, AL

2010-10-06T12:26:00.000-07:00

Opening of 'The Visual Response to the Gulf Oil Disaster' (A traveling International show) Saturday October 16th from 4-6pm at The 2nd Floor Connector Gallery in The Flying Monkey Arts Center, located in the historic Lowe Mill, 2211 Seminole Drive, Huntsville, AL (check out-www.flying monkeyarts.org orwww.lowemill.net) Show runs through November 3rd.

For Questions contact:

Monique K. Given

artattacks13@yahoo.com

256.652.4105

Mama Stella Project

2010-10-05T13:50:00.000-07:00

Margaret Wright of the collective, Standard Usage Project, has transformed Stella's Diner in the Lakeview neighborhood of Chicago into an interactive investigation of diner culture. Visit the blog Mama Stella Project when you get a chance to share your diner and food experiences.

Rejection Experience

2010-09-16T20:49:00.001-07:00

Do you wish we could just press a delete button after rejection experience, or do you learn from it? How can you learn from the experience without feedback? Do you need to learn from heartaches/headaches? Or, is it enough to just understand that it's usually not personal and that an artist/writer with a unique point of view might not appeal to an organizer/curator/publisher that already has an idea of what s/he is looking for. Who produces culture anyway?

Summer Memoirs

2010-09-13T23:23:00.000-07:00

Our next group show is opening on Friday 9/17 (7-9) at Northeastern Illinois University in Chicago. Come by if you can. It will be up for a couple weeks.

More Photos of Landslide Gallery Exhibition

2010-09-06T18:00:00.001-07:00

Hillary Saxton and friends took pictures of the exhibition and posted them on flickr.

Oil Disaster Response #54

2010-09-02T12:34:00.001-07:00

By Katie Sachs of Vienna, VA

Oil Disaster Response #53

2010-08-22T17:06:00.000-07:00

By Kelly Novak of Chicago, IL

Oil Disaster Response #52

2010-08-22T17:00:00.000-07:00

By Hannah Barnes of Munie, IN

Oil Disaster Response #51

2010-08-22T16:50:00.000-07:00

Terrance Graven of San Francisco, CA.

Oil Disaster Response #50

2010-08-22T16:43:00.000-07:00

By Karen Musgrave of Naperville, IL

Oil Disaster Response #49

2010-08-22T16:16:00.000-07:00

By Rhoda Taylor of Slippery Rock, PA.

Oil Disaster Response #48

2010-08-22T16:04:00.000-07:00

By Kathleen Hennessy of San Francisco, CA

Oil Disaster Response #47

2010-08-22T15:35:00.000-07:00

By Melissa Schleuger of Alexandria, VA

Oil Disaster Response #46

2010-08-22T15:23:00.000-07:00

By Cathy Perlmutter of South Pasadena, CA.

Oil Disaster Response #45

2010-08-22T15:21:00.001-07:00

By Michele Martinez of Alhambra, CA

Oil Disaster Response #44

2010-08-22T15:14:00.000-07:00

By Patricia Dahlman of Lyndhurst, NJ

Oil Disaster Response #43

2010-08-22T15:03:00.000-07:00

Bonnie J Smith of San Jose, CA.

Oil Disaster Response #42

2010-08-22T14:56:00.000-07:00

By Allison Sauls of St. Joseph, Missouri

Oil Disaster Response #41

2010-08-22T14:52:00.001-07:00

By Lana Stephens of Bethesda, MD.

Oil Disaster Response #40

2010-08-22T14:46:00.000-07:00

By Carol Selter of Santa Cruz, CA.

Oil Disaster Response #39

2010-08-22T14:43:00.000-07:00

By Fiona Liberatore of Italy

Next stop for Oil Disaster Response - Alabama

2010-08-21T15:25:00.001-07:00

Monique Given curates a gallery (2nd Floor Connector Gallery) in the arts center (The Flying Monkey Arts Center) in Huntsville, AL and will be organizing an exhibit of the Oil Disaster Response. Thanks Monique!

More Photos from Landslide Gallery

2010-08-06T11:52:00.000-07:00

Gulf Oil Disaster Exhibition has been extended!

2010-08-05T07:40:00.000-07:00

The show was such a success that our patrons at the Landslide Gallery have allowed us to extend the show until August 13. Thank you to all the artists who made work and thanks to our members, who volunteered time and money to make the show a success and to keep the Foster Collective's CFEs fee free for artists! We will post more pictures from the show soon.

Landslide Gallery Opening - July 24, 2010

2010-07-31T09:41:00.001-07:00

Oil Disaster Response #38

2010-07-22T19:20:00.001-07:00

By Anne Stagg of Tallahassee, FL.

Oil Disaster Response #38

2010-07-21T12:20:00.000-07:00

Oil Disaster Response #37

2010-07-21T12:06:00.001-07:00

By H.K. Anne of Lorton, VA.

Oil Disaster Response #36

2010-07-21T11:45:00.000-07:00

By Tom Sarver of Pittsburgh, PA.

Oil Disaster Response #35

2010-07-21T11:28:00.001-07:00

Girl with an Oil Teardrop by Holly Fazio of Los Angeles, CA.

Oil Disaster Response #34

2010-07-21T11:10:00.001-07:00

By Larry Thompson of Birmingham, AL.

Oil Disaster Response #33

2010-07-21T10:57:00.001-07:00

Joy Cone by Christine LoFaso of Chicago, IL.

"This image was captured on July 4, 2010 on the Atlantic east coast. The title refers to the text on the cone wrapper and also ironically alludes to national "staining" engendered by the gulf oil spill."

Gas station location: Westport, CT

Oil Response #32

2010-07-20T22:20:00.000-07:00

By Sam Dixon of Maryland.

Oil Response #31

2010-07-20T21:36:00.001-07:00

By Mark Wholey of Warren, RI.

Oil Disaster Response #30

2010-07-20T21:17:00.001-07:00

By Ellen Mueller of Tampa, FL.

Oil Disaster Response #29

2010-07-20T20:57:00.001-07:00

By Lee Gainer of the Metro Washington DC area.

Oil Disaster Response #28

2010-07-20T20:09:00.001-07:00

By Scott Starbuck of Portland, OR

Oil Disaster Response #27

2010-07-20T19:10:00.001-07:00

By Susi Soler of Worthington, OH

Oil Disaster Response #26

2010-07-20T18:54:00.001-07:00

By George Kousoulas and Claudia Kousoulas of Washington DC.

Text: "ISO LTR: If you like walks on the beach, oysters on the half-shell, and bodysurfing, call me. Need TLC, I've been hurt before."

Oil Disaster Response #25

2010-07-20T18:37:00.000-07:00

By Lee Bretschneider of Tallahassee, FL

Oil Disaster Response #24

2010-07-19T13:03:00.000-07:00

By Joerg Dressler of Boston, MA.

Oil Disaster Response #23

2010-07-18T19:55:00.000-07:00

Zip-it by Elizabeth Rhoads Read of Cedar Rapids, IA.

"We are all responsible for the Gulf oil disaster. We demand products that we use everyday that contain some petroleum component. The piece "Zip-it" uses caution tape (petroleum based) woven as to show our entanglement with the oil industry. The zipper was used as in the expression - zip-it - meaning close your mouth - I don't want to hear any more - trying to ignore. We are as much the problem as the oil industry."

Oil Disaster Response #22

2010-07-18T13:44:00.000-07:00

By Steven Wagner of Des Plaines, IL.

Oil Disaster Response #21

2010-07-18T13:03:00.001-07:00

By Gina Moore of Columbia, SC.

Oil Disaster Response #20

2010-07-18T13:01:00.001-07:00

By Hannah Leonard of Columbia, SC.

Oil Disaster Response #20

2010-07-17T19:44:00.000-07:00

Oil Disaster Response #19

2010-07-17T17:12:00.001-07:00

By Monique K. Given of Huntsville, AL.

Oil Disaster Response #19

2010-07-17T17:10:00.001-07:00

Oil Disaster Response #18

2010-07-17T16:57:00.001-07:00

By Connie Vepstas of Chicago, IL. Title: Blinding Proof

Oil Disaster Response #17

2010-07-17T16:45:00.000-07:00

By Rosemary Gallick of Centreville, VA.

Oil Disaster Response #16

2010-07-17T11:49:00.001-07:00

Richard Widhu of Nashua, NH.

Oil Disaster Response #15

2010-07-16T23:36:00.001-07:00

By Ryan Rossetto of New York, NY. Ryan writes, "This piece shows a young Southern woman who's luck has run out of time. How many more times will her hand touch the hot burner before she learns. How much longer until she gives up and moves. ink/oil/coffee on paper."

Oil Disaster Response #14

2010-07-16T19:40:00.001-07:00

By Patrice Nelson of Clarendon Hills, IL.

Oil Disaster Response #13

2010-07-16T19:23:00.000-07:00

By Nancy Raen Mendez of Evansville, IN.

Oil Disaster Response #12

2010-07-16T19:03:00.000-07:00

Ying Kit Chan of Louisville, KY used Chinese ink, engine oil and tar to create this piece for the Visual Response to the Gulf Oil Disaster. Chan explains, "the Chinese writing is a line from I Ching (The dragon exceeding the proper limits. There will be occasion for repentance.)"

Oil Disaster Response #11

2010-07-16T18:39:00.001-07:00

By Kris Bishop of Woodbridge, VA. Kris is an art quilter and this piece is stitched to a gas station paper towel. To see more of Kris work click here.