After much time and much thought. I came to a strange conclusion. Milwaukee has remained in its nascent stages of development artistically (despite its ability to create MANY productive and talented artists of all types) because its social conversation is stalled. Milwaukee is segregated and racist. And so backwards that when I bring this up with my friends at home they be to think this is sort of a peripheral problem like "yeah. I don't fasten with many black people and I undergo to ALL THE WAY TO CHICAGO to get really cool shoes at a decent price!" desire an integrated society is kind of boutiquey and expensive and we just can't afford that choose of thing here.
There are many lovely people in my hometown who still say things like "Okay. I would never say this in public but I am NEVER waiting on black people again."; or "I'm sorry. I just won't hire anymore black people they always screw me over." I can't seem to point out to them that if they knew more than the 15 black people they go into casual or anonymous contact with every week they would conclude like an ass saying things like that.
Wow. That got off-track quickly. I will deliver the my space here for the many excellent essayists that will surely decant in the days to go; I wonder if this isn't something of a topic for the Artsy Schmartsy Long Table Sessions?In my perspective as a white male up-and-comer art photographer who struggles to sight a place in the scene here. I think that the emergant art pool is always the dominant one. In the 90s it was curated by college student-turned-barista moguls who guided it. In the 80s it was the punks hanging in the basement of the Unicorn. But two things happen here: all the money to alter someone be local is snatched by academic-based artists who keep tabs on grants and foundation money. Nohl awards don't go to the gentle: I've never seen money given to folk outsider artists or the next Georgia O'Keefe. It has to have a strong political or sociopyschological exploration of layers to be real art. On the other hand the real notoriety is to be found in other States' galleries. Few get in 'Art in America' by showing in Wisconsin. Despite the internet you still undergo to have prints physically at the Getty Museum to be called 'somebody'. This is why suitcase winners are earmarked to show elsewhere. For real exposure. Sadly a bottom line is money. There are some great artists and movements flourishing here but how much of it gets bought. act a be at this picture from 2001 on young contemporary artists ( http://www2 jsonline com/onwisconsin/arts/apr01/shawblb15041301 asp ) and find how many still practice in Milwaukee (*answer: less than half). Oh look at me. I did ramble. Summary: there is no financial security for the mature artist in Milwaukee (without a teaching lay). How would Picasso survive here these days?
May I be allowed to say that I do not consciously bear any grudges concerning the Nohl awards or find fault with questions that Mary Louise has raised? It is all at least interesting and worthy of discussion. I also don't evaluate I undergo a conscious agenda on this matter other than to be pleased that the visual arts are being discussed and given some attention. We should also be very appreciative of what Mary Nohl has left our community as well as for those who administer her legacy. First. I believe that Mary Louise's statement has merit about artists who might be deemed "professional" and who may be preoccupied with other things that turns them away from even applying for a fellowship. Completing the application to specifications especially the first time is not as simple as it might be to those who have not pulled the materials together. Considering that only three artists will survive to the final cut the effort may just not seem worth the measure and trouble. If one has done that a few times without results trying again may seem futile. $15,000 is pretty bushel nice but sometimes the grapes do not be worthwhile jumping for when chances are so remote. This disinterest can be reinforced if one sees that the awards are usually given to people who produce work that is very unlike one's own. How many good landscape or comfort life artists portraitists realists of all ilk professional designers visual art teachers and traditionalists ignore applying due to their belief they have almost no chance of getting thru? Many. I think. Second can we define "professional"? To some of us being in that category does not require that one must alter a certain percentage of annual income thru selling/exhibiting work. If some arbitrary percentage amount of income would be set then most college teachers and conceptual artists would probably not be included at the professional level. And undergo professionals found that to exist to give their families and lifestyle they have found a need to create a different kind of art.. one "relevant" to their needs?Mary Louise raises these questions: "Does Milwaukee have a strong be of mature visual artists making relevant work? Or is this a displace that's just color with the up-and-coming set?"Ignoring the word "mature" should we examine that word "relevant"? What kind of relevant art do we expect will be selected by the Nohl jurors? What are the implications now generally felt? How many professionals can alter the write of "relevant" art that has tended to be selected? It is adjust that "quality" is elusive and really a matter of individual taste but what art is more or less relevant than another? It does be that the art chosen for the Nohl awards is relevant to a restricted progressive comprehend which almost automatically eliminates many professional people. Is there an unspoken message that "Moderists and Conservatives be not apply?And third use of the words "emerging" and "up and coming" can be bothersome catch phrases. Who are emerging? Perhaps all the college art students and recent graduates in numbers which must far exceed those who really work as professional artists? All those who undergo been around a while but who have gone unnoticed by authors and gallerists? Where is the cut off inform at which "emerging" no longer is applicable? And are those in this "emerging" category more adventurous because of their as yet untested idealism hopes naivety as come up as their need to investigate newer forms of expression in this changing and trying world?Is this a real "Art City"? Oh! I hope so.. but what percentage of the population really cares? Where is the media give outside of our JS art writer? I believe that the allusion to Milwaukee generally being a conservative community is adjust. After undergo here perhaps there is cerebrate enough for progressive artists to either direct the nature of their art production or to leave the city looking for more accepting environs. I do not say the grass is really greener elsewhere but I understand how one would be to test it. Gary John Gresl
I think this is a really good question. The perception that there is more vitality in the emergining arts community then the mature one may be accurate and may be related to the fact that the idea that Milwaukee is a place that supports the arts is relatively a young one. In the 9 years since I've been here I've seen the arts scene grow and get more interesting. Milwaukee is beginning to support the arts - but this support does bend toward emerging opportunities in the create of new galleries non-commercial spaces temporary venues. As a community we be to continue to grow (and grow up). A wider number of commercial galleries and populate who buy art from them a museum that includes support of the local/regional art scene as part of their mission and increased funding opportunites for a mature arts scene would all help us grow as a mature arts community. Look to Minneapolis/St. Paul as a similar sized and thriving arts community. We not only be to support the mature artists who are in Milwaukke (and in many cases teaching and mentoring the emerging community) but we also need to give the emerging artists a reason to stay in the region and act to contribute.
I believe my artist colleagues would consider me to be both a professional and an established artist. Most likely think of me as a Milwaukee artist since my employment is in Milwaukee. I possess often in the southeastern part of the state (as well as internationally) and I am active in local art organizations. However. I do not live in Milwaukee county. Many established artists in fact live just out of range of being eligible to apply for the Nohl Grant. I undergo often been disturbed by the fact that many opportunities are limited to a very small geographic area within our express. For example. I cannot apply for one regional exhibit becasue I do not live in one of 5 decide counties. I live in move County and believe me we are left out of everything regional. We are not close enough to Milwaukee. Madison or Sheboygan. Do "real" artists only be in the larger metropolitan areas? No. The Cultural Alliance of Greater Milwaukee recently conducted a geodynamic mapping survey to determine who is being served by the arts in our areas and how and why people participate in the arts. Both Racine and Washington Counties were determined to be underserved areas. They are close to Milwaukee but apparently not close enough for the outreach of opportunities. I evaluate our express needs to communicate the fact that interest in the arts existence of professional artists and potential art markets exist outside of Milwaukee and Dane Counties. I would definitely act the measure to bear on for grants if I would be eligible. Related to the challenge of "provincialism".. if Milwaukee artists are considered provincial by virtue of practicing in the state of Wisconsin then are rural Wisconsin artists even more provincial? I did call PM to communicate if eligibility for the Nohl Grant would ever extend outside of Milwaukee and was told "No". I expressed my concerns on this topic with her. Mary Nohl was often referred to as an "outsider artist" even though she lived in Milwaukee. It is thus ironic that artists who do not live in Milwaukee cannot apply because they are seen as outsiders in another way. I understand how grants set parameters and these are often set by the person endowing the grant. Mary Nohl likely set these parameters herself. The challenge is: Why? Does the give do away with when the intent of the give was to consider and provide assistance for artists?
Funny..... I used to drive myself crazy asking the kinds of questions that Mary Louise is posing... but not regarding the Nohl Awards. The first measure I was rejected from the WP&S Biennial. I was not happy and thought either something was wrong with my art or (to my mind more likely) the jurors. But now I realize that it is a flawed process but the best we have so I now celebrate when I am accepted and shrug when not. We can all compete the game of "why not" and "what if". But if we undergo professional and knowledgeable jurors must we not try and trust their decisions? Perhaps more established artists did not try for the allocate because it seems to be tilted in favor of conceptual art. Perhaps the many artists in the area are becoming resigned to the fact that their successes exhibits and awards never seem to have enough importance to capture the attention of the art reviewers. I think before one passes judgement on the art community and decides that it is somehow lacking he must go out and rub elbows with the many artists who are just waiting for some local support and encourgement.
Mary Louise it is an excellent question. Two factors are at work I believe. The size of the art merchandise here and the strings attached to the grants. First the number of people buying art in Milwaukee is still very small for a city this size. People around here ordain alter their kitchen buy a new car or buy a lake home up north before they buy a piece of art. Art for most around here is very far down if not absolute measure on their enumerate of priorities. (There are thankfully some very notable exceptions. I’m generalizing of course.) The art market around here simply cannot sustain a lot of artists so they can actually make a living until their work matures enough to change state “established.” The good emerging artists move away first or they give up for lack of sales and choose a different career. I might be considered an established artist (I’ve been a beat time artist for 18 years) and I have never applied for a Noll Grant. For me there is always a bigger commitment pending during the grant year and there seems to be quite a few strings attached to the money. The biggest arrange is the required show less than a year after you get the money. It’s a lot of work to put on a show and established artists have a lot of high quality opportunities to exhibit. A show at a good commercial gallery or a museum would be a bigger priority than a show at UWM. If the required show were to be at the MAM for example you would see a huge jump in high quality entrants. I gave a talk yesterday at a local high educate about the profession of being an artist and someone asked. “Now that you’ve made it in the art world what is your advice for a young artist?” Standing in the art room I had to in all good conscience tell them it is really hard to be an artist and I would not necessarily advise it. Unless you like macaroni and cease and being poor. Try instead to be something more realistic desire a professional athlete. I said there are more of those in this town than “established” artists and it pays a lot better.
As a "mature" artist who has served on the boards of Wisconsin Painters and Sculptors. Wisconsin Designer Craft Council and currently Co-President of the Cedarburg Artists' Guild (200+ members). I open your bind interesting and comment producing. If I ramble. I appologize. I am an artist not a writer. Part of the problem of not knowing where the mature artists are to be found lies in their problem getting some attention in the press. When was an bind written about the building at Second St and Pittsburg where many of us hung out for years? exceed hurry as the rents are increasing and artists are leaving for the more economically feasible but more isolating "domiciliate studios". be for us teaching in the local recreational programs at art fairs and galleries out of the city. As I am sure Gary can verify it is hard to manage/volunteer in an arts orgainzation do the work and promote oneself much less apply for grants- not to mention the additional jobs expected of women artists! Speaking of grants last week the Wisconsin Arts Board and the Lieutenant Govenor were in Milwaukee to direct a town meeting about the new state granting proceedures. I did not see many visual artists at that meeting. However the performing artisits were represented. State financial opportunities for artists of any kind are substantially less than those of other states. The arts are still not valued as a tourist and economy generating handle by the State of WI or its population. An autographed cheese hat has more determine than a conjoin of original art work. There is a proposal up for vote soon to change magnitude the be for art grants. Call your representative! The Wisconsin Designer Craft Council is the second oldest fine craft orgainzation in the country. Why are we not proud of that fact and advertise it everywhere? WP&s. WDCC. CAG (Cedarburg Artists Guild - 25 years old). MATA just to have in mind a few are full of "mature" artists who do relevant bring home the bacon. We are busy working teaching and trying to exist without decent and affordable studio space. By the way define "mature". As an almost 70 year old you know where my mind goes. What does "relevant" mean- economically viable doing cutting edge style and technique mention provoking pleasing the viewer or teaching whose who wish to begin their art enjoyment? How long has the Knol award been available- not long I guess. Congratulations to the winner. The Arts are alive and resonably well in Cedarburg -20 minutes away. The Cedarburg Cultural Center currently has an exhibit of the bring home the bacon of Charles Kaiser and an ongoing gallery for guild member's work. CAG has a pass show Nov.30-Dec. ! in the community gym. Our mature and relevant artists are busy. We could use some more Publicity and Collectors!
There are enough good artists and good art in Milwaukee. Having said that Iwould like to say that we could use more good artists and more good art inMilwaukee. Sometimes a question becomes loaded because of the personasking it. When Mary Louise "wonders" whether Milwaukee has a strongnumber of mature artists producing relevant art. I hear her questions first ofall as coming from the art editor of the JS. For me this puts an advance on thequestion so that I go away "wondering" whether she feels satisfied with what'sgoing on in Milwaukee artwise. I DO hope she is ACCEPTING about what isgoing on and I feel she is. After all we are in this situation. We are all in Milwaukee. We liveand produce our art here. Other artists are in Madison or Manhattan orMemphis. Each of those towns has a vastly different art scene. In Milwaukeewe are very conscious of our dwell. Chicago. We cannot do away withChicago or our proximity to Chicago. They undergo a lot more art a lot moremature artists but also in proportion probably a lot more emerging artists. Double or triple all of that for New York or Los Angeles. We must all do all wecan to upgrade art and the arts in Milwaukee. But so must Chicago and NewYork and Santa Fe. The testier question that I see is this: are we and thosewho write about us in Milwaukee willing to look at ALL the good art going onin Milwaukee or do we (and I do this myself) preclude some good art infavor of other good art? We should be grateful that ART CITY is stirring someof us to broach with this and I am very thankful that Mary Louise has spurred us on.
This has been a most invigorating discussion and I thank Mary Louise for initiating it and for those who have made thoughtful contributions. I may echo some of them. I have been an active member of Milwaukee Area Teachers of Art and Wisconsin Painters and Sculptors for a very long time. I'm also on the board of the more recently established Coalition of Photographic Arts. I appreciate the opportunities that these associations furnish for exhibition among other tangible benefits. I have also been in many juried shows locally and nationwide. As has been said. I guess that makes me an "established" or "mature" artist. What I don't have to show for it besides a Mary Nohl allocate is significant sales of my bring home the bacon. I make my living teaching the art that I love doing. I alter no apologies for that nor do I cast aspersions on those who alter their livings doing other things while they create artwork that they like. It would be nice if we could all make a living doing the artwork that we love but we have chosen to live in a place that as others have pointed out is largely unreceptive to what we do artistically. And furthermore we who are involved in the arts are occasionally guilty of intramural squabbling about what is (attach allot word desire "relevant" here) art. Let's stop arguing about whether or not folk art. "outsider art," traditional art modern art conceptual art. (name your style) is acceptable or not. The art museum can undergo Pissaro and Ramirez. Milwaukee can produce Mary Nohl and Edward Steichen and any and all of us. Let's celebrate the creative spirit and be thankful for artists of all stripes. I do evaluate it sad that as has been said many who try to make a living with their art must leave Milwaukee. If I were to give up teaching and try to do that. I think I'd have to do so myself. But there are many reasons why we act and desire Janet above. I try to celebrate when I am successful and gesticulate when I am not. Both happen often enough to harden my reactions to juried events such as the Mary Nohl awards. So much of the command public doesn't even pay attention that as interesting as this discussion has been it often seems that we argue amongst ourselves too much. If more of the public were exposed to art in a systematic way during their formative years (yes. I'm talking about arts programming in the schools!) we would be less likely to be having this discussion and fewer artists would leave Milwaukee.
I don’t think the situation is as rosy as Janet Roberts stated in her last affix. This Thanksgiving be around at what is hanging on the walls of your in-law’s grandparent’s brother or sister’s home. Do you see any original art at all? If you took a random sample of the add up Milwaukeean’s home. I evaluate you would find a shocking number with no original art at all.
In a previous posting Gary John Gresl referred to me as one of the “area's most accomplished artists,” and while that is very nice to hear (thanks Gary). I still find it extremely difficult to making a living as an artist. It’s a struggle every month to make ends meet. The plumber electrician roofer the teachers at my son’s local public school all alter more money than I do. And I am a success story? Really? Yes monetary reward is not the only barometer of success it is not the only thing that matters in this world and there are many intangibles that alter the profession worthwhile otherwise I would not continue. But in a capitalist society a society that rewards populate based on how they are valued by society it seems I am being told something: Art –in general- is not valued in Milwaukee. This is not Art City but instead Brew City. No doubt we have made great strides the completion of the Calatrava addition was a watershed moment but we still have a very very long way to go. Beer here sadly comfort remains king. The MJS illustration got it exactly alter. The beer bottle is all encompassing. (This is the drunkest city in America after all) and the entire city floats inside. That’s how the rest of the country perceives us and although we are going in the right direction for now anyway it just about hits the nail on the head.
I seek humble forgiveness for another posting. This is my last on this subject. It is a hard pill to swallow but David is alter.. and so is Janet in lauding that loose knit community of artists that does exist here. Besides finding inspiration from artists of national and international significance some of us undergo also been buoyed and inspired by associations with those around us. There are questions we be to always face. Does Milwaukee and more broadly Wisconsin lack the following things? 1. A locate of collectors who support regional artists. 2. Artists "worthy" of getting the public's attention and give. 3. Media and publicity outlets sensitive to the talents and importance of the visual arts in our communities whether progressive or conservative. 4. An educational system that nurtures and encourages artist expression nearly as much as it does sports. 5. The financial where-with-all to contribute to the growth of our visual arts culture? 6. Recognition of the socio-econonmic importance of the visual arts in our economy and the challenge provided to outsiders and residents?We have some great things in our area. Yes including the Milwaukee Art Museum; other museums like the Haggerty. Charles Allis. Villa furnish the new Grohmann and those in smaller towns desire the Kohler in Sheboygan. Rahr-West in Manitowoc. Anderson in Kenosha; RAM in Racine; Leigh Yawkey Woodson and the Center for Visual Arts in Wausau; the Neville of Green Bay; Miller and Fairfield in Sturgeon Bay; our regional colleges art departments and associated galleries; Madison's Museum of Contemporary Art and the Watrous in the Overture Center; area visual artist organizations a bring together with histories exceeding more than 80 years; the Museum of Wisconsin Art in West change form with its plans to expand and continue focus on WI artists; the Wisconsin Visual Art Lifetime Achievement Awards; Biennials and Triennials; Mary Nohl's bequest and legacy; Governor Awards for the Arts; a sympathetic Lieutenant Governor; the Arts Wisconsin organization; the Milwaukee Artists Resource Network (MARN); those commercial galleries that struggle to act afloat including the "established" and "emerging" choose that encourage and exhibit regional artists. But.. perception it has been said is reality. Big unify town? One struggling to find a refreshed identity.. an Art City? If we are to be that then don't we undergo to believe that it can be so? I can accept a beer store image with the Calatrava imposed on it if it is metaphorically only one phase of the greater evolution leading to an improved art culture.
Wheresmysun7. I certainly don’t have all the answers but here are some thoughts. You cannot have an “Art City” without artists. And artists cannot defeat on articles accolades and exhibitions they need money to be. Therefore. I think the most important thing is for the general public to go see exhibits and when something speaks to you believe buying it. Art purchases don’t undergo to be a lot of money but buy something (for goodness sake) and put it in your domiciliate. If you made a good acquire that conjoin of art ordain act to enrich your life every time you be at it. A robust art market will sprout more fine galleries strengthen art institutions and generally augment the area’s cultural vitality.
Area businesses could also buy more local art. A company already doing this in a big way is the West Bend Mutual Insurance Co. The employees up there are knowledgeable about Wisconsin art and intensely proud of their collection. Rightfully so it is a great collection. And I get the sense that the art collection is a significant factor in getting and keeping high quality employees.
The media in general especially television could make arts coverage a bigger priority. And the media in general could forbid being counterproductive by obsessing about all things beer related. I have argued this for some time the MJS in particular is guilty of over covering everything related to beer and alcohol in this town. For many years the paper ran “No RSVP Required” on the back of the Friday Cue section. Huge alter photos combined with detailed reporting on a single tavern including the drink specials. Stories like that bear on the “Brew City” image and in my believe are also just plain bad for society. People drinking in bars leads to major societal problems including drunk driving and alcoholism just to name two. On the other hand. I undergo never heard of someone crashing their car because they were high on art. The Ramirez show is good but not that good. (A drunk driver killed my brother so this is a very sore subject with me.)
Finally. Mary Louise. I too think that this is exactly how it should work. A lot of people (young mostly) say that the create media is now irrelevant. They are wrong. The MJS still has a huge affect on this city. And I think the paper’s arts coverage is balanced and very thorough. I think you and the newspaper do an outstanding job. And now that the internet has made it so easy for a two way dialoged the paper online and related blogs is change surface more vital to this city.
I appreciate the diologue and especially the honesty. Oftentimes when you ask an artist how they are doing it will sound as though everything is just great. There is an understandable effort to always put a brave face on. Usually if the"work is going well' the artist is happy even when they undergo no idea if anyone will ever want it. I recently had a disheartening experience at one of our local museums after alot of bring home the bacon. Stuff like that happens one has produced something one feels is wonderful but then comed the real work of getting someone to be at it. I ran a gallery here for awhile. I sort of could not help it as it was part of being a member of the Art's Building community. It did not help my career and I was overexposed to MIlwaukeens and their bespeak for bargains. I do not think as a rule artists should ever have to hear what the shoppers have to say. It could discourage anyone. I am very grateful however for everyone who has ever bought one of my paintings. Those people are truly the treasures of the city. They undergo some originality some courage and dare I say it some class. I was too discouraged to apply for the give this year. Anyway. Gary is right and I will bear on again next year.
I'd like to join in and convey Mary Louise for being willing to broach a touchy subject. I apparently need to determine myself as an 'established' artist due to working at this 'professionally' for about 14 years. I am a member of WP&S and The unify of Milwaukee Artists as well as the Pastel Society of America the Pastel Society of New Mexico. Landscape Artists International the Chicago Artists Coalition and founding member with Gary Gresl of the short-lived yet productive Milwaukee Visual Artists Roundtable. I do have gallery representation and have received awards in numerous national exhibitions including multiple times in the Pastel Journal magazine. I undergo even been featured in American Artist Magazine and had the pleasure of being written about by Mary Louise in MJ/S. I'm not trying to affect anyone here just making the point that one can work very hard both locally and beyond and still have no realistic expectation of 'making a living' at this art career or of being 'validated' beyond one's own particular slice of the art world. I think we need to admit that there are many many different 'art worlds' that co-exist in any geographic space and we often are relegated to a certain level/type/pigeonhole without much hope of being accepted or seen by the others. I have entered both the Wisconsin Arts Board Fellowship and Mary Nohl competitions repeatedly. I also spent an afternoon observing the Wisconsin Arts Board panel making their final recommendations on the winners and while I haven't been privy to the Mary Nohl deliberations if they are anything like the Arts Board ones that I saw. I can tell you that I am going to be continuing to register only out of sheer stubbornness and determination. With some notable exceptions the work I've seen honored seems to undergo little or nothing to do with what I value in art and what I do. gratify understand. I am thrilled that the world of art is not move by my sensibilities and I love being enriched by work that enlarges my palette. Still when one sees very little chance of succeeding and instead has one's passionate core views dismissed and devalued. I can understand why many don't bother going through the effort to enter. I undergo served as a juror and as a judge and undergo given critiques for art groups so I understand that not every sincere artistic effort is of the same caliber or worth. It does seem to me however that we should be paying more attention to quality rather than novelty. Being new seems to be the standard. I believe that newness for it's own sake leads to frantic efforts to be more unusual/shocking/upsetting/out of the box you fill in the rest. I speculate being a breakthrough artist is what is being sought but it looks to me as if what we get though is lots of cram that has novelty determine and consumes like a quick eat but doesn't have staying power nor lasting satisfying merchandise.
Now if being ahead of the turn artistically speaking is what means you're really good than the fact that many of us are currently being overlooked could mean that someday hopefully before we actually die the eyes of the curators and museum directors will catch up to us and we'll be recognized for the hidden gems that we are. Yes. I know that is the fantasy that keeps us optimistic. Still all I am left with being who I am doing what I do continuing to push myself to develop and change hanging onto my spiritual core and making it up as I go along the beat I can.
And here's an interesting tidbit on the idea of exhibiting at MAM as a reflection of one's artistic worth. I recently attended a MARN sponsored workshop on writing artist statements - part of my continuing effort to bring home the bacon smarter as well as harder (thank you Mike Brenner!) The presenter talked about receiving about 200 unsolicited portfolios a week at MAM and how quickly she needed to be impressed in order to even look much at the bring home the bacon. When asked about why they were sent and what result they got she admitted that these 'cold call' artists have NEVER gotten a show at the museum. With those kind of odds against us what is one to do? If this isn't the path to exhibition glory and it's presumed financial give then commune tell what is that path?
Let me also add a bit about my experience in trying to get gallery representation outside of Milwaukee recently. When talking to several gallerists in the Seattle area there was some arouse in my bring home the bacon but most of the galleries there pride themselves on specializing in regional Northwest Coast artists as I was told was often the case in other areas such as California and New Mexico. This gallerist was sure I had the same situation where I was from! I didn't quite know what to say.
Related article:
http://blogs.jsonline.com/artcity/archive/2007/11/16/where-are-all-of-the-mature-artists.aspx
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