Monday, February 11, 2013

Fear of a Mac Planet


An artist/instructor where I teach responded to my casual suggestion that faculty could communicate and resolve various routine issues among themselves by using a dedicated Facebook group with: "I'M NOT GOING ON FACEBOOK; I DON'T HAVE TIME FOR FACEBOOK!" So much for the social media revolution. 

Perhaps she's one of the few who have realized the Romantic Dream: making enough sales at a sufficient price level to not need to worry about marketing her work. If so, she should tone down the vehemence of her reaction- it makes her sound like a raving technophobe. 

The rest of us will be making time for social media, thank you. One thing about leaving your day job, you DO have more time, but money, not so much. So social media, which is mostly free, becomes pretty huge. 

It is time consuming to do right, meaning: get a conversation going. Facebook and blogs require promotion. Twitter is reviled, even by Facebook and blogging afficianados, but if you devote regular time, it is easier to get its mostly younger, more savvy adherents talking, thus getting yourself into conversations you just can't enter in "real" life, such as at art openings. Or even on Facebook or the blogosphere. I suspect that some who put down Twitter and other social media are just not that comfortable with the idea of meeting new people online. 

I've had some success devoting Monday mornings and Friday afternoons to my various media accounts, with random tweets and posts thrown in when I have time. I'm also experimenting with using the Light Rail more for commuting, thus converting that time to productivity through social media and blogging apps on my phone.  I try to apply that to blogging, but writing is not a spontaneous activity for me, so it's easy to postpone. It's clear "I don't have time for blogging," but I would never admit that I'm not trying to make time. Social media is not going away, no matter how much it scares you.

The picture is a "mash-up" of sorts, in which I cut up old failed prints and reassembled with some new ink on top. It's designed to have a number of discrete textures and visual timbres while conforming to a new, somewhat abstract, whole. What is your reaction?


Wednesday, December 12, 2012

The light is stretched and thin after a couple days of clouds and a dusting of snow. It's warmed up, so I took a walk down by the lake this morning to get a little air. Then I sat down to start the site, after a couple of days of reading and researching.

"Return" Monotype, 22x30", 2012.
The domain name and hosting were easy. I chose DreamHost because Internet For Artists recommended it, and because they handle domain name and hosting account in one spot. They donate some of their proceeds to Creative Capital.org, which puts on the IFA seminars. They do charge for one year up front, but it's inexpensive. My domain name will be JoeHigginsMonotypes.com.

I'm on to WordPress now. I'm working a temp job next week (to pay for the hosting, nyuk), so I'm hoping the software is pretty easy and fun to use, as this week is the last I'll be able to sit in front of the computer for long stretches. 

I entered the picture above in a regional printmaking exhibition in November. I'll find out if it was accepted this week as well.
 

Sunday, December 2, 2012


This image is from my summer 1-man show at Zip 37 Gallery. It's pastoral, mostly, a bit of Eyvind Earle creeping in I guess. But it contains a more subliminal component, and I can never convince myself that it's strong enough for people to notice. Thoughts?

A reminder: Tuesday, December 4, is Colorado Gives Day. Any 501c3 type charity is eligible for this (all proceeds go to the charity), but consider the Art Students League of Denver if you haven't decided on a recipient:

*In these times of reduced educational funding, ASLD teaches critical thinking skills to children.

*ASLD employs artists and other creatives, thus helping Denver's creative economy, a real asset to companies looking to relocate.

*ASLD provides community in an inner city neighborhood, and is preserving a beautiful Richardsonian 19th C. Building.



Wednesday, November 28, 2012

Preparing for the Zombie Apocalypse


Oh look! I have a blog.


And a fine blog it is, too, though a bit errrm lifeless. But now, just in time for Holiday surfing... Zombie Blog lives! BwaHaHa.

Actually- and like any dead blogger worth his salt, I'm quoting Zombie Shakespeare, now- I come here not to raise Squishtoid, but to bury it. Though not for good. In fact as the blog-less weeks rolled by, I  wondered whether my approach to Squishtoid blog needed a re-think. Then I took an Internet Marketing for Artists seminar from the fine folks at Creative Capital, a very informative weekend that made me certain of it. 

What the fellow artists teaching the IFA seminar convinced me of was that I needed a website. One with (cue the scary soundtrack) ...a blog! So, and this will surprise no one who knows my penchant for over-complicating things, the reason I've ignored my blog is, I want to launch a website. 

To those more tech-savvy than I, this must undoubtedly seem like that moment when the heroine (me, I guess) runs headlong from her first frightening encounter with the first zombie ( blog, duh) and straight to the front door of the zombie hideout! She opens the door, and turning to make sure she's lost the zombie, actually BACKS into the room ( cue the screechy, warning buzzer-like portion of the soundtrack). Well, I think you get the idea. Talk about beating a (un) dead horse. 

Long story short, after a very busy Fall of shows and teaching workshops, I'm starting a website. 

The busy, working artists who presented the IFA seminar made a very good case for using Word Press, which is summarized briefly here. I don't know how long it will take, but I'll probably import this blog (yes, it can be done, I checked) and go live with the basic elements as soon as I can. I'll add some of the more complex elements as the long dark winter goes on, and hope to be fully functional by Spring.

I'm looking to have the basics -blog, profile, portfolio, and news/events; plus more complex features such as a shopping cart and embedded You Tube channel for printmaking videos. I'll keep you updated on the whole horror show here. They tell me any idiot can do it, though I'm definitely not just any idiot. Heh.


Monday, December 5, 2011

The word "economy" refers primarily to the movement of a nation's resources; and secondarily, to an attempt to spend less. This sums up President Obama's "balanced" approach to stimulus and deficit cutting, in that order. Polls show this agenda is favored by a majority of Americans.

The GOP-dominated Congress has a radically different set of priorities, obviously, and we won't go into that now, other than to note that more Americans favor a Communist takeover than favor Congress right now.

'Nuff said.

The underlying issue, when to spur on, and when to rein in, spending is one every household and small business faces daily. For example, it would be counter-productive for me to stop spending on nice new frames for fine art prints, though I'd love to spend on nice new art books. So it's off to the library I go.

Ironically, it's schools and libraries and art museums that are the first to feel the blind GOP hackings, but I promised not to get into that.

So when non-profits come soliciting, it's easy to reflexively squeeze the coppers, but there's solid evidence that that's the worst thing we could do.

* Colorado's creative enterprises employed 122,000 people, according to a 2008 study. Another 64,000 worked in creative occupations in other sectors, for a total of 5 billion in earnings.
* This ranked as the 5th largest cluster of jobs in the Colorado economy, almost at large as IT and Biotech, and larger than Agribusiness.
* Creative occupations were expected to grow by 30-45% in the next 10 years, exceeding the state growth rate of 25%.
While these numbers undoubtedly pre-date the Bush recession, the potential for creative enterprise to help us climb out is clear. So I'm asking you to consider giving to the creative sector on Colorado Gives Day, Dec. 6th.

And here's why: A consortium of Colorado foundations, including the First Bank Incentive Fund, will be increasing each donation. For this penny-pinching artist, that's an offer I can't refuse. Shall we call it "Gold Tuesday"?

And since's it's my blog, I'm going to tell you where the Squish's hard-earned fun tokens are going. The Art Students League of Denver, which employs many creatives itself ( ahem), and which goes a long way toward filling in the gaps left in the state's education budget. I can tell you first hand that many who come to the League on a lark, wind up contributing to the state's creative economy.

I won't quibble with those who contribute to any charity, creative or not. It'll put money in circulation where it's needed most, and take people off the street. That's leadership! Just promise me we won't start acting like... Congress.




Friday, November 25, 2011


National Novel Writing Month is November, and I signed up to pledge my 50,000 words, like thousands of others. Is that why I haven't been posting here? Well, no. Turns out I'm just as bad at regular fiction writing as I am at regular blogging.

But here, just to get the ball rolling again, is an excerpt from the very rough draft of my "novel", an exclusive peek that is sure to go viral. I'd like my Nobel Prize in chocolate, please...

My Empty

What he actually thought he might see when he got to this point, he has no idea. Right now, what he does see, out through the cracked and fogged windshield, is nothing. An infinity of shifting white nothing. A swirling, thickened, distance-less nothing, a palpable absence of form and light made weirdly tangible in the failing grey afternoon only by the flakes that float, lift and corkscrew into the one operational headlight the old truck has. Out beyond the cracked and rattling side mirror, scrims of white flakes, sometimes parting, but only to reveal more flakes, moving in all directions, tiny inscrutable dramas of gravity and physics being played out, all according to stage directions unreadable to him.

He grips the wheel too tightly, without any sense of purchase or direction on the pavement, only a greasy gliding sensation. The tires aren’t that good, and he tells himself that relaxing his grip on the wheel, breathing deeply and gradually slowing down, will keep the worn rubber and drafty metal on the road. Just go with it, he tells himself. But he cannot shake the claustrophobic sense of dread that has gnawed and chilled him in this heater-less pick-up since Kearney.

It was then, he’d finally known that he was not home anymore. Home was back there, not a memory yet, nothing so real as that; yet omnipresent, though suddenly ephemeral and hazy, though he’d never left it before. He resolved to stop thinking about it.

Past Kearney early this morning, not thinking about home, then past Cheyenne. Its flat metal buildings and jumbled, fenced enclosures of junk cars, farm machinery, dessicated wooden relics of some sunny past, Interstate detritus beneath impossibly tall truck stop neon and dust blown gray asphalt, clustered and defending against... what? Outside the gray concrete ribbon with its halo of fast food trash, rolling sage of an almost blue/green against the dun ochre, cresting and troughing without definition, held, it seemed, only by the occasional blasted barbed wire fence, pinned tenuously, almost randomly to the Earth, though of course it was “earth”, but of a sort that didn’t seem to amount to much. Clouds appeared in the endless sky and suddenly overtook the sun. Cadres of fluffy white chargers stretching limitlessly into the distance, now thickening and turning gray, and soon he knew what it must be like to stare into the teeth of a vast and violent horde, seeing clearly your fate. Welcome to oblivion.

Rock formations now appeared on the ridge, squat and hunched like beaten soldiers, as the gray upon gray clouds, steel colored clouds, torn and ragged in the hoarse wind, rolled into the dun colored canyons and stunted blackened evergreen scrub, shearing off the tops of the mountains and blurring whatever features in the landscape the wind had not scraped away or turned flat and faceless. An unforgiving nothing.

The truck chugs up a long grade. There are a few other cars whirring past, rushing to warm places trying to beat the storm. Lights are sparse and receding as the buildings and cars grow fewer. A fat snowflake, then more. He is in the teeth of something, and doesn’t know where he even is, though of course he is not home.

The vast and meaningless landscape now closes around him, tethered to concrete, navigable reality only by the withered barbed wire fences and split, crone-like posts that recede grayly into the chill void. Another vehicle, lumpish and ghostlike, leaves a double furrow ahead. Its tail lights glow pinkish. Telephone poles slide by at measured intervals, carrying into the lowering darkness messages unheard, the whispered trivia of strangers, uncomfortable silences. As the tailights disapear, he finds the poles to be his only anchor in reality. The truck whines and gnashes through the icy slush, then seems to breathe and to settle in. he takes his foot off the accelerator. They are at the summit.

It is dark now and silent. Agitated luminescent flakes part and veer away into the blackness behind him. He downshifts carefully, feeling a slight swerve as he does, a loosening of discernible intention, a failure of control. Like a hurtling missile, he is without purpose, really. The trajectory has been pre-measured and between theses steep canyon walls, swooping from left to right gingerly in long switchbacks, his path is no longer under his control. He is floating, weightless, part of an object without sentience or compassion, a missile bound to the end of its arc, from whatever weird impetus put him on this road, toward whatever lay at the bottom of this steep descent. His momentum is palpable, thrilling, lethal.

Swirls of dry snow rise from the wheel wells, ghosts of whatever silent trackless gradient existed before he hurtled through.

Then there is a black spot, and another, hissing wetly as his wheels hit. He dares not antagonize the brakes until another, larger one appears and then a stretch of liquid glistening pavement and he slows, and the road clears, the grade softens, and behind a long looping curve and the steep black silouhette of a hill are the occluded lights of a medium sized town, glowing vaguely through the storm, a long way away still, but he’s off the mountain and rescued from his terrible momentum and calmed down enough to reach for a cigarette and he thinks about a beer.

“You won’t like it there.”

The memory of her voice, bodiless, separating itself from the whining tires in the road hiss.

“How do you know?”

“My dad went through there once. There’s nothing there.”

White letters on a green reflective sign. A place name he’d seen in a western movie, then never troubled himself about again. Well it would have to do. It wasn’t where he’d intended to stop, but it would be home for tonight, wherever it was. He slowed and the first billboard appeared, then fences again, rusting agricultural metal in the darkness. An empty parking lot by a shut down road house, and then a giant cowboy, white, yellow and pink neon reflected in mercurial rivulets in the wet asphalt, tipping a blue cowboy hat in the air, then replacing it on his blue-haired head then tipping it again. "Howdy! You’re at the Ranger, where the West begins! Vacancy."

“Howdy,” he mumbled through the cigarette filter, then cranked the wheel into the lot, and coasted up to the bar.


Thursday, June 30, 2011

What a Day for a Daydream

Art Students League Summer Art Market is my biggest show by far each year. This year was no different, as a more spacious layout made for a more pleasant experience, and the traditionally perfect weather made a return, after last year's chilling drizzle.

I really enjoy this show on many levels, though its ability to pay bills certainly colors my perspective. But the people, many of whom are now longtime friends, really make for an enjoyable though exhausting weekend. And friends and family seem to have picked up on how exhausting, yet important the show is to me. I get lots of offers to help schlep art and equipment, bring me food, or just to come down and say high during the long days. Thank you to all from the bottom of my heart!

But the show has become a validation, for many of us in the struggling artist brigade, of what we are trying to accomplish. The art has gotten stronger, sales steadier. Even on a most basic level, it's refreshing, while standing 10 hours a day on hot asphalt, to see so many people starting to get it. Buying original art is a very different thing than buying a giclee reproduction, or decorative object.

When you buy art, not only do you put cash into the local creative economy, thus making it stronger, more innovative and more able to contribute to the region's educational and cultural needs, but you make the art itself stronger. Money is time, and more time spent by experienced artists in the studio means you won't have to fly to NYC to see great art; mature, well conceived and refined.

While you are doing that, you can bask in the mountain sun, drink a beer, and talk to those same artists in your flip flops. How they got in your flip flops, you'll never know.

My next street fair show is July 16-17 on the Pearl Street Mall in Boulder. Stop by and say hello.