Information about Harriete Estel Berman Feed

Use Your Camera As An Impartial Opinion - A Third Eye

I've been working really hard for the last three months on a major piece. The deadline is looming, I can't take a day off to look at my work with a fresh eye. This is a real concern.

TuBishvat seder plate in progress by Harriete Estel Berman
TuBishvat Seder Plate in progress. View every step from the past 2 1/2 months on Flickr.

emiko oye and Aryn  Shelander work on the TuBishvat seder plate in progress by Harriete Estel BermanLeaves7457.72800Sometimes, I am lucky enough to have my husband, children or studio assistant offer their opinions. Thank goodness!


An impartial opinion and a fresh set of eyes are absolutely essential.

emiko oye and Aryn Shelander working on the TuBishvat seder plate in progress by Harriete Estel BermanAryncloseleaves72.800.7462
emiko oye and Aryn Shelander working together to fine tune the images in tin.

But all too often, like last night, I am by myself making really important decisions with no one to offer an impartial opinion, a third eye. After hours and hours of working each day, I am running into decision fatigue and can no longer see my work objectively. Does this ever happen to you?

It's a real problem -- the brain compensates by filling in less than perfect information. How can I find out if my next solution is "working" visually? How can an artist see their work with a fresh eye when there is no time to take a break?

TuBishvat seder plate in progress by Harriete Estel Berman TuBishvat seder plate in progress by Harriete Estel Berman

Here's one solution:

A few quick photos in the studio can really help you see your work in a new way.

TuBishvat seder plate in progress by Harriete Estel BermanTuBishvat Seder plate without leaves at the top of the apple.

Take out your digital camera and take a few photos.

Upload to your computer and evaluate the images.

Here is an example.  Compare two possibilities.

TuBishvat seder plate in progress by Harriete Estel BermanTuBishvat seder plate in progress by Harriete Estel Berman

The left image has three leaves on the top of the apple. The right image has one leaf over the top of the apple.  Which do you like better?

The photos can help you see your work in a whole new way. 

Next time you're "stuck" trying to make a decision, take a few photos.  Or, . . . another person I know scans her work on her scanner.  Either way, capture an impartial opinion - a third eye and a fresh perspective on your work.

It really works!


Next Post: Planning the best possible photographic images of your work.

Handcuffs, As Jewelry? - Symbol of Oppression in Fashion

When my daughter was fourteen I started “The Fulsome Game” (see photo below), inspired by the comparison (or should I say the shocking similarity) between three different game boards from 1966, 1967 and 1995. Adding to the culture shock for this women’s lib mother/artist were the magazines marketed to young girls filled with underwear, make-up, nail polish and articles about “how to look good” or “what do boys want in girls.”


Our culture sells this fulsome game of excessive advertising, consciously and subconsciously selling an incessant message that limits females to stereotypical roles that superficially focus on appearance instead of substance.

Fulsome Game by Harriete Estel Berman sends a powerful message.

When will women be unshackled from the limitations of these formulaic and limited roles?

DiceGRRoll the dice…

Well, I couldn't believe what I found in a recent issue of Elle Magazine discovered at the gym. What I thought was going to be entertainment turned into concern when I noticed this image below
                                  handcuffs as jewelry!


I (reluctantly) borrowed the magazine and scanned the page for your viewing. 


The above image was taken from a full page fashion spread of HOT items currently "in fashion." Something is wrong
here if "hot fashion" items are handcuffs for women as jewelry. 

Sure you can say, "don't buy it".... but I am objecting to the message.

In case you think that the one pair of handcuffs was an anomaly here is an entire page of hand cuffs as fashion accessory from the same magazine.


Interesting that the handcuffs are shown with very high heels on both pages of fashion images. The high heels give the appearance of longer legs, but at the extreme they incumber womens' ability to walk. The extreme high heels themselves are like ankle shackles. Handcuffs as jewelry??!  Bondage as metaphor?!! An amazing combination of shackled hands and ankles.

I want to be as fashionable and attractive as most other women....but why is it that "fashion" thinks it is attractive to wear items of subjugation and pain (handcuffs and extremely high heels)?

MORE BACKGROUND BELOW ABOUT MY COLLECTION OF GENDER specific games that inspire my past artwork (some highlighting handcuffs).
Come to my studio
to see the extensive collection of toys.

Fulsome Gamer by Harriete Estel Berman uses handcuffs to send a powerful message. _fullview72

As mentioned at the beginning, "The Fulsome Game" was inspired by three vintage game boards that I collected in my feminist study of our material culture. 

What ShallI I Be Board Game owned by Harriete Estel Berman inspires artworkThe oldest game is titled “What Shall I be? The exciting game of Career Girls” © 1966.

It offered six possible careers to young girls playing the game: ballerina, model, actress, flight attendant, nurse, and school teacher. 

Game cards in the box make a range of comments, some positive and many negative, for example
YOU ARE A QUICK THINKER. Good for: Airline Hostess and Nurse”
YOU ARE OVERWEIGHT.  Bad for: Airline Hostess, Ballet Dancer and Model."
"YOU ARE PRETTY. Good for: Model and Actress."
"YOUR MAKE-UP IS TOO SLOPPY. Bad for: Airline Hostess and Mode."l
"YOU ARE A SLOW THINKER. Bad for: Airline Hostess and Nurse.Another game board."

Continuing with more revelations from my collection of gender specific toys:

Front.72 Back72

Side372Above and left is the front and the back of a “Campus Queen” lunch box circa 1967. The lunch box came complete with a thermos, two magnetic game pieces and a spinner.

The game board had spaces with statements like:

Roll the dice, advance thirty years!   In 1997 my eight-year-old daughter was given a Barbie game called, “’ We Girls Can Do Anything GameWe Girls Can Do Anything’ Game, Travel the Path that Leads to the Career of Your Dreams” © 1996.

After all of these years the career options had improved only slightly (didn’t the feminist movement have any impact)?   Now, the career options are: ballerina, fashion designer, actress, musician, pilot, and doctor, but every character is dressed in Barbie pink including the pilot and doctor.

I could not hold myself back from this commentary in the piece "The Fulsome Game" .

Here is a really interesting video that adds some further perspective. Read the comments. What do you have to say?




Make Work YOU WANT TO MAKE and then... THE WORK Will Find a SHOW

I have spent the afternoon reading Ask Harriete.  Often times, I see a show I feel my work would fit into...due to the subject matter, title, etc., however, there is NOT enough time to create a piece and get it submitted in time .  After reading what you say in the Etsy Recycler's Guild interview of Harriete Estel Berman interview (from Etsy Recycler's Guild  , I am surprised to see, that you most likely enter shows after the work is done. 

Or as you once told me, you shop the work around in order to find an exhibition space.  So, what can you offer to those of us who have the problem?  

Mary Anne Enriquez

Harriete Estel Berman standing near Measuring Compliance at the exhibition ManufracturedbstandingThis issue often causes artists and makers to feel overwhelmed.  Your schedule is already full and then an opportunity arises that would demand even more time. Who can just drop everything and start
                                                    something new?

Although I do make work for some shows (and will show some examples in the next post on ASK Harriete),  I prefer to make work that I want to make based on my long term goals.

I recommend that all artists and makers make the work they want to make.

Measuring Compliance Poster
Measuring Compliance Poster
portrays sculpture by the same title.
Measuring Compliance © 2006
Recycled materials, 3rd grade desk,
3rd grade chair, banners, custom made
straight jacket, yardstick, rulers.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

It is the artist's or maker's responsibility to bring  important or significant ideas to fruition without the dictates of a theme, exhibition or invitation. Maybe these ideas are big, expensive, demanding, or even scary. So what if it takes a year or more to finish because you have to put it down, work on your day job or other art work that makes money. Just keep working with the big goals in mind.

If you wait for a show invitation to start making something big or important, you may never get around to creating significant artwork. Too often, I have heard from artists expressing disappointment that they didn't  get invited to be part of a particular exhibition even though they had been thinking about making something that would have been "perfect" for the show.  Don't wait for a show to prompt the making . . .  start making.  By waiting to make something "for a show" ... they lost an opportunity.

The emphasis is on making work that is challenging, significant, and stands on its own . . .  not making work that fits into a show in a few weeks.   Make work that you will be proud of for a lifetime.  Sooner or later a show or some other opportunity will turn up that is right for your work -- not the other way around.

Alyssa Endo working on Pick Up Your Pencils, Begin HERE IS AN EXAMPLE:
I just finished the project Pick Up Your Pencils, Begin.
It took the better part of five years. I often had to put it away until  I had time or help available to work on it.

Penci lBrotheres Pencils in Pick Up Your Pencils Begin by Harriete Estel Bermans582bellcurve

Most often, the bigger or high risk projects aren't necessarily the ones  that will sell, but they may become the "show stopper" that establishes your reputation years later.

Close up of Pencils fabrication Pick Up Your Pencils, Begin by Harriete Estel Berman Here is my real life example.    The  day before I finished Pick Up Your Pencils, Begin, a major magazine emailed about writing an article on a topic highly relevant to this work! Wow!!!!! They need photos of the installation, so now I need to find an exhibition space.

This wasn't magic. I have also been working on documenting the construction of this artwork, writing about it on my web site, Facebook, my blog, Crafthaus and other social networking sites.

Website for Harriete Estel Berman The editor had become aware of this project from my web site. I've had a link on my HOME PAGE ever since I started the project.

Apparently editors and writers spend some of their time "trolling"  the internet for ideas and new work. Marthe Le Van, editor for Lark Books talked about this during her presentation for the Professional Development Seminar. A lesson to all of us to keep making your work, documenting your progress, never give up...steady progress wins the race!

MAKE WORK YOU WANT TO MAKE and then... find an exhibition space.

Anyone know of an exhibition space for Pick UP Your Pencils, Begin?

I'd love to hear your ideas! There are 3-4 weeks before the article goes to press.


You can see the documentation of Pick Up Your Pencils, Begin on my web site.

NEXT POSTS on ASK Harriete:

  • Is it fruitless to even think of creating something fast to get into a show?
  • How Do You Find Exhibition Opportunities For Finished Work?

The Billboard Art Project Breaks ART BOUNDARIES in Duluth, MN

Normally we see art and craft in galleries, museums, stores, or online -- seldom does a venue actually reach out to the general public.  Well, that's about to change!  The Billboard Art Project breaks through all the ivory tower gates and grabs the attention of the commuting audience with BILLBOARD SIZE IMAGES of art.   AND . . . my artwork is included in the Billboard Art Project!   How exciting!

Two teacups by Harriete Estel Berman  from Consuming Conversation on a Billboard in Duluth MN as part of the Billboard Art ProjectA billboard obtained from Lamar Advertising by The Billboard Art Project will display site-specific artwork for a continuous period of 48 hours on their billboard in Duluth, MN. They selected 59 artists from all over the U.S. and Europe to have their artwork images exhibited in an eight-hour show that will repeat six times. The images in this post will be shown along with the other artists beginning at midnight Friday night through Saturday and Sunday until midnight Sunday night. Wish I could see the real thing. 

Three cups from Consuming Conversation by Harriete Estel Berman  on a Billboard in Duluth MN as part of the Billboard Art ProjectIn addition to providing artists with a free venue to display their art, free art shows are provided to the public, thus initiating a dialogue between artists, viewers and the public landscape. How cool is that?

Three Art Jewelry bracelets by Harriete Estel Berman are part of the Billboard Art Project in Duluth, MNtH
WHERE: Billboard Art Project - Duluth, MN

LOCATION: Digital LED Billboard at the intersection of
               E Central Entrance and S Blackman Avenue
              (southeast corner)
               Duluth, Minnesota, 55811

WHEN: Saturday, August 20th at 12:01 a.m. through
           Sunday, August 21st  11:59 p.m.

Series of Golden Girl Bracelets from the Californina Collection of Jewelry by Harriete Estel Berman is part of the Duluth, MN Billboard Art ProjectlleABOUT:
Billboard Art Project is a nonprofit organization that acquires digital billboards normally used for advertising and repurposes them as roadside art galleries. Projects are held in cities all over the country and are open to all individuals and groups who are interested in participating.

PARTICIPATE in the Billboard Art Project:
If you want to submit images of your art or craft for future locations, more information can be found at The BillBoard Art Project. Each city has different requirements, dimensions, and deadlines. Read the PDF super carefully! You have to resize your images to fit the Billboard dimensions, and it takes time to label your images properly. Your fabulous images could be a billboard.  I think this is a fabulous idea!


PARTICIPATING ARTISTS for Duluth, MN listed below:
Alex Lange, Alli Miller, Amanda Mead, Becky Kehrwald, Brian Barber, Brian Nogues, Brian
Rauvola, Cat Bottoms Newby, Chau Dang, Claire Accardo, Connie J. Frisch-Cherniak, Dana M. Johnson, David J. Thompson, David Morrison, Elizabeth Shores, Ellen Mueller, Erin O’Daniel, Erin Rolf, Flavio Galván, Ginny Lloyd, Happy Accidents, Harriete Estel Berman, Jacob Riddle, Jason Sayner, Jeredt Runions, Joelle McTigue, Joshua Barber, Julia Whitney Barnes, June Bisantz, Justin Anderson, Justin Jorgensen, Karlie Thomas, Katerina Lanfranco, Kelsey Bosch, Kerry Woo, Kiyomi, Kristian Bjørnard, Laura Cinti, Laurel Beckman, Laurie Paravati, Luisa Pulido, Marcellous Lovelace, MaryAnn Cleary, Michael Harford, Michele Guieu, Mitchell Bercier, Nadia Pacheco, Natalee Parochka, Natalee Phelps, Phyllis Fox, Rachael Gorchov, Rachel Halgren, Sarah Jacobs, Scott Murphy, Seeking Kali, Shaun Irving, Stephanie Thompson, Tracy Stampfle, Wes Kline

Craft Forward Symposium 2011 - Keeping Your Radar Up for Opportunities

The Craft Forward Symposium 2011 is sponsored by the California College of the Arts on April 1 to 3. I've been hearing about this upcoming symposium for over a year through a whispering "telephone game" in the San Francisco Bay Area. The Symposium is almost on my home turf. (Actually it is an hour a way from my house.)  I plan to attend and gobble up every word.  I don't want to miss a minute!

Grass_SWangle The Symposium will also feature an exhibition titled, Manufractured. This show is a new iteration related to the book of the same name (which includes a whole chapter about 41+veDJYNuL._SL160_my work). The premise of the exhibition is that all the work uses re-purposed manufactured materials. (More in a future post.)

The lead up to is Craft Forward symposium and the exhibition Manufractured are good examples for every artist and maker.

Radar-dish_Antenna 1) The importance of keeping your radar up for opportunities. You've got to be listening to the rumors, working with your local arts organizations, and reading your magazines to catch the opportunities. (see the bottom of this post for another opportunity.) 

While the list of speakers makes this a really interesting EVENT (YES, EVENT with capital letters), it doesn't seem that it was very well publicized. Why?

Measuring Compliance sculture about education by Harriete Estel Berman 2)  Every artist and maker will benefit from the nuggets of information from the speakers of Craft Forward. I plan to write something about every "session" so that everyone can benefit from this symposium.

Subscribe to ASK Harriete or check back regularly.This is our chance to hear what the leading lecturers, curators and writers have to say about the future of our respective and collective medias.

Every post will be as brief a possible. I will try to organize each blog post:

  • Title of lecture with session speaker(s)
  • Summary
  • What did I learn?
  • What were the thought provoking issues raised? 
  • What questions were Asked and Answered?
  • Background about the speakers.

GameBoardgreen1wed Share this information with your fellow artists and makers. Give a shout out! 

"Craft Forward examines the multifaceted practices that both distinguish and blur the historically charged boundaries." "The symposium brings together a diverse group of makers and thinkers to explore the ethos of craft and its resurgence in the 21st century."

This blog post is your early notice. Stay tuned for daily blogs for about two weeks until each and every lecture, presentation, event and discussion is covered.

Stay tuned.


Below is information from the Craft Forward web site about who is sponsoring the symposium:
"Generous support for the Craft Forward symposium is provided by an anonymous donor and the National Endowment for the Arts (NEA). Additional support is provided by Grants for the Arts / San Francisco Hotel Tax Fund and by the Chalsty Aesthetics and Philosophy Initiative, made possible by a grant from the Chalsty Foundation. Special thanks to the American Craft Council for their partnership in the realization of the symposium."

What does Craft Forward mean to you?GameBoardgreen1wed

MOO cards HORIZONTAL72 P.S. Great MOO discount if you never bought Moo Cards before. A 20% discount off  your entire order until the 30th of March. Use this unique code M6QMNG

Remember, it's only valid until 11.59pm (PT) 30th March 2011 - so place an order before then! You should also  know that the 20% discount does not apply to Shipping, Rush Printing, or Logo Design.

MAKERS: A History of American Studio Craft - HOT OFF THE PRESS!

IMG_5245 Arriving home from my family vacation at the beach, I found a mountain of mail waiting for me.  But thrill upon thrill, there was my copy of Makers: A History of American Studio Craft, HOT OFF THE PRESS!  Ordered weeks ago, it has finally arrived!!!!!.

This book took five years of research and intensive effort from Bruce Metcalf and Janet Koplos. As mentioned in a previous post, this book was designed and written as a college level text book on the history of craft in the 20th century published by The University of North Carolina Press. It looks like a text book with only about one picture per page. This is definitely not a picture book. IF you aren't familiar with craft history you might want to read this book next to an internet resource for quick reference.

Makers: A History of Studio Craft

Essentially, it is the one and only book of this kind published to date. Your mission, if you choose to accept it, is to read the entire book word for word, cover to cover.

Joking aside, I am not kidding. This book is bound to be a milestone in the studio craft movement of the 21st century.  

Hourglass Figure: The Scale of Torture
Recycled tin cans, battery motor, alum.
rivets, dial, screws.
Artist: Harriete Estel Berman
© 1994
Photo Credit: Philip Cohen

The first chapter starts with "The Roots of Studio Craft" in the 19th century, but thereafter, each and every chapter covers one decade after another in the 20th century. My joy and excitement is that an image of my work, Hourglass Figure: The Scale of Torture, is included in the final chapter titled, "1990-1999 Mastery As Meaning" along with a column of commentary text.

So far the best price I've found for Makers: A History of American Studio Craft is on In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

IF you don't want to buy your own book, then I suggest you ask your local library system immediately , and put your yourself at the top of the waiting list.


How do you find venues for your work? Asking ASK Harriete, the artist, a few questions

"Hi Harriete!
Ive recently been listening to all the past Whaley studios blog radio programs and have gotten up to your interview a few weeks ago. What a great interview! It gave me a chance to know a little more about you and your work...from your own mouth!

After listening I had a few questions about your installation/museum work: How does it work? Do you come up with an idea, make the work, then try and shop it around to different venues? Or do you try and fill an already perceived need a venue may have? Or something else?

What sort of monetary arrangements are there (if any) for just showing the work (instead of the piece being acquired by a museum)?

Stevie B.

Grass/gras' sculpture close-up © 2001
Recycled tin cans, steel base
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

That's a lot of questions.I will do my best to give you some quick answers.

Grass/gras sculpture about our consumer society by Harriete Estel Berman
Grass/gras' sculpture close-up © 2001
Recycled tin cans, steel base
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Mostly, I come up with an idea, make the work and then "shop it around", as you call it.  This takes a  considerable amount of time from start to finish. For example, the Grass/gras' installation took a year to make plus another year to finish the Grass/gras' video. The series of 200 cups titled, Consuming Conversation (see images below), took four years plus another year for the two videos. In both cases I photographed earlier examples and started promoting the work before it was finished. Considering the entire effort, both projects took several years from inception to the finished work because I need to keep up on other work that makes money during the same period.

It often takes years until a piece becomes known, shown in exhibitions, or published in books or magazines with images widely distributed. The Internet really helps with that aspect of promoting your work, but it is important to maintain your focus and keep on working no matter what.

Hourglass Figure: The Scale of Torture
Recycled tin cans, battery motor, alum.
rivets, dial, screws.
Artist: Harriete Estel Berman
© 1994
Photo Credit: Philip Cohen

Sixteen years after completion, Hourglass Figure: the Scale of Torture is  included in the book Makers: A History of Studio Craft.  I haven't seen the book yet, but this is really big news! You have to plant your seeds and nurture them. You can not wait for opportunities and invitations to show up, you need to create the momentum by working all the time.

Pencils Sharpening System in the studio of Harriete Estel BermanI have been writing about a current artwork in progress involving a bell curve made from #2 pencils on my web site and Facebook. This is the fourth year of working on this project, but I am really trying to finish it this year. When I have some preliminary photos, I will start looking for exhibition spaces.

There is no money that I know of for these big projects. Once in a great while I get a little money to make a video or to speak about a piece. Big projects like this are time consuming, drain my financial resources, drive me insane, fill me with self doubt and torture -- it is not a picnic.  Yet this is what I see and must do.  It is my expression of art.

Next post answers the question: "How do you transport the larger work?"  Another real world question from several readers  of ASK Harriete.


Consuming Conversation a series of 200 teacups construced from recycled tin cans.

Consuming Conversation © 2004
Teacup sculpture from recycled tin cans.
Handles are sterling silver, or bronze.
This was the first photo I had for the
series and started promoting the series
through this image with note cards
and images. 
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Anticipating History - MAKERS: A History of American Studio Craft

41OiZd-LhGL._SL160_ Makers: A History of American Studio Craft is the only comprehensive survey of modern craft in the United States and the release date is July 13, 2010!

This book follows the development of studio craft media including  fiber, clay, glass, wood, and metal from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century.

Culminating after over five years of research and dedication from the authors Bruce Metcalf and Janet Koplos, this book provides a college level history of 20th century craft. But there is no need to go to college for this class, as the book gives in-depth perspective to inform your studio work. 

Many times craft is considered just a description of materials or techniques when in fact, craft can contain social and political commentary. As we enter the 21st century, the act of making or crafting by hand is in itself a social commentary.  When "makers" deliberately decide to make work in a time of mass produced consumer goods, craft is not just a media, not just a verb, but a symbolic action. 

Increasing Quantity Diminishing Value a sculpture as commentary about our consumer society by Harriete Estel Berman
  Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman
© 2001
 Photo Credit: Philip Cohen

Due to the depth and range across so much media, this book is destined to be the consummate resource about the history of 20th century craft work.  By understanding the roots of craft media in the 20th century, both the makers and their audiences can more fully appreciate and recognize the value of craft in the 21st century.   

I've already pre-ordered a copy.  Personally, every time a UPS truck drives up near my house, my heart jumps out of my chest.  Is my book here yet?  I am so excited!  But then I go back to work  . . . anticipation is  . . . well, more inspiration until my book arrives. Can't wait!  And I have a secret to be revealed as well!!!! 

Increasing Quantity Diminishing Value a sculpture as commentary about our consumer society by Harriete Estel Berman
 Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman
© 2001
 Photo Credit: Philip Cohen


So far the best price I've found for Makers: A History of American Studio Craft is on  (Even better than the price I paid, Aw Shucks!!!)  In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

Grass closeup view of Increasing Quantity Diminishing Value a sculpture about the environmental impact of lawns.
Increasing Quantity, Diminishing Value is about the environmental impact of lawns on our environment. Constructed entirely from post consumer tin cans, this series of grass sculptures highlight the grass lawn as an ultimate consumer icon of American culture. Watch the video featuring the construction and motivation behind the Grass/gras sculpture on my web site or YOUtube. 

April Flower Brooch in Honor of Earth Day

Every day through the month of April I am going to post a new Flower Brooch in honor of Earth Day. Constructed from post consumer recycled materials, each brooch is a combination of this springs fashion focus on flowers and prints.

April Flower Brooch Blue and Yellow constructed by Harriete Estel Berma from recycled tin cans in honor of Earth Day
Flower Brooch Blue and Yellow with Purple Center     © 2010
Post consumer recycled tin cans.
Artist: Harriete Estel Berman                   Photo Credit: Emiko Oye

Hey, I'm on TV working in the studio.

Eons of Exodus Seder plate by Harriete Estel Berman
Eons of Exodus    ©   2008
Recycled tin cans, Plexiglas, 10k. gold,
sterling silver and aluminum rivets.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen
Permanent Collection of the
                   Minneapolis Institute of Art

If you live in the San Francisco Bay Area, KQED (the local PBS station) is doing a repeat broadcast that includes my 3 minutes of TV fame on SPARK. This story is about the Contemporary Jewish Museum and the exhibit “New Works/Old Story: 80 Artists at the Passover Table”. You can see me working on my seder plate in the studio and talking about the inspiration behind this work.

The episode will re-broadcast on KQED-TV 9 on Wednesday, February 3, 2010 at 7:30 pm and will ... re-repeat on Friday, February 5, 2010 at 11:30pm.

This episode can also be seen in the South Bay/San Jose area on KTEH-TV 54 and KQET-TV 25 (same airdates as KQED-TV 9).  Click here for listings on KTEH-TV 54

IF you don't live in the Bay ARea and still want to watch this segment online, a profile about The Contemporary Jewish Museum can be found on the Spark Web site. CLICK ON THIS LINK TO WATCH THE ARCHIVED VIDEO stream of the story:
Hope you get a chance to watch it! You need to have "Real Media" to play the online video. This is free to download.
Let me know what you think.

Updates from Boris Bally

Here is an UPDATE from Boris Bally.

BorisBally A previous series of posts about late or non-payment from galleries/stores included an account from Boris Bally  about his experiences. He would like to add this addendum from the "pen of Boris Bally":

Regarding IMEC

I was stunned today to discover a check (no note) in today's mail. I finally received payment from Luis at IMEC- in full! (there were no finance charges assessed, as i wasn't aware how long ago (since the 14 months-or so- that i sent the work) the pieces actually sold (due to poor communication.) This is why I continue to dislike consignment with disorganized galleries- ugh! If Luis had paid me, or even communicated with me when I wrote my first note, I never would have thought to come forward with my story. 

Regarding Robert Kaylor, R Grey Gallery in Boise, Idaho

Yes, they finally paid the amount due and later (actually) paid me yesterday (!!)... for the final interest balance.. that they questioned (!!) 

So we are all squared away after months (of no communication).  They didn't reply to tell me they were paying the balance off.. otherwise, I may not have used them as an example.  Again, a small communication would have helped them.  go figure!

It is a good lesson that a little communication goes a LONG way! Anyway, I want to thank you, Harriete, and Joan, for helping raise your voices in solidarity, and to give mine more range. In the end, who knows why I eventually got paid...? I am just really happy to end on a good finish and be DONE 'neatly.' THANKS a million!