Salon 49 // Movement

And hello welcome to tax expressionist salon number 49 the topic of this salon is movement and we're here to discuss that idea and concept and sort of the purpose of this salon in terms of timing is to look at it as a little bit of a wrap-up to the show at Southampton Arts Center which just recently closed on july 23rd and also look forward as far as the future of the project and what you all you know envision and I just wrote down a couple notes to kick the conversation off the first one is a question and that would be posed to anybody in the room which would be what is an art movement the second question is what would you like to see in the future of expressionism and the third one a little more pragmatic is there a specific initiative that you would like to take the lead on so if anyone has an idea or say a contact to follow up on or the idea of a space that we could start working with or basically anything you know that would be sort of the gist of that piece one thing I'm just going to throw out there just before I open it up and if you guys want to use that raised hand tool you know that would definitely help me get the different people want to share sort of in the queue what I've been doing on a regular basis and this is really something I was doing in the beginning like sort of obsessively was using the hashtag Techspressionism on Instagram and then later in I've started to use it more in twitter started using some harvard hashtag tags I found things kind of fascinating I started using of optionally with little fire emojis after it that's one that I tend to for some reason people respond to that hashtag expressionism fire fire fire but like using that as a comment on other people's work that I think wow that's like expressionist work that like epitomizes it almost always people like that and I would I would probably guess that some percentage of those people are like what the hell is that and they click the hashtag and look at it and dig a little deeper and that's the whole sort of side of this that you know to me relates to memetics and how this thing spreads and so that's one really simple and fun way and I find actually when I do that I end up getting more engagement with my own content because people are like who is this person and why are they tagging my work with this term that I've never heard of before so you know it could kind of work in a recursive way and then lastly like I said I'm gonna open it up and you know I did invite anybody involved in any of the nodes which are these international subgroups to come come in and sort of talk about what they've been doing and I see that renata has her hand raised so I'm going to pass the mic over to her first great

Thanks colin I have a couple of remarks or comments or questions first for you the meeting or sorry the panel with christina and I are going to ask you to the recording of it, that I had a meeting with Clive in person here in Toronto and he said that was probably the best single thing that's happened to us, is to have the adjunct curator of digital art from the Whitney see the show. I believe she saw the show, but how can one capitalize on that?

Well, I did, you know, I reached out to her via email. I wasn't in direct communication with her at all through the planning of that panel discussion simply because, you know, So. Hadn't made that connection. Paul actually you know recommended her as a moderator I believe to the people at James Lane who were kind of the organizers.

Colin Goldberg

And so, but I did, you know, I was copied on a couple threads. So, I did email her you know to thank her for her participation, and also to ask her if she had, you know, received a hard copy of the catalog. And if not, you know, I was happy to mail it to her. I did get an auto response back that she's basically not checking her emails regularly until the fall semester starts.

Colin Goldberg

So, you know, like I'm not really I don't have any expectations but I did follow up on it. And I did. And I mentioned that it would be interesting if she has any, any interest you know in the idea of expressionism at large, to, you know, invite her to maybe have a conversation that would include also Helen, because I think that you know the combination of Helen's curatorial background which relates directly to expressionism, whereas Christian is coming at it from the history of digital art. It's sort of would be really interesting, you know, to see both people's experiences.

Take on what's going on with this project early on I bet early on and as the show is running I invited her in because I ran a journal with her at the Whitney called intelligent agent for 10 years and that sort of thing so I said you want to come over and take a look at that you know and that sort of thing she said she was gonna come over and I think that you know with Paul following up on it with her and that sort of thing that probably you know gives you know that But in other words it's probably solidly in her head now, you know. So thing is that you know saying something like capitalizing. Well, I mean it's just really the matter of just you know in order someone at her. It's a matter of just keeping visible, keeping active, and, you know, just stay on the radar.

Patrick Lichty

And, you know, in other words, it's, and, you know, that's, that's really kind of like, good work, good relations, you know, usually does that sort of thing.

Yeah, I absolutely agree, you know, and I feel like honestly, the most interesting thing that could come out of it would be her engagement and conversation about the ideas behind this, you know, and the idea of what constitutes an artistic movement in this sort of networked age, you know, and how that might relate to artistic movements of the past, things like that, you know, I mean, the Tech Week panel was specific to the blockchain, but I think, you know, her, her sort of area of interest is sort of digital art on a broader, in a broader sense, right, I did get that book of hers a while back. And I think that, you know, the sort of the nexus of expressionism and its traditions, and the evolution of digital art and technology based work in general, I think, you know, this would be a fantastic, place for conversation like that to happen.

I'll give a little insight on where she's coming at is that one, one thing that she's, you know, she's all right with you 2D stuff, but I think what's going on here is, is that, just in my experience with working with her, she's really interested in the, you know, in what is digitally native, you know, so in other words, it's like, you know, like the, like the earth piece, you know, that got bought, you know, so I think that's a really interesting thing. I think that's, that's the sort of thing that's, you know, really kind of like in, in, in her, you know, where she's going, and maybe Michael Rees's piece, you know, in other words, these things that, you know, that don't exist without, don't exist outside of the digital realm, you know, and that sort of thing and it requires, you know, digital technology to, you know, to exist.

Patrick Lichty

And that sort of thing. So it's, that's just, that's just my. You know, but the thing is, is that I think the other thing is that, you know, go to the Whitney there, you know, she has a, she has a part of it called the airport. And, you know, it's work that's commissioned and it's usually something that's interactive and, and, you know, dealing with networks and digital technology. And, you know, that, that kind of gives you a beat on what someone like her is interested in.

Absolutely. Yeah.

Patrick, when you say Michael Rees's piece, are you speaking about the inflatables?

Yeah, yeah. But the thing is, is that Michael's, Michael's piece, you know, has the AR component, you know, in other words, there's a physical component, but, and then also like Claudia Hart combines that, you know, she's been doing that has a, you know, painting and sculptural component, but also has an AR component. In other words, it's like things that are, you know, if you've read some of her articles. And one of the things that she kind of says, well, you know, hanging JPEGs off the blockchain, you know, isn't necessarily interesting to her, you know, and there's like, it's, you know, it's, it's fine, but it's like, how do you do things that are medium specific, you know, or platform specific that, you know, exploit the space in which it's being shown that are specific to that, that particular way of showing.

Patrick Lichty

Does that make sense?

Yeah.

Yeah. So, you know, that. So, but the thing is, is that, you know, there are probably about 15 or 20, you know, key curators around the world who are, you know, dealing with, you know, digital art and that sort of thing. You know, it's like Omar Khalif over at the, over at the Sharjah and who else?

Tina, Tina Rivers-Ryan at Albright Knox.

Yep. Yep. Yep. Yep. Yep. Yep. Yep. Taylor actually mentioned that he reached out to her and mailed her a physical catalog. He hails from Buffalo. So he's got a connection with the Albright. I know Anne. Anne's working with her. Is work with her as well. So Davo, what's up, man? Good to see your, your JPEG hanging out in the Zoom room.

Colin Goldberg

Let's see. We'll open it up. Hey, what's up, man? Yeah. Yeah. Yeah. Yeah. You got your hands up. I see.

Yeah. Thanks. So I, you, you asked really good questions. They, they, they're ones that I've sort of been mulling around as well. So, I mean, historically, most movements tend to have happened because people were in close proximity to one another typically. And we are glad that we're able to do that. But I think it's also important that we're able to do that because we're able to do it in a global way. And so the, the reach that we have through Zoom and the insane amount of work that you did, Colin, to bring together a global exhibition, I don't think could have been as easily done in the past. So what, what I think is challenging and, and what I find really heartening with Techspressionism is that it's not just about the exhibition itself. But there are ways that people can engage with each other on their own on their own ways and become closer as others can get closer together as well.

Michael Pierre Price

But if we could bring together something more Festivizing than just having people fall apart or possibly terminate each other because they feel seem less organized because they feel less relaxed about having someone else connect with them as opposed to making sure they feel connected as opposed to sharing music or sharing images or sharing gravitas or sharing employment or sharing expansions or sharing contemporary consciousness or sharing contemporary sadness or sharing icons or sharing presup IDEM gliddling because we are sort of far flung from one another, that there's still regional necessities that can help bring together artists more easily than, you know, typically reaching out to a worldwide audience. Yeah, we could still do exhibitions online like what we've done in the past.

Michael Pierre Price

But I think part of the education, part of the challenge that I think Patrick was talking about and that you hit on is because this movement or because this project, your social lives, your social movements, your social movements, your social movements, your social sculpture isn't based on a technique, but that sense of an approach using technology.

Michael Pierre Price

There is an educational component to this to let galleries, curators know what the hell expressionism is. What does it mean to use technology to create your artwork? It isn't just mimicking something as a JPEG. You know, looking at what the discussion was here, my work could not exist without the technology that I use. Even though I end up printing it and a print is not anything new, the content in that print could not have existed without technology. And that's something, even though I can say those words, that still doesn't mean a whole lot. So I think that's an important part of the art of these days. So I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days.

Michael Pierre Price

And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. And I think that's an important part of the art of these days. That gives a depth that we can all be part of, that we can all draw upon. And that's where I think we still have a lot of work to do, but I think part of that is in the newness of this. Sure, some of us have been slogging through this minefield for decades, but the fact that now we're at a point where it's becoming much more visible and much more economical in ways, I think we have some ways in which this can move forward.

Michael Pierre Price

And I'm hoping that there will be some interesting ideas to push this forward.

Absolutely.

I'm just gonna go through the queue as I see them listed. And if you wanna respond to the previous artist or share your own thoughts, maybe we could do it that way just to keep things a little bit orderly. So the next artist that I see is Karen.

Well, first of all, thank you, Michael, for saying what I was going to say verbatim. I've been kind of around this community for, you know, for a while. I've had access to sort of all the levels. And it really comes down to dialogue, community, and persistence. And the persistence has to be respectful.

Karen LaFleur

They deal with who they know. And what I'm gathering, because I'm working on sort of the archive end of this, that this term needs to get into archives. And so I'm starting to talk to museums, art libraries about expressionism. And we may have slogged through for the last two years, but they're just starting. And if we stop the dialogue in the community, they'll never catch up. So I think each one of us on that level has to talk with the people we know and just be open to the fact that, you know, we're not just like we do in our artwork, being community dialogue and persistence with respect. We have to do it for Techspressionism.

Karen LaFleur

So thank you for the great segue.

Thank you, Karen. And I appreciate, you know, what you're doing. I would say, though, really, like, you know, my feeling is no one really has to do anything. Like, I feel like, you know, it's got to be something that, honestly, I feel that, you know, I'm not going to be able to do anything. But I feel like if it's done in the most effective way possible, if it'll benefit the individual, it will be done sort of in the most effective way possible. That is like, you know, in the end, like this term Techspressionism is something that I invented to package my own work for an exhibition 10 years ago. You know? And Helen's involvement really opened my mind to the idea that this could be beyond anything that relates to my own work stylistically, you know, by her sort of insistence in talking about Techspressionism as an approach versus a style, which was the word used in the initial definition.

Colin Goldberg

It was an artistic style. And that was lifted directly out of the OED definition for expressionism, which was an artistic style in which, you know, in the expression of emotional experience. So.

I didn't mean to imply that everybody has to do something. It's just that they do what they can to push the movement forward, because in a way it's also giving you exactly what you just said, access to these levels, because they're not going to talk to you as an artist, unfortunately.

Right. They're really not. Exactly.

But if you come in as a movement or you come in, I was in a movement, I could come in as a gallery dealer. I could talk to anybody worldwide. As a gallery dealer. It's like, Hey, great. Come on in tomorrow. We'll go have lunch. I sell them an artist and they're not going to talk. So it does help you as an artist get presents. So it's like for your own benefit. Absolutely.

Yep.

Yeah.

And you know, So in fact, like this isn't this, I feel like it, it has allowed it as it has allowed itself to be a vehicle like for me. And I think that if it's viewed that way like I remember, you know, before I was involved in this. I helped put together a local collective called emerging art Long Island with another another artist, this is a while ago, but, and I was out in the East End of Long Island and I remember, you know, being in some talk at the parish art museum which is used to actually occupy the space where we had our show, and the director at that time, who I reached out to numerous times as an individual artist trying to set up a meeting, show my work, whatever. And I came in. Oh, like you know we're during this show across Long Island, blah blah blah. And she's like all, you know, oh like, I have to find out more about this you know, all of a sudden, she was paying attention to me, because I was talking as a representative of a group, because, you know, institutions.

Colin Goldberg

They need programming, and that's work for them to develop programming, and I feel like one thing that really sold the SAC folks on the show is that it was pretty compiled already, you know, we just needed an exhibition space. And, you know, the pitch was sort of, sort of there, you know, and I think that this, you know, presents a pretty good pitch to just about any institution really, you know, so to me that would be a major action item for anyone that's really looking to like open doors for themselves is just call yourself a curator, you know, reach out and say, Hey, like I'm looking to curate this show. We have a big list of artists we can pull together artists from any locality, locality, you know, in terms of West Coast show, East Coast show, show in Europe, show in wherever. Yeah. I mean, I'm kind of light on Asia at this point but, you know, generally.

Colin Goldberg

Yeah, you know, we have a pretty good artist index to draw from. And I really, I wasn't a curator, you know, and it's just organization,

Really, and any artists I'm talking to their ears are perking up. And they're kind of like what, because a lot of them, you know, maybe not at the moment level but everybody regionally wherever you are. They're, they're trying to define how to go forward. And they don't really quite know how to go forward digitally, and then you walk in with this platform and they go, wow, really. Can I know more. And that's pretty much been my response regionally for me. So, you know, going to your community. You know art library even University Library whatever or, you know, a local museum and saying you know this is a great place to go. This is here. You know, here's our digital catalog online. They seem to be very responsive.

Absolutely.

Cynthia I see you have your hand up.

Yes, but I'm sorry, hitting the unmute button wasn't as easy as it looks.

I really have to thank Michael and Karen both said exactly what I was going to say. Okay. So just, I can't say it's so important that we think about the fact that we are making work I mean Michael said this one of the things that people may not understand is that the work might not look that radical but we couldn't make it without the technology. So I think communicating some of that is really important.

Cynthia Beth Rubin

And the thoughts that I have is that I think we can't go about second guessing. We can't. We can't just leave it up to our own curators. They have their own preconceptions of what digital art is and if we plunge ahead and do something that's meaningful that echoes with our own community that pushes us forward. Then maybe we can pull the curators along as I'm not suggesting that we leave them out. But I think if we try to second guess what we think they're interested in. I think we're going to be in trouble I mean, I personally am part of this group for the sense of community. I personally am part of this group for the sense of community. And I think if we find that it propels me in my own work. I think that's a really important factor and I think the more that we meet, the more that might happen.

Cynthia Beth Rubin

And so that's basically, you know what I want to say I think we can talk about ways we might be able to package things for other shows. I mean, in general I hate the idea of theme shows, but I think it might be an option if we think of a theme. I think it might be an option if we think of a theme. A concept subject matter or conceptual theme far enough in advance like at least, and it takes that long to line up shows anyway.

Cynthia Beth Rubin

But really far in advance so people could make new work for it that's one way to do it. But there are a lot of different ways to go. So really thank you Karen and Michael you said exactly. I think that global actually works for us. I like the fact that we're global. And. So, that's it. Thanks.

Thanks Cynthia and yeah I think the global aspect is certainly what you know one of the main points of interest for the SEC folks, as well as the media partner as well James Lane, who I thought you know there had really hadn't been anything like this done before, where most of the shows in that space had been topic topic base, but drawing off of a regional base of artists, you know. So to pull something together, I think, with an international group, I think it's of interest to an institution because it puts that institution in front of a lot of eyeballs that wouldn't necessarily ever have heard of it or be hearing about it. And that's certainly something that we could, you know, You know, do through things like fabrication of work like was done for this show or screen based work, you know, which, which provides its own sort of set of challenges, you know, through LinkedIn I connected recently.

Colin Goldberg

A guy who runs an outfit called Black Dove, which is a really interesting company. They provide display technology specifically for NFTs. They do all the all the displays for super rare space in New York and a bunch of other places. I think they recently partnered with the Seattle NFT Museum as well, which is a physical space, permanent physical space for NFT art. I think all these sort of venues, you know, are worth looking at. And, you know, certainly any you guys that might have relationships with, you know, an institution, even if it just happens to be the local museum that you like to go to. Hey, this is a good way to knock on a door. And say, what's up? You know, and you never really know what could happen. And I agree with what Cynthia said. You know, we all the idea of artist as curator is nothing new, you know, and this whole thing, this whole shindig got kicked off with Davo and his idea with the collabs.

Colin Goldberg

As far as I can remember, those were our first shows, you know, and he wasn't coming at this as, you know, some old curator. He was a curator with an art history PhD. He's an artist like the rest of us, you know, so each one of us has the capacity to come in with a vision, pull something together. If we can hook up with a physical space, that would be, you know, important. But I feel like an organization like Black Dove, he asked me, the person who I've been in communication with initially asked me, hey, do you have another space access to another space in the Hamptons this summer? And I was like, I really don't. Unfortunately. Like this pitch was. Like a Hail Mary to begin with, you know, but in the end, like if we can come up with a cool space, that's a good pitch to them right there.

Colin Goldberg

Hey, you know, we could showcase your display technology, pull an NFT show together pretty rapidly with the talent in this group and or an open call, you know, and that sort of thing at this point after putting a physical show together doesn't really seem that daunting. You know, it's just a bunch of organization that all can be done from the comfort of your home. The one's own home. So, I

Just want to get out there.

So the set of the show. The last day it was there and then picked it up. They were very professional and just really wonderful. I think we really lucked out on that. I don't know if every space. But it's literally alternative spaces that we would go into. We able to go into. Yeah,

That was that really was something that worked out, you know, very nicely and honestly like that venue was like, you know, the vision that I had first putting this together, the very early salons like wow wouldn't that be a fantastic place to put a group show together, you know, because at that point I was still living on Long Island. And, you know, that was, that was the space where I first showed my work as a teenager in a student show, you know, and I was 18 years old. So like to be able to put this together in that space is really, really pretty awesome and, you know, and I like the fact that they had those sort of like old Grecian like freezes up on the walls, all that stuff really like kind of, you know, presented a nice foil to the, to this contemporary work, and the staff, they were they were definitely awesome to work with, you know.

Colin Goldberg

I'm going to be shooting down there next week to just pick up the rest of my stuff. And, you know, said, Hey, we got it wrapped up for you and whatever else and so that's, you know, that's really good to hear.

So, see Patrick. You're muted man.

Everything's. It's been really cool. Yeah, at this point that I think, I think people are really nailing it on the head when they're talking about the idea of. I've been in collectives about half of my career, and that's really been. I would have never gotten as far as I have without without collective power, really, to tell you the truth is that there's just in strength there's number and numbers or strength and that sort of thing and, you know, collective in my opinion has been much more. Powerful powerful than the individual but however the collective can help the individual. And the thing is that the other interesting thing about movements as such.

Patrick Lichty

Historically, is the idea of, you know, the a common ideology, you know, and the one thing is that, you know, this hours is pretty loose but however it's the idea of at this point really kind of looking at. You know, looking at, you know, revisiting expressionism through technology and, you know, at this point in time, I mean so I mean this is the fourth wave, kind of, and, and that's still a strong position, and I think what happens is that as opposed to kind of saying, you were, you know, you know, were this.

Patrick Lichty

You know where this new thing or something like that. In other words, basically what's happening is that. You know, we're the you know the drawing on history is also very powerful position as well, and saying, you know, we're, we're the next wave of this tradition, and there's a lot of us, and, you know, we're speaking consistently. And that's, that's the thing there so knows we're kind of following. You know the we're following the, the idea of expressionism and yet but not necessarily the idea of transforming. Human experience through, you know, or humanity through this it's like, I think we're kind of looking at as an implied.

Patrick Lichty

But the, you know, the idea is that you know where you know where do we engage. Where do we engage the history and thematic material and that sort of thing to pull

More fuel into the engine.

That's how we engage with people in our society. That's how we engage with people in our society.

That's an interesting question.

You know, I think that curatorially it would be interesting to look at sort of some of the expressionist. You know significant expressionist works of the past. Past as a group or, you know, just to consider that aspect of the history of, you know, because, you know, if you look at the sort of the etymology right you know we have tech, and we have expressionism and a bunch of people have thought it was actually Techspressionism, which is like kind of interesting.

Colin Goldberg

That might be a whole separate other thing for poets. I don't really know. But, you know, like, I think that, yeah, it is easy to, to just say well it's a bunch of artists using technology to make their work and just forget about that whole other piece which is expressionism, you know, to me that's where like I was coming at when I kind of like came up with this I think. The idea was looking at, you know, looking at that at people like Clifford still or Franz Kline or the, the abax painters that really like, you know, caught my eye, and then And

Then look around on the computer, and I'm back in engine scheme winter and Yelinski.

Right, right. And definitely I feel like Steve Miller you know, definitely influenced by Pollock and a lot of the other things. Other people that you know were working 10 15 miles from where his studio is or you know even looking at stella who occupied his space you know I could see his sculpture certainly falling into the expression has been as well and he was an artist that used technology extensively in modeling his sculptures you know I think that's an interesting piece of this too is that you know a lot of work will involve technology but it was sort of like backstage you know like the story I like to tell about Franz Kline and how you know these big black and white paintings were created using a projector that he borrowed from de kooning blowing up these tiny little drawings of chairs and stuff like that and at that time that was high tech you know and people didn't really get they didn't know that and I didn't know that until I read that story and helen knows all the things that I read about her and helen knows all the things that she read about her and helen knows all the specifics on what type of projector it was and everything else but to me like those sort of stories are really interesting because you know on the surface people say well look at that painting it was this madman in his studio like taking giant brushes no he's actually like setting up his projector you know so you know it's something to consider howard so you're up that next

Oh hey I agree with everything that I've heard so far and thanks for opening my mind to some different thoughts but what I've been doing for the last year or so has just been talking about it every chance I get at every gallery opening that I'm I attend basically through the united states and europe and people I'd say a while ago and some still do look at me like I'm you know work from work or something when I talk about expressionism or even use the word they become afraid of it but after about a year of continually talking about it the gallery owners and publications are starting to think about it like gee what is this and I gotta admit your website does I send them all to the expressionist website and they all of a sudden say wow this is amazing the biggest exclamation mark to that is I've been featured in Artur magazine for quite a while and they have a worldwide circulation of something like 2.1 million copies that's paid circulation they did a feature on me and expressionism and they were so interested in it they decided to do an hour-long tv show or documentary on basically how an artist like myself uses technology and part of what I explained in that show which will air probably towards the end of the year is that artists have used technology since the very beginning I said the technologies of some of the older artists was just a paintbrush and that's a technology that's a that's a piece of technology or a chisel is a piece of technology I said it goes back to the stone ages of making something that'll clip out of stone and they're sitting there saying whoa this really makes sense because just calling digital art digital art seems to be lacking a whole a whole lot of inference and it's people like yourselves that just keep talking about it in groups that just keep explaining this I think is doing a world of good in fact they've asked me to just this morning they asked me to do a solo show in New York and they're naming it Techspressionism dimensional fine art photography stepping into other dimensions which is like whoa you know that's pretty cool but essentially it's just beating on people you know just not is just letting them come along naturally and I think they will come along because it gives, Colin, as you said, it was a way for you to express what you were doing 10 years ago.

Howard Harris

And thank you for that, because it's a way to express what I'm doing right now. And people are beginning to understand that. Hopefully more people will win in the next year. So it's basically. Just say keep talking I don't think it can be forced and I don't think any show will say gee this is really something I think it's just people having to come together in their own head that gee there's a way of explaining the strange stuff that I didn't really know how to explain before so thank you for having this group and thanks for the words thank

You and yeah I mean certainly you know if there are any links that you have to share feel free to share them in the chat and definitely you know send them over to me as well you know through DM or whatever once the show is up or once anything's published and I'll definitely add them to our press list I mean to me the press list there's two press lists on the site one is sort of a general press list and one is specific to the exhibition that just closed but anything that uses the word should be on the press list list as far as I'm concerned, because what, you know, what the determining factor for a word being included in dictionaries is its frequency of usage, you know, and once it gets to a point where it's common usage, it will be in dictionaries, like it's just an inevitability. So, you know, the key to that is just using the word, posting it, whatever, you know, but the fact that a third party would include this in the title of an exhibition that's being independently curated is pretty encouraging.

Colin Goldberg

That's really good news. So, thank you.

Colin, can I just make a suggestion? I think a press list, or whatever is, you know, the correct term to have that centralized, that should be on all of the Techspressionist artists. If you've had anything mentioned locally or whatever, we need to get that centralized, because I think that helps exactly what you're talking about. Plus, if we want to, if we want to say, hey, go look at the press list on the Techspressionist, you know, we're going to have to have a press list on the Techspressionist, because if we want to, if we want to say, hey, go look at the press list on the Techspressionist, you know, we're going to have to have a press list on the Techspressionist, site, it would be nice to know that we have an up to date and a really comprehensive list of things that somebody who wants to find out more and see how impressive the, the, the amount of work that's going on.

Michael Pierre Price

I think that helps us all.

Yeah, it's so I just pasted a link into the chat. It's just at Techspressionism.com slash press. That's where the current list is. I highlighted a bunch of the things that I think are important to us. Like I did the last time. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot. And I will say I get to this one a lot.

Colin Goldberg

Same thing with artists, you know, for the index, you know, initially a lot of that happened via Instagram and the adoption of the hashtag or me personally reaching out to people. But if, you know, you have a pal who's an artist who's like, wow, this stuff is really cool. It's completely kosher for anybody to say, hey, you know, do you want to be added to the artist index? Because, you know, this whole deal to me is really about self-identification. Like not someone else saying this person is and this person isn't. You know, if someone wants to call themselves it.

Colin Goldberg

I mean, there's a there's an account on OpenSea and I don't even know who it is. And it's like expressionism, something or other. You know what I mean? It's these sort of like figurative expressionists, like painterly looking things. It's someone that was in the index. He never shows up in the in the salons or anything. You know. It's really interesting how there's so many like layers to this thing, like an onion. You know, there's the people that show up here. There's the people that use the hashtag, but never show up here.

Colin Goldberg

You know, different. It's just it's just weird. You know, it's weird. But everyone is involved in the capacity that they want to be, which is, you know, the way it should be. So see, Cynthia.

Hello, everyone, and thank you for giving me an opportunity to talk.

I too enjoyed hearing what everyone had to say, and I think some excellent points have been made. Colin, earlier you mentioned that the Southampton Arts Center was very interested in, as are other art institutions, programming. And so I think that's a great link for us to connect. For example, many of us are involved with art institutions and sometimes they'll have a calls for digital art or even, you know, manipulated photography.

Cynthia DiDonato

Anything that would smack of Techspressionism and I think in our own areas where we live, we could perhaps volunteer to talk about Techspressionism for that organization. Can we please join us as well? And you know everything from here's our website here's what I do and really you know getting them to understand it that way locally we hear the business people saying think globally think locally and I think that point was made earlier by colin certainly and michael about you know doing something locally so we can do something small you know we do something small we use the hashtag we do something larger if we're willing to speak about expressionism in a more formal situation within our institutions we may be involved with I also thought when patrick was talking about our definition of Techspressionism what might be helpful within the definition would be to show some examples of what Techspressionism is because even though some people think oh well computer was involved maybe they don't understand you know things like lucy does with her expression of Techspressionism and some of us do some very different things or and again you know she you know she works with this tapestry if you will that used it in a very different way so I think those kind of things are important that's what we're doing it's not like we're going to Jersie's first kind of thing we're going to look at it in a very different way we're going to look at it in a very different way that's what we're doing it's not like we're going to look at it in a very different way we're going to look at it in a very different way we're going to look at it in a very different way that's what we're doing it's not like we're going to look at it in a very different way it's not like we're going to look at it in a very different way it's not like we're going to look at it in a very different way it's not like we're going to look at it in a very different way it's not like we're going to look at it in a very different way it's not like we're going to look at it in a very different way That of course enabled people, if they watched it, to see what that art was, what the expression was.

Cynthia DiDonato

So I think that's where we can get people interested is if they see exactly what our art is and that it's varied. Now, you don't want to exclude people, and I understand that point by defining it so specifically, but I think to give out perhaps some examples within the area where the definition of Techspressionism expressionism is might be helpful to attract interest and to help maybe to define expressionism a bit more without restricting it I don't know if that makes sense

Yeah I think so you know like I do I recently switched the home page up because the show has closed now. So I moved the, the exhibition, the SAC exhibition into the exhibition section. And actually like, I just wanted to mention this, even though I sent an email out to the participating artists, if anyone, you know, was in the show and they want to include a link, you know, for the resume or their website, the permalink, the permanent link for the exhibition is going to be, and it is Techspressionism.com slash South Hampton. So, you know, it no longer resides in the homepage, but that's the best link to use. And it'll stay there as well as, you know, all the individual artists pages will remain there. And on the homepage now, it does have, at the bottom of the homepage, it pulls the Instagram feed, which I want to really thank Renata for all of her hard work in curating that feed.

Colin Goldberg

It looks amazing. And, you know, just the, you know, the selection of the work is very thoughtful, the groupings and everything else like that, and pulling featured artists, I think, you know, it does display a good amount of diversity across the different styles, different types of, you know, usage of technology.

Colin Goldberg

You know, social media is really, really important. And I feel like one area, and this is sort of a that happens to be here or viewing this in recording is we need someone who is interested and knowledgeable and involved in TikTok. I did, you know, through the course of doing the Niftorian Accelerator, someone came in who was, you know, basically just doing social media for NFT projects. And she's like, you know what, if I'm going to use any piece of social media, it's TikTok. And I'm like, oh crap, like I never use TikTok.

Colin Goldberg

And, you know, I set up an account for Techspressionism, posted a few things, but again, my brain can only handle so many different platforms at once. And TikTok is not one of them. So if anyone wants to be the lead on TikTok, I would gratefully hand it off to them. I did pick up as Twitter lead from Jan, who was taking a break. So I'm, you know, curating the Twitter feed right now, or basically, you know, tweeting and retweeting and, and running that account. So, and that's something I'm happy to do. And again, like with the use of the hashtag, this is sort of like a little daily exercise that I do is I just type hashtag to expressionism, fire, fire, fire. I copy it, run through my feeds, scroll through. Oh, that's interesting. Comment, paste. Oh, that's interesting. Comment, paste. And then I come back later in the day and most of the people are like they like it.

Colin Goldberg

And some of those some percentage of those people followed me. You know what I mean? And that's a really easy way to spread the meme and also sort of, you know, look at some cool art, be a sort of social curator of sorts and define Techspressionism for the rest of the world. Hey this is Techspressionism right here and anybody can do that just by commenting with the hashtag you know that's a real easy peasy way to be involved on an individual level without having to really do any hard heavy lifting you know so you're just putting that out there how

About even putting out the website address on twitter you know when you post the text

Yeah, you know, or, you know, the account, because of the character limit is at Techspressionism. Unfortunately, I think we're like one character over the whatever Twitter's limit is which is really annoying, and I was thinking of like truncating it in some weird way or whatever else but I wanted it to be something that people could sort of pronounce. Accounts. But yeah, you know, like, definitely. But what I find is honestly, and this is also from the standpoint of working as sort of like an internet marketing professional is people don't like to leave the platform they're on, you know, if you can, if you can keep them on the platform they're on, and still sort of, you know, get your message across, then that's going to be more effective than than than bouncing them out, you know, because really, really like people are there because they want to be there.

Colin Goldberg

I mean, it takes a lot, you know, like, unless there's a real specific call to action, I think a lot of times it works best to use the hashtag. And the hashtag really is what kind of got this ball rolling in the first place. And I feel like now, especially now with the advent of NFTs and this whole new audience on Twitter of artists, right, that never were, they weren't on Twitter two years ago. None of these people were on Twitter. I hated Twitter. I was one of those people that hated Twitter. I still semi hate Twitter. But, you know, not fully anymore. Because there's all these NFT people out there and a lot of the art is actually really good and really interesting, you know. So to tag it up a little bit, you know, is a good way to engage with that audience. And, you know, as far as I'm concerned, you know, like the traditional gallery world is one world, you know.

Colin Goldberg

Is just another I mean, they're starting to overlap in this Venn diagram, but there's people out there who just completely function in the NFT space. This is how they support themselves. This is their world, their studio, you know, like coming into the artistic experience through NFTs. And it's something where the power structure is flipped upside down. You know, it really is. Just in the curation of this show. Hey, man, if someone sold one of their NFTs in the SAC show, it was up to the artists to give a bunch of the money to the gallery. Not the other way around. That doesn't, that's not normally the power structure, right? And, hey, I'm just the curator. I'm not here to police anything.

Colin Goldberg

So it's the honor system. You know what I mean? But, you know, that being said, it is, it's a new, it's sort of a new world. And I think it's, you know, it's worth, it's worth exploring. Let's see. We've got Cynthia.

It was just spoke. David. Hang on. I'm here. Sorry. I was multitasking. This group has been like sort of an inspiration for me. And I've learned a lot. And for me, I'm not doing the digital art things. So for me, the Techspressionism is bigger than digital art. This is even smaller than digital sound effects and credit cards and NFTs.

David Bloom

But I would like to say I'm working on a new piece. I have no idea how it's going to come out. If it comes out, it's going to be really, really cool. If it doesn't, I wouldn't show it to anybody. But what I did do was I was working on trying to figure out a problem for something I wanted to address. And the gentleman I'm working with found found a product which was a music to a digital music tuner that showed the note that is being played. And so, because of the Techspressionism and the influence this group in the salons had on me. He said, let's make this part of the painting. Let's put a digital tuner that shows the note that this is going to have 48 guitar strings on that you can play. And so what we're going to attempt to do is actually have the music tuner embedded in the painting with a hole in the painting that posts through so you can actually see the note being played as it's being played.

David Bloom

And so that's just for me. That's adding technology. To the artwork and one of the main reasons I did was because of the whole idea of tax pressures and working with technology. I thought I would just share that thank

You David and yeah I mean I agree you know to me or I sort of hear your sentiment. You know it's digital art is one segment nfts or one segment. And I'll tell you something. But honestly, NFTs, I just see as a distribution mechanism. It's not art or not art. It's a distribution mechanism. Like it's a contract, right? I don't know that there's necessarily anything really other than that attached to it, other than each individual's sort of associations with the term, what it means. But intrinsically, it's a smart contract on the blockchain.

Colin Goldberg

I saw something, I think it was actually Christiane Paul retweeted something about vFriends, like is vFriends art or not? And I think her verdict was it's not. And again, that's like, is... Yeah. Yeah. Is this particular painting art or not? It's a subjective call. I feel like what this whole NFT phenomenon does is it makes people talk about art. Even if this is crap, it's not art. At least they're talking about what's not art. That's better than just talking about what's on the grocery list.

Colin Goldberg

So I feel like that's probably... A good thing for everyone. Let's see, Tommy, I don't think you've shared yet.

Thanks, Colin. And yeah, I think that's really interesting what you ended up with about sort of the point of the conversation that art creates the space for, right? And what can we do with that space? And Michael was talking about the sort of idea of community everything and a lot of people are really touching on this sense of like how expressionism has created this larger community and you know, we all feel very much part of. And now that there's these nodes and a potential for sort of more localized connections, what do you think is the best way to do that? What's the potential with those spaces and sort of what formulas can we come up with maybe to help people create local spaces?

Tommy Mintz

And I don't think Sung Jin Lee is on. I'm looking through. I'm on iPads. I can't tell. But Sung Samson Johnson, San Jose State University, he invited me to his digi on a lot of performance night at a local space here. Samson Johnson, In midtown which is you know, not the easiest place to find affordable spaces but I'm digital art is something that you know people want to come see you know and hear about you know, maybe for an evening kind of thing is.

Tommy Mintz

Samson Johnson, it's. Not messy, you know, for people who have a space that, you know, are worried about that sort of thing. And it seems like there's, you know, outside of the traditional gallery museum venue, there's always been this sort of avant-garde alternative space, you know, salons, what have you, the Salon de Rue Fusée. You know, I'm thinking of like the Jazz Loft and, you know, these cool places where people like really...

Tommy Mintz

About each other's work and how similar that is to what we're doing now here on Zoom and how it could possibly be reproduced in person Sungjin is the person who's been energetic enough to put all these pieces together and make that happen. And I'm hoping that like maybe that could be a part of the conversation. Also, I'm looking at my notes here. So like a million things I want to say.

Tommy Mintz

NFTs are an interesting sort of perfect provenance, if you will, of, of, you know, ownership of a sellable thing. Part of that package that you create as an NFT, you can have tags. And recently I've been just putting expressionism as tags on my NFTs sort of as a permanent mark of this, you know, sort of idea. And, you know, and it's I think important now on my work as a participant in the NFT space especially.

Tommy Mintz

And I think that's a great place for, you know, what can we do on a local, you know, sort of individual thing? And I am working with the Kingsborough Art Museum for hopefully to question as summer 2025 show. And I'll be in touch more about that in the future, but I'm working on one. So everybody, you know, whether it's institutions that exist who are, I agree, very amenable to proposals as for prepackaged clean group show that doesn't mess up the space too much. I mean, really. Curators are very happy with projected stuff that cleans up quickly. It's it makes it for an easy pitch both in traditional spaces and these alternative spaces. That I think are worth, you know, if you have the energy looking into Seungjin Lee, are you here? Is Giovanna here? She also knows about this.

Tommy Mintz

Anyway, so if it could happen in New York, it could happen anywhere, really. So that's what I wanted to share. Thank you. You know, thinking about this going forward, how do we continue this, the energy of the community, both globally and then also in these nodes, I think is a fantastic thing to think about as we head into the 50th meeting.

I agree. And that's really exciting that, you know, you have something brewing with the space, you know, like I am. You know, I feel like that's a starting point is a space. And we have a we have this asset of the group, you know, which is this very broad artist list, broad geographically, broad, you know, broad stylistically, you know, in terms of people working in all sorts of ways, you know, with technology. And I think that the use of the hashtag on the NFTs totally makes sense. You know, most of the platforms support that. And yeah, you know, like the NFT space for better or worse. I think it's here to stay. And I saw in my inbox just before I started this, I get, you know, like the little bulletins from Artnet or whatever. And I saw that one of the stories was, you know, this is like gross consumerism here.

Colin Goldberg

Tiffany apparently Tiffany's apparently is making pendants of for crypto punk holders that are like diamond encrusted versions of their punks, you know, and selling it for ETH, which is fantastic. As far as I'm concerned, for anyone holding ETH. But, you know, just to just to think about that, you know, if that isn't sort of mainstream consumerist buy in on this stuff. I really don't know what is and those people probably are betting on something sticking around right. I just thought that was it caught my interest because it was almost sort of comical. But, but yeah, you know, and Tommy definitely. Appreciate, you know, your participation on the panel. If you guys haven't seen the panel discussion yet. It is on the site.

Colin Goldberg

I'll post a link in the chat, but it's within the section for the exhibition. And then on the events page there and that page also has all the recordings of all the different events that were organized as zoom events around the show. So the international reception that Davo moderates. And Roz did the walkthrough and all of the different tech Tuesdays that Helen moderated as well as the different salons that were held over the course of the show. So it was cool that, you know, we could bring some other people into this space. And I think you know the question of the nodes and how those get how those develop. You know it's certainly up to the to the organizers of each one. Of course, there's a lot of work that needs to be done on each node. I think. But to me, you know, a sort of an ideal starting point would just be to pull together as the group of four or five people involved in the node and put a show together somewhere under the sort of umbrella of expressionism.

Colin Goldberg

You know, it doesn't need to be anything grandiose or crazy. And there is some power in being in a physical space. You know, people. All of a sudden, walk in there and they're hit with it. You know, you don't have to target them. They just see it. And once you see it, you know, that's it. It's in there. So and plus, you know, like, it's just a good I just thought, you know, initially when this idea of nodes started developing, I was like, hey, maybe I could just start an Instagram chat with all the different people from that country. And that's sort of like, you know, allowed conversations to start happening. But beyond that, you know, I really appreciate what the, you know, the Iranian node folks are doing as far as getting their own salons going and recorded. There's a playlist on the YouTube channel specific to the Iranian node and their salon recordings.

Colin Goldberg

So, you know, you guys are welcome to come check that out. And any of the other artists involved in nodes. Certainly, you know, if you'd like to have a playlist set up. Within the YouTube channel. I'm happy to do that. As well as you know, the YouTube channel, it's starting to grow like we're over 100 subscribers or 100 something 38 or something at 100 we're allowed to come up with our own custom URL. So now it's just text, youtube.com slash expressionism, which is a lot easier than like the giant string that it used to be. And you know if anyone has any interest in curating video content, whether it's video art. Art historical material. Related to Techspressionism or whatever. Just hit me up and you know I'll set you up as an admin and a play and, you know, set a playlist up. So, Victor.

Colin Goldberg

Yeah.

Yeah. It's great to be sitting in on this conversation, and I like what everybody's been saying and I agree with just about everything that's well probably everything that's been said I mean I think it's a great thing. And I think it's a great thing that we all kind of like our in tune with this whole idea of expressionism. We're here. And we're thinking about the future and how so but I think everyone's really in coincidence. And what's one of my takeaways was this balance between moving forward like thrusting forward as a group and as an individual, but in the context of the group or attached to the expressionist movement or group however you want to say it. So both those things are important and as Colin early on, recommended that to utilize both of those prongs of those pull it ends of the polarity so to speak.

Victor Acevedo

So there's that. And then in that context I wanted to share that, you know, about a year and a half ago when I first joined the salon and my first share was talking about my book, which is a 43 year career retrospective. And, and it only goes to 2020. But in the last you know year and a half. While I was finalizing, you know, the print edition. I couldn't help but add things in from 2021 and 2022, and, and where they're added is in the introduction.

Victor Acevedo

So you know I added the Techspressionism 2021 show and then this recent Southampton show. So Techspressionism is in the book in the introduction and also now Colin is in the. Is named. Checked in the book, and he's in the index Techspressionism is name checked in the index referencing that page. And I also included weird media Mr. Patrick Lichty. He's in the introduction to because there's the synergy of Techspressionism and what he was doing there with the weird media show. So, I mean that was unprecedented, you know, it's what started. I mean the book is also veto in context so the underlying premise is me and community art community. Art in a context but this is the most recent sort of iteration of that phenomena that I'm directly involved with that I feel like, yes, I want to like, tell the world that I'm connected to this group.

Victor Acevedo

I want to put that's part of my now my personal art history that as I go forward and tell my story so that's kind of an example of this inner place I just thought this was a good time to share that. And just to clean closing I've just recently completed a book. I've completed the print edition copy and I've. I'm getting a tranche of books for what they call advanced reader copies. So it's not really being launched publicly but it's sort of the reviews try to get reviews stage, that kind of thing pre sales if you will. So it, you know, it's moving along, but it's great to now be operating in tandem with this group. I mean it's fantastic. So, that's all I wanted to say. I

Wanted to say. I wanted to say. Thank you, Victor and when the book is available definitely you know, send a link over. I think we do have on the manifesto page, a reading list that includes publications by artists who are included in the index, you know, including and book Patrick's book, Joseph Neck for tall he has a couple of publications and Holly's book, anyone else you know that does have a publication. Anyone else you know that does have a publication. Anyone else you know that does have a publication that you'd like added to the list. You know, definitely share with me, you know the site also.

Colin Goldberg

There's a lot of places where people can contribute. We do now have an essays page, which is on the main menu it was there. And then it wasn't there and now it's there again. And that has links to HTML versions of all of the different essays. And that has links to HTML versions of all of the different essays that are included in the index. And that has links to HTML versions of all of the different essays that are included in the catalog so that allows you know that text to be directly indexed by Google.

Colin Goldberg

And you know that catalog I think you know it was something that was always sort of there in the back of my head but I never really like, you know, it didn't really start to move until I Helen agreed to write a forward and then I thought well, this, this has to happen. You know, and then actually. Paul. He was like well you know I contribute an essay, if you want. And I thought well, you know there's a bunch of other artists also who were published, like, I should reach out to them you know and so it ended up coming together. Pretty quickly in like a week you know the actual essays part of it. And, you know, I'm glad that we have this document now that, you know, can order. I ordered a bunch more copies just to send out to people. I ordered a bunch more copies just to send out to people.

Colin Goldberg

I ordered a bunch more copies just to send out to people. Hard copy, you know, and it's always available as a link as well you know so that can be shared.

That's great. That's exciting call and I'll definitely do that. You know, I'm going to, you're going to see me disappear in a moment because people are arriving here and I have to greet them and help them come in so if I disappear that's why but I'll keep you posted.

Awesome. All right, cool. Thank you. Thank you, Victor. So it looks like. We're coming up on seven pretty soon and there's a bunch of hands up. I think everyone who has their hand up has shared already so I'm just going to open the floor up for conversation and, you know, just let it be sort of organic.

So, okay, so I have two quick points here. One. I've enjoyed doing the artist interviews in the past. Thanks to Roz for that. Thanks to you for kind of kicking that off. I would like to possibly just put a put a thought out there for all of you. It would be really interesting to me if we could do. Maybe like three or four or five or so artists coming together on a subject and recording that and putting it on to the text question as a site. So, yeah. I would be happy to kind of lead that effort. And if anybody's interested, reach out to me. I have a whole lot of different ideas I would like to talk about at some point in time. And all of you are very interesting. And I, and I. It's hard to talk about one subject with 30 people. It's a lot easier with a smaller group of people. And so it's something I think.

Michael Pierre Price

As artists we were very substantive in our thoughts, and especially this group. So I'm just throwing that as an idea. And then the other thing is for those of you who've been talking about putting a show together or curating a show. What I want to understand because I know Colin you had budgets are always an issue at times. And I'm just wondering for those of us who may have contacts with either corporations or companies or folks with money, whether or not that is a plus or a negative. And I'm just asking the question because I don't I don't know what the answer is.

I appreciate what you just said. Michael about inviting a smaller group, and definitely that sounds great. I'm just gonna do a quick report on the node text. Pressionism Canada. I just wanted to let everyone know that we have a Twitter account, and just like Colin had the issue with not enough characters. We've had to make a rather sort of odd character an odd name. It's Techspressionism.

Renata Janiszewska

Underscore. C. A. But it's Techspressionistes with an X. Sorry, but that was the only way it would work out. And then we have a an Instagram at text, specialism, Canada, all one word. So I wanted to let everyone know, and we have a website in the works which Lee and Martin are actively putting together, and possibly some exhibitions coming later down the road. So thanks, and I hope you follow us on Instagram and Twitter.

Thank you, Renata, and I do have there is I updated the notes page relatively recently. It's just Techspressionism dot com slash nodes that has like direct links to each nodes. Social media accounts. I do have to add in your Twitter account for the C. A. Node. But the other ones, I think, are all up to date, and it looks like you know a lot of this node thing, and this is sort of like just human nature in general. It's sort of peer pressure. You know the other nodes see Oh, well, they have an Instagram account, and then all of a sudden, like everyone got an Instagram, you know, which is cool. And I think it's you know it's interesting it's giving people exposure. I noticed that Felix who's in the German node is started to use. Hashtag expressionism De which is interesting, you know, tagging up his work with a local hashtag localized hashtag, which is a good idea.

Yeah, you know very cool if I could just add I'm going to put the Twitter address in the chat right now, so everybody can get it great. Oh, and yeah.

Yeah. Yeah. Yeah. So, Michael, your idea about these sort of mini salons or these discussions. My question as a coming from my, my, my day job background. What are we going to call it. Any suggestions anyone.

Oh geez we need a marketing group now.

Well, say there's a playlist for these. What are we going to call them roundtable.

I don't know.

That's great. Roundtable. I like that. Expressionism roundtables right mosh pits got a nice ring to it. And actually you know what I mean, Roz, I don't think Roz is in here. You know like when she came up with. Was it both of you guys or her idea I don't know who came up with the hands. I think she came up with the handshake idea. But, you know, like at this point now that the show is over, and I'm not like completely like underwater. I'm happy to put a playlist together. If I can just get a list of links.

Colin Goldberg

And, you know, that's, that's pretty easy to do that, that way they can all be consolidated under a playlist. Within the channel. You know, I just was initially like well, you know, there's, there's a lot of things that I can do. But I think it's going to be confusing. Everyone's got their individual interview links it's going to be confusing but at this point you know like the content exists. You know, doesn't hurt to consolidate it and hopefully we'll get some more views.

I got a question. I got a question how many how many handshakes happened was it just basically roses and Victor and me.

Yeah, I think so that's all that I'm aware of.

No Tommy and I did one.

Okay. Okay.

We have ours on Vimeo. But I'm going to send the link to call it. Okay. Okay. And YouTube.

Vimeo. That's great.

It's on Vimeo. It's on my Vimeo, but I will send the link to call him.

Okay. Watch it. I didn't know it existed. Awesome.

Yeah, it's cool for me to download it and then repost it directly to YouTube, then we could do it on the channel. And if you guys, the rest of you that have these handshakes if you just email me the link or text it to me or whatever, then you know it's, I could save it to the channel. Yeah. And then I could just go to the channel and create a playlist around it. But, but yeah, that's, that's, that's an awesome idea. And I feel like video content to, you know, it's something that's compelling and people could do very, you know, fairly autonomously so You know, that's definitely cool, even stuff. I mean, oh, this is another thing that like popped into my head the other day. As I was thinking, well, you know, like I live 20 minutes from Bennington, which is a decent school like maybe at some point.

Colin Goldberg

I'll look up whoever runs their digital department Williams is nearby to which is a good art program and say hey you know like which your students possibly be interested in a presentation about, you know this online artists group. You know, and I started thinking about how academia could play a role in the development of what we're doing here.

Colin Goldberg

Certainly like I think it might be of interest to students as potential public artists. Publishing platform, networking, way to meet other people, get their ideas out there. And certainly, there's a lot of energy there, you know. So just putting that out there, you know, even, you know, my, my fantasy mind was like, oh, maybe like, they'll start their own node at the college of like all the Techspressionists, like a club, you know what I mean? Or whatever, like, you know, like, it's, it's not inconceivable, you know, but it would, it would need to be sort of presented in some sort of way. But I think, you know, the topic could be an interesting, interesting presentation for people involved in, in teaching or whatever, you know, so just putting that out there for you, you folks.

I have a question. I'm kind of going with what you're saying, Colin, about, you know, sort of having something digital doesn't hurt. I'm obviously coming from the archive end. And, you know, I can talk to these people, and it kind of goes in one ear and out the other. And I can send them to your site, and they love it for the moment, but then they get distracted. So it would be really nice if I could have some kind of leave behind for them. And I'd love to give them the catalog to the show. But, you know, I can do that a couple times, and then I have to pay the electric bill. So I'm going to go ahead and start. So I was wondering if we, and you know, everybody can chime in on this, whether we put together a thumb drive of the Southampton show, and I present it to archives in different museums and art libraries for them to have actually in their system.

Karen LaFleur

Because it's a lot easier for us to get the thumb drive to them, but it's, it's up to everybody. Because it's not my show, it's our show.

Well, I mean, I guess everything that's online is at this point public, publicly accessible. You know, I'm not sure. I mean, what would be helpful would be to know in what format these archives could best utilize the content. I mean, I could certainly, you know, pull together the material, whether it be off the site.

Colin Goldberg

You know, there's, there's definitely tools that'll download a local copy of a site that's database driven, stuff like that, that then could be thrown onto a thumb drive, you know, or

Just And I'll ask them what they, what they would consider in order to be in their collections. I mean, it's just, it's just a conversation to figure out, how can I hand them who we are? And have it stick. That's all. So totally, you know, outside

Of sort of traditional institutional organizations, there's also all of these sort of online things starting up where it's essentially, you know, an NFT collector who is creating a thing. And there's like a lot of these around and one of them is Apollo Art Exchange. Apparently they're putting together. They're curating a Techspressionism. They're creating a site that's just like a virtual space. And they're creating a space where they can put together a collectionist like room in their virtual space. And I've been in contact with this person. Not sure of their gender, not. Doesn't really matter there. I believe based in Texas and let's chat law.

Colin Goldberg

Butchering our French colleague over there. The French node connected me to this Apollo Art Exchange, but they're on Instagram and Twitter. And apparently they're, they're putting together. Sort of a Techspressionism. Component, whatever they're organizing. But yeah, certainly happy to. You know, Try to get you whatever things you might find useful.

Colin Goldberg

Yeah. And the catalog, unfortunately, I mean, This is what blurb charges. I mean, the markup is literally $0. So there's no profit involved. That's just what it costs. So I think it's a little bit of a. It's a little bit of a cost to print. A one-off. Essentially of a print on demand book at this point. I wish it was less expensive.

Colin Goldberg

If people could get together. I know that there's a 30% price break when you order 10 or more books. But that would involve people sort of like figuring that all out. But yeah. Anyway. Anyone else, Holly. Yeah.

Oh.

I don't think so. You're muted. You're muted. Holly.

Am I good? Yep.

Okay.

Check out the Woodland pop. Exhibition. At. Confederation college. And thunder Bay. I was so stunned. To see. And if tease, and there was one that was already purchased by. By the, by the, by the college. It's the work is extraordinary. How these emerging artists are responding. To their social condition.

Holly Gordon

And to the environment. And. To the community. I never expected to stumble over this on. On this trip. It was, it was amazing.

Cool. If you have a link, if you could post it in the chat. That would be great. And I do see some chatter in the chat. About a Dow. Again, I voiced my opinion on this. If anyone would like to start a Techspressionism Dow. You have my blessings. Other than that. I'm not sure if I can do that. It's an area that I am not. Comfortable in taking the lead on at this point. Just don't know enough about it. And.

Colin Goldberg

Don't want to be the guy who's social security number is attached to it. So anyone else that wants to do it though? By all means. You know, there's plenty of. Tutorials out there.

Expressions of coin.

Hey, again, I know there is, there's a lot of. There is one platform that is doing artists, minted coins, right? Lovett was saying they were going to do their own coin at some point. Certainly.

I mean, a lot of this stuff started out, you know, with Kevin. You know, Kevin McCoy, you know, basically launching, you know, our, you know, Pretty much launching. What became NFTs in 2015. And I mean, that was all about art anyway.

Sure. Absolutely. So, yeah. You know, and then, you know, just as, as a wrap up, I know that. Michael did open the question of. Sort of corporate sponsorship. It's pretty dicey one, you know, I've, I've certainly toyed with that idea of making some pitches so that I could. You know, potentially. You know, Do less of my day job and more of this. But.

Colin Goldberg

You know, I think it's a great idea. It's it opens. It opens the door to corporate control. Of your platform as well.

Well, Yeah. Yeah. You get some funding and there's usually some quid pro quo.

Right. So, you know, like Kuntz matrix. That's a beautiful partnership. You know, we put their branding on our footer. We get to use their platform. They don't really care. What we curate. On to their platform. And certainly people have asked. Is that something that's open to the nodes to use if we organize our own online shows? Absolutely. And not only the nodes, but any artists. That has a curatorial idea connected to this group. I'm happy to share credentials with. To do an online exhibition, just like Davo took the initiative to do.

Colin Goldberg

As we were just getting started. You know, with the co-labs. So anybody that has. An exhibition concept based around a topic. Or a bunch of people in the group want to pull something together. Make it a Techspressionism show by all means, you know, that. That account is for this group. You know, and. Although my, my rational mind is saying, okay, now the show is down. Time to take a break. Get back in the studio, start making your own work. Do work. Of course there's. The little voice that saying, well, you could. Organize an NFT show for. For next year or do X, Y Z, you know? So, and that's kind of like the thing that.

Colin Goldberg

You know, makes us interesting is there's, there's an audience that's developing around this thing. So anybody that has an idea, you know, this is a real good platform. To. To use as a jumping off point. So it's getting around that time to stop the recording, but it was a real good conversation around the Zoom room tonight. I think it's a nice break to just have a little talk, session for this salon. We're coming up on salon number 50, which is crazy.

Colin Goldberg

One other thing that I thought of quickly before we close is that it might be interesting as one of the formats that we use for our salons to do sort of an old school crit, you know, and have people sign up in advance, whoever may be limited to X number of artists. Maybe it's just one work, like the way that it used to be in grad school. Oh, this is what I'm working on. And then people bash the hell out of it.

Oh, really about the grad school column? Come on. You remember what happened one night?

I remember Angie saying to me when I said, my work is about the process. She goes, that's not good enough.

No, no.

Tell us what it's about. And I was like, shit.

That, yeah, exactly. Exactly. And that night basically it erupted into basically everybody running around the entire school screaming FY to everybody else. Right. It so I mean it was good natured it was fun but I mean you know on the other hand you know it was it was cathartic well

I think you know you know the outside of outside of an MFA experience like I didn't really get a crit you know in undergrad because you know we're learning how to paint and the teacher's encouraging us we're just like doing our thing you know but in grad school it's kind of like a little bit of a different scenario and I feel like you know what like that actually forced me to think about what the hell my work is about like you know not just regurgitate well I'm you know printing on top of a hand-painted ground and shop talk shop talk you know like what is it about you know and I think that's actually you know pretty interesting and could be could make for interesting content as well so maybe that's something we could think about as you know some sort of a you know and I like the quick share show and tell you know I think that's a good point I think that's a good point I think that's a good point there's a variety of different things and that's kind of like what I think signifies the possibility of this being something along the lines of a social sculpture that is coming up with structures in which we can all participate in a way that we're making engaging new material you know like that's really interesting yeah

Cynthia I just want to say I was actually in a crib yesterday with the Jewish Jewish art salon and in fact Dina Eber was one of the presenters I think a lot of people know her and I just wrote up my ideal online crit which I can send to people because I think there's a lot of exploration about how to do that and one of the key things is that people only present for five minutes I think because when you do an artist presentation you go like a lot longer you just kind of said that put up one more maybe like three words or something but I have a lot of thoughts about that I think people are removed enough from the teaching experience and the grad school experience to remember the balance of saying something positive and negative people who are still teaching are totally immersed in that it was really interesting to watch other people actually with less experienced artists be like so gentle and then you know it's like no people didn't come here you know they're not going to be able to do that but I think that's a great idea so that would be cool just want to add another thing that I really would like to see us do is talk about output someday because people are all different ways of output

Okay different ways of fabrication fabrication

Yeah okay yeah that's a good title for an upcoming solo salon and in fact Cynthia if you're interested in moderating a crit style salon I would certainly invite you to do that if you have any interest yeah

I'd be happy to can't do anything until October I took on another project that is I'm buried but I'd be happy to do that cool also to talk about different ways of fabrication because I've explored lots of different ways and I know I'm not sure what's right so awesome

And then we have one more I'm going to close with Susan just because we're just over the hour hour and a half mark

I was just going to write in the chat but I can say it here I'm interested in forming a Pacific Northwest node and I don't know what if there's a process to about going do I just contact the other people on the list or are there people in this meeting that anyway

What I would recommend doing Susan is starting an Instagram chat and add me to it as well with any of the other artists you know in that local area that you want to add that's how I

Started

Up you know connected the people in the other nodes initially it's a really easy way to do it and sort of it's you know very asynchronous you know in terms of people see they have a message in this chat and jumping at any point. And then, yeah, certainly like once, and the only real requirement for a node as far as I defined it initially was that it has at least two artists so that, you know, that's a starting point. And then if you want to, you know, get a bunch of people together, see who wants to be involved in it, and then let me know who would be, you know, kind of considered the founders or whoever wants to be listed on the node, then I could add that. And that would be, you know, the first regional node. And I think this concept of nodes certainly can extend, you know, in a variety of different ways, not necessarily just by country.

Colin Goldberg

Okay,

Great.

I noticed there were some people in Portland and Seattle.

Yeah, that would be fantastic for sure, for sure. And I think that model makes sense because if we're talking about organizing localized exhibitions, you know, we have, we have to be realistic as far as logistics and how can we get work there and who's going to actually show up and stuff like that. So very, very cool. All right. Well, I am going to close the recording now in five, four, three, two, one.