“I can’t think of anything more confusing or overwhelming than having a big walk-in wardrobe. It would exhaust me having to sift through that many clothes. If you know what works for your body, you can actually turn 15 or 20 great items into a hundred outfits...

One Man's Trash

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 Wonderful video about Asperger's syndrome and Autism AND how the human mind works and what can be done to assist the brain to function at optimum capacity.  true even for those not suffering from those diagnosis but may find tools to unlock their own minds.

from an article about art business from Catharine Clark and Jack Hanley

That's how this museum deal works. Now here are a few extra wheel-greasers to get you there faster:

* Be able to explain and discuss your art and support it intellectually, especially if it's cerebrally driven. When people ask, you have to answer. Dealers and curators are not in the business of filling in blanks-- that's your job. They want finished product, not work in progress, cognitively or otherwise.

* Different curators acquire different types of art. Additionally, curatorial acquisitions are made within the contexts of the histories of the museums or collections they're acquired for. Learn which institutions are most favorable to your type of art. While you're at it, do the same with dealers.

* Many curators (and dealers) tend to follow the lead of other curators, critics, dealers, and influential collectors. Learn the hierarchy and gravitate toward the leaders.

* Get press. The more coverage you get and the better it is, the more comfortable curators (or anybody else) feels around your work. Prepackaged proof of your significances means those who notice you have to spend less time concocting justifications for taking action.

* Get a following. The greater the demand for your art, the more dealers who represent you, the more active those dealers are, the more willing those dealers are to haul your art from Basel to Biennale, the sooner you'll hit the museums. Curators notice artists with international profiles. They also notice the dealers responsible for creating those profiles.

* Be aware that, in addition to the merits of your art, dealers and curators make decisions based on your personality, asking prices, and how easy you are to work with.

* Artists occasionally get support based on potential to produce museum-worthy work; they convince with their visions in advance of their output. If your art's not there yet, but you know where you're going, can conceptualize it out, convey your master plan, and people like what they hear, speculative funding may be in the offing.

Dealers, collectors, critics, and other art scene insiders continually beat the bushes for fresh art and talented artists. In addition, they continually evaluate already established artists in terms of how their careers play out, whether they continue to evolve, whether their latest work advances beyond all previous work, and how their art and their progress stack up against the art and progress of all the other artists out there. In other words, everybody watches everything all the time, and you, dear artist, are on the radar.

"But everybody's seen my art and I'm still not in museums. What's with that?"

Could be time to step back, reassess, regroup, or even lower your expectations. You want perspective? Pick up an old issue of Art in America, maybe five, maybe ten years back. Yesterday's yawners may be today's toppers; rookie wonders flame out. For every artist that survives, many more go poof. Museum accessions are no different. Just because art makes it into museums doesn't mean it stays there. Styles change, trends fizzle, today's big poop becomes tomorrow's white elephant, artists vanish, curators make mistakes, some artists are better talkers than arters and it takes time for everybody to figure that out, and so on.

Then again, you may be so far ahead of the game you'll be dust before anybody gets your essence. Don't laugh; it happens. If your art's got the chops, it ultimately ends up exactly where it belongs, and if that's museums, so be it. Or if your art's already museum-quality, but you're an asocial wacky riddled with syndromes and nobody can come near you, you'll likewise be enthroned in absentia. In the meantime, go about your business, don't be a nudge, make the best art you can make for as long as you can make it, and take pride in the fact that at least you're holding up your end of the deal. In case you're interested, posthumous accessions stay accessed far more often than art that gets politicked in now while everyone's still alive and self-serving. Small consolation, huh?

make talking art

http://www.morecowbell.dj/

From Nabeel Hyatt's blog:

 The quickest path to $50m in revenue? Build fun.

http://www.fundable.com/

from their website: http://www.d-touch.org/audio/

"The d-touch sequencer and the d-touch drum machine are fully and freely available fordownload (Registration needed)! Please try them out and spread the word!

Audio d-touch is a collection of applications for real-time musical composition and performance, with very special user interfaces. The collection includes a drum machine and a sampling sequencer, both are controlled by spatially arranging physical objects on an interactive table surface. Each object represents a sound, and its position with respect to the surface is mapped to certain playback parameters. For example, the horizontal position of an object represents the timing of the sound. The system is extremely low cost and now it can be freely and fully downloaded from http://www.d-touch.org/audio. All is needed to get audio d-touch to work is a standard computer (PC or Mac) with a webcam and a printer."