Who am I? (A blog in crisis)

Last year I was brought onto an online art community as an editor, finding resource links and developing web 2.0 marketing strategies. Shortly after I was asked to start writing articles ‘like i had on ninaalvarez.net’, where i’d waxed philosophical about the wonders of web 2.0 for small businesses. I did this for three months: poured my heart and soul into it, but at the end of the summer, there was a problem. I didn’t know what to write and my boss thought the tone was too personal. I was only doing what I’d learned was correct for Web 2.0. I was searching my mind for ideas constantly and looking only to myself to provide information. I felt weird about offering information I’d gleaned elsewhere, although, in retrospect, almost no one can write a blog solely from personal experience.

Between my block and our difference of opinion over style, we parted ways. But we’d been a good team for the most part and a couple weeks later we got back together and now are restructuring the blog the way he wants it. It’s fine. It’s his company and he pays me.

I still find great value in the excercise of writing ezine-like posts. But I also still believe there is value in doing things the way I was doing them, so I’ve transferred all the old posts over here and will continue, on my own time, to speak to artists from my heart. I don’t get paid for this. I have no editor, no boss, no restrictions and that’s exactly the sort of outlet I need. It’ll also make for more dynamic posts that hopefully you will enjoy and return to more than once.

I will also be creating my own podcast.  I invite those listeners who enjoyed the Artspan podcast I created to listen to my podcast. I’ll let you know as soon as the first episode is up.

I am planning artist interviews, important tips, candid advice, and ongoing encouragement. I see the current economy as challenge to approach spiritually, as any challenge is. There is so much to be gained when we are forced to simplify and see more clearly and then give ourselves permission to share our vision.

Check out the New Podcast

So, finally, I have a podcast. And I’m talking about the thing that started with Philthy Art: online art marketing for artists. Ch-ch-check it out:

http://artspan.podomatic.com/

Also, I return to Philadelphia, after my year of exploring, in the beginning of October. Watch for more events here at Philthy Art and get in touch if you have any thoughts or ideas.

Yours,

Nina

Todo Cambia II

Found object art in Argentina.

Poem of the Day: Inferno, Canto XIV

Inferno, Canto XIV

Love of that land that was our common source
moved me to tears; I gathered up the leaves
and gave them back. He was already hoarse.

We came to the edge of the forest where one goes
from the second round to the third, and there we saw
what fearful arts the hand of Justice knows.

To make these new things wholly clear, I say
we came to a plain whose soil repels all roots.
The wood of misery rings it the same way

the wood itself is ringed by the red fosse.
We paused at its edge: the ground was burning sand,
just such a waste as Cato marched across.

O endless wrath of God: how utterly
thou shouldst become a terror to all men
who read the frightful truths revealed to me!

Enormous herds of naked souls I saw,
lamenting till their eyes were burned of tears;
they seemed condemned by an unequal law,

for some were stretched supine upon the ground,
some squatted with tbeir arms about themselves,
and others without pause roamed round and round.

Most numerous were those that roamed the plain.
Far fewer were the souls stretched on the sand,
but moved to louder cries by greater pain.

And over all that sand on which they lay
or crouched or roamed, great flakes of flame fell slowly
as snow falls in the Alps on a windless day.

Like those Alexander met in the hot regions
of India, flames raining from the sky
to fall still unextinguished on his legions:

whereat he formed his ranks, and at their head
set the example, trampling the hot ground
for fear the tongues of fire might join and spread—

just so in Hell descended the long rain
upon the damned, kindling the sand like tinder
under a flint and steel, doubling the pain.

In a never-ending fit upon those sands,
the arms of the damned twitched all about their bodies,
now here, now there, brushing away the brands.

“Poet,” I said, “master of every dread
we have encountered, other than those fiends
who sallied from the last gate of the dead—

who is that wraith who lies along the rim
and sets his face against the fire in scorn,
so that the rain seems not to mellow him?”

And he himself, hearing what I had said
to my Guide and Lord concerning him, replied:
“What I was living, the same am I now, dead.

Though Jupiter wear out his sooty smith
from whom on my last day he snatched in anger
the jagged thunderbolt he pierced me with;

though he wear out the others one by one
who labor at the forge at Mongibello
crying again ‘Help! Help! Help me, good Vulcan!’

as he did at Phlegra; and hurl down endlessly
with all the power of Heaven in his arm,
small satisfaction would he win from me,”

At this my Guide spoke with such vehemence
as I had not heard from him in all of Hell:
“O Capaneus, by your insolence

you are made to suffer as much fire inside
as falls upon you. Only your own rage
could be fit torment for your sullen pride.”

Then he turned to me more gently. “That,” he said,
“was one of the Seven who laid siege to Thebes.
Living, he scorned God, and among the dead

he scorns Him yet. He thinks he may detest
God’s power too easily, but as I told him,
his slobber is a fit badge for his breast.

Now follow me; and mind for your own good
you do not step upon the burning sand,
but keep well back along the edge of the wood.”

We walked in silence then till we reached a rill
that gushes from the wood; it ran so red
the memory sends a shudder through me still.

As from the Bulicame springs the stream
the sinful women keep to their own use;
so down the sand the rill flowed out in steam.

The bed and both its banks were petrified,
as were its margins; thus I knew at once
our passage through the sand lay by its side.

“Among all other wonders I have shown you
since we came through the gate denied to none,
nothing your eyes have seen is equal to

the marvel of the rill by which we stand,
for it stifles all the flames above its course
as it flows out across the burning sand.”

So spoke my Guide across the flickering light,
and I begged him to bestow on me the food
for which he had given me the appetite.

“In the middle of the sea, and gone to waste,
there lies a country known as Crete,” he said,
“under whose king the ancient world was chaste.

Once Rhea chose it as the secret crypt
and cradle of her son; and better to hide him,
her Corybantes raised a din when he wept.

An ancient giant stands in the mountain’s core.
He keeps his shoulder turned toward Damietta,
and looks toward Rome as if it were his mirror.

His head is made of gold; of silverwork
his breast and both his arms, of polished brass
the rest of his great torso to the fork.

He is of chosen iron from there down,
except that his right foot is terra cotta;
it is this foot he rests more weight upon.

Every part except the gold is split
by a great fissure from which endless tears
drip down and hollow out the mountain’s pit.

Their course sinks to this pit from stone to stone,
becoming Acheron, Phlegethon, and Styx.
Then by this narrow sluice they hurtle down

to the end of all descent, and disappear
into Cocytus. You shall see what sink that is
with your own eyes. I pass it in silence here.”

And I to him: “But if these waters flow
from the world above, why is this rill met only
along this shelf?” And he to me: “You know

the place is round, and though you have come deep
into the valley through the many circles,
always bearing left along the steep,

you have not traveled any circle through
its total round; hence when new things appear
from time to time, that hardly should surprise you.”

And I: “Where shall we find Phlegethon’s course?
And Lethe’s? One you omit, and of the other
you only say the tear-flood is its source.”

“In all you ask of me you please me truly,”
he answered, “but the red and boiling water
should answer the first question you put to me,

and you shall stand by Lethe, but far hence:
there, where the spirits go to wash themselves
when their guilt has been removed by penitence.”

And then he said: “Now it is time to quit
this edge of shade: follow close after me
along the rill, and do not stray from it;

for the unburning margins form a lane,
and by them we may cross the burning plain.”

-Dante Alighieri (Translated by John Ciardi)

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Val’s Art Diary

A smart way for artists to sell work…make youtube videos of their process that link back to their websites….


Poem of the Day: A Valediction Forbidding Mourning

A Valediction Forbidding Mourning

My swirling wants. Your frozen lips.
The grammar turned and attacked me.
Themes, written under duress.
Emptiness of the notations.

They gave me a drug that slowed the healing of wounds.

I want you to see this before I leave:
the experience of repetition as death
the failure of criticism to locate the pain
the poster in the bus that said:
my bleeding is under control

A red plant in a cemetary of plastic wreaths.

A last attempt: the language is a dialect called metaphor.
These images go unglossed: hair, glacier, flashlight.
When I think of a landscape I am thinking of a time.
When I talk of taking a trip I mean forever.
I could say: those mountains have a meaning
but further than that I could not say.

To do something very common, in my own way.

-Adrienne Rich

Posted in art. 1 Comment »

Nina’s Notes: When It’s Time, It’s Time

What do we need from each other?

I have been letting a deeper rythm sink in since I left that rapid hiccuping energy of Philly. It was what I needed. Sometimes the lull is too deep and I get restless. But the importance of place cannot be underestimated in the search for our own personal meaning, and the importance of place should not be overestimated in the search for community. With the internet, this joyous, strange, possibly dangerous tool that I offer almost all of waking hours to (besides the beach hours) I work, talk, share, create, think, speak, and help shape and shade the world.

It can be difficult to gauge how much my work online has shaped and shaded anything, but then again, how do we create the metrics of influence anyway? How do we measure if what we pour our hours into can echo out farther than the ends of our noses? I don’t know. Certainly, only time can tell what ripples are superficial and which ripples run deep and far. And since these truths remain hidden in the time being, I try to use a different measure to gauge my work: my daily happiness. If I am engaged and joyful in my daily work, then I consider myself ahead of the game, and ahead of where I could be.

But in being a conduit, a bullhorn to the world, a marketer/cheerleader/web 2.0 nerd like myself has to think strategically and methodically about how to take an idea, a piece of art, a service for artists, and make it ring. The process reminds me of the process of writing a short story. I must think through what I am attempting to portray, but I must not look at it too directly, too soberly. I must leave a window of accident, inspiration, and irrational belief open. Like the myriad possible flows of a short story, a marketing plan is fluid, dynamic, and by no means a perfect science. We can speak our words to the world, but will they listen? And how do we know that they should?

I believe in supporting artists, whether beginners or world-changing masters. I feel good when I help an artist talk about what they are trying to create. Our government, our politics, our society, our businesses put art in all its forms on the shelf. I want to be one of those people who push it back into the room, set it in the center of the table, or at least right next to the good china.

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Photo of the Day: Sunset in Waves

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Sunset in Waves, by Nina Alvarez

Photo of the Day: Fishing

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Fishing, by Nina Alvarez

Philthy Spirit Award: Rachel Cox

philthy-spirit-schmoo.jpg We’ve been singing the praises of The Cox since her opening at E’s on Passyunk nine months ago. She’s a very talented artist for who 2007 has been a banner year: from illustrating the cover of the Philadelphia Film Festival film guide to designing the cover of Eric Hutchinson’s CD (just before Perez Hilton skyrocketed him to iTunes fame), and just generally being the most fabulous person in South Philly.

She currently has a show of her work at the Lift Cafe in Philadelphia.

And we have her wonderful illustration “Reach” on our wall of fame.

But news that makes us happiest is that now you can enjoy her Zooey Deschanel-like dead pan (and strangely soothing) delivery while she teaches you how to draw a race car at About.com.

These reasons, and so many more are why we honor Rachel J. Cox with the second-ever Philthy Spirit Award.

Send her your congratulations, check out her website, and get some of her work while it’s still affordable.