Washougal, WA – Explore the world of unique and exquisite holiday gifts by stepping inside the studio workshops of local artists during the annual Washougal Studio Artist Tour Holiday Art Market. This special event is scheduled for Saturday, November 18 and Sunday, November 19, running from 10 am to 4 pm both days.

The idea for this event emerged following the success of their springtime Mother’s Day tour, where customers were captivated by the exceptional artistry they encountered. Event organizer and talented fused glass artist, Shirley Bishop, shared her insight: “Customers at our Mother’s Day tour asked if we held anything like this near the holidays. Customers were impressed with what they saw. They were impressed with the quality and uniqueness of the art. They wanted access to our local artists for their holiday shopping.”

This year’s third annual tour, the Washougal Studio Artist Tour (WSAT) Holiday Art Market, will showcase the creations of sixteen artists at four unique Washougal art studios, most of whom have been part of previous studio tour events, with new ones we are also excited to share! Because this endeavor proved successful, it is sure to continue to be a cherished Washougal holiday tradition. 

“The tour provides an opportunity to invite customers into artists’ studios to better understand the process they go through to create these works of art,” explained Bishop. “People love to buy directly from the artist, see their workspace, and learn more about them. The pieces in the tour are exceptional and unique. These artists are not ‘crafters.’  They are truly artists making a living selling their art.”  

Some of the artists even offer art classes for the public to learn their techniques.

Participating artists in our 2023 Holiday Tour includes: 

• Studio #1: Linda Andrews-Riggs, specializing in watercolors; Sharon Buckmaster who creates wearable art, and Sandy Moore (studio owner) with her creative fiber art.  

• Studio #2: Regina Westmoreland, talented mixed media artist, Phyllis Carter, celebrated for her fused glass artistry, Ellen Nordgren also known for her work in mixed media, Deborah Nagano mixed media artistry, Liz Nye specializing in mixed media art, Toni McCarthy with her boho style jewelry, and Tamara Dinius an expert in mixed media artistry and owner of the Adret’ Collective of artists.  

• Studio #3: Kathy Marty with her hand-woven rugs and home goods from Pendleton woolen scraps, LesleyAnne Ezelle an alpaca fiber & clay artist, Roxanne Turley works in alcohol ink/mixed media, Shirley Bishop (studio owner) known for her beautiful glass artistry.  

• Studio #4: holds David Van Zandt (studio owner) as a bronze sculptor & his oil artistry and Charlene Hale also well known for her unique glass art works.

The event is sponsored in part by a City of Washougal Lodging Tax Fund grant. For event details, artist profiles and contacts, and a map to the studio locations go to https://www.washougalstudioartists.org

Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.

In today’s global discourse, “Asia” often takes on an expansive, sometimes oversimplified, identity. Especially within the global art market, this vast continent is frequently painted with broad strokes, overshadowing its rich tapestry of cultures, intricacies, and nuances.  

Over the past two decades, major global auction houses have been touting “the Asian market,” highlighting the fact that about one-third of its sales go to Asia. But exactly where and to who? We always hear about sales of blue-chip western galleries at art fairs in Asia, but little on their counterparts from the region. Is the art fair frenzy even sustainable in Asia as the art fair roster is getting more crowded? What about the region’s homegrown talents who are raved by local players but getting little attention in the rest of the world? And what is the future of Asia’s art market amid the economic uncertainties and geopolitical tensions? 

These are some of the questions we aim to address with The Asia Pivot, our latest bi-weekly newsletter focusing on the art market of the Asia-Pacific region available to Artnet PRO subscribers. The Asia Pivot will bring exclusive market data, analysis, and insights about the region, breaking this big cluster into bite-size takeaways, while shining a spotlight on the local market and rising stars. We’ll also trace the growing presence of the Asian diaspora and Asian market players’ increasing outreach in the western market. 

To mark the launch of the newsletter, Artnet, in partnership with Asia Now in Paris, presents “New Frontiers and Fresh Challenges: The Future of the Art Market in Asia and the Asian Diaspora.” 

Taipei and New York-based art advisor Gladys Lin and Seoul-based collector JaeMyung Noh joined Artnet News’s Vivienne Chow at Asia Now in Paris to discuss current market trends and challenges, as well as the hopes and fears of those living in the region. Drawing their various experiences and observations, Lin and Noh shared their insights that are rarely heard beyond the region.  

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For Bunnie Reiss, the studio can take her anywhere. From her art-filled desert home near Joshua Tree, California, to walls in cities around the country, her surroundings transform into her canvas. “I want to be the sort of artist that gives people something to look at for free and make it accessible,” she tells Colossal. From murals to paintings to moving sculptures, she takes a prolific approach, constantly experimenting with different media.

Reiss is known for her colorful, cosmic characters with an emphasis on patterns and a symbiosis between wild animals, botanicals, and people. An ongoing series of hand-painted leather gloves features embellished eye motifs, symmetry, and sacred geometry. Spreading feelings of positivity and creativity out into the world is central to Reiss’ approach, especially through the medium of public art. “When you put your energy into one thing, it’ll work,” she says. “You have to trust that we are electrical beings, and if you’re dumping all of your energy into something, it will work.”

Pushing her skills into new territory, Reiss recently completed a 500-square-foot mosaic mural and a sculpture of a giant rabbit leaping over a rooftop, constructed on the chassis of a truck. “I kept thinking of this constellation called Lepus,” Reiss says of the piece titled “The Sky Rabbit’s House,” which she completed in collaboration with a team of fabricators. “It’s a winter constellation, and I can see it from my porch. It’s a moving sculpture on a street-legal car—I love cars, so that was really important to me—and it was made for people to fall in love. There’s a cavity for people to sit in, and it’s a place for connectivity.”

Reiss is currently working on illustrations for a children’s book and organizing a monograph, highlighting work she has made over the past ten years. You can explore much more of the artist’s work on her website, and follow updates on Instagram.

“Magic Buffalo,” Buffalo, New York. Image courtesy of Albright-Knox Museum Public Arts Initiative, Buffalo, New York

“The Sky Rabbit’s House.” Photo by Duncan Rawlinson

Carbondale, Colorado. Image courtesy of Carbondale Public Arts Program, Carbondale, Colorado

El Segundo, California. Commissioned by the El Segundo Arts Council

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Cosmic Creatures Meet Mystical Geometry in Bunnie Reiss’ Murals and Illustrations appeared first on Colossal.

Yes, that age old question, made even more confusing in the age of technology, data and now AI. On one side you have the science brigade led by Professor Byron Sharp from the Ehrenberg-Bass Institute for Marketing Science. On the other side, you have every person who went into marketing because they didn’t like maths, only to discover that statistics 101 was a mandatory in their course.

During one of the sessions at SXSW Sydney last month, the question was raised again in a discussion on marketing effectiveness, with the inevitable answer that, of course, it is both. But how is it both? And more importantly, what type of science is it? And for that matter, what kind of art?

As a trained scientist, who has worked in marketing and advertising for many years, I find it is worth going beyond the usual answer of it being both, and trying to define what parts are magic and what parts are science, and the types of art and science they are.

Because let’s be honest, there can be an inherent benefit in mixing and confusing the two. After all, if something is science it can appear more credible to some, while art will appear more magical to others.

I remember a marketer telling me that their agency was complaining that if I were to benchmark the agency’s productivity the magic would disappear. But when asked, the agency could not provide either a description of what that magic was or why exactly it would disappear as a by-product of assessing agency resources against the work volume being produced.

By Dennis Flad

But likewise, I recall a qualitative researcher presenting results to one decimal point from a handful of groups judging creative concepts, only to be confused when asked what the statistical significance of the result was. It appeared that a sample of thirty consumers was taken as being representative of the total population of grocery buyers.

There is an argument that beyond the creativity and imagination of developing consumer insights and creative ideas and concepts, everything else is science. After all, science comes in a variety of flavours. There are the natural sciences, considered to be the physical sciences (such as chemistry and physics), and the life sciences (being the study of organisms from viruses to mighty redwood trees).

Then there are the social sciences (the study of how people interact with one another and includes anthropology, economics, political science, sociology, and social psychology). Pretty much the complete tool bag of science for anyone working in marketing, as this is the commercial study of human beings.

There is much interest today in many of the products of social science endeavours, including behavioural economics and consumer psychology, better to understand and predict human buying behaviour.

There is even a field of science looking at understanding complexity – and what could be more complex than consumers and markets? Complexity theory originated in the physical and life sciences, and was applied to social science in an effort to understand dynamic human processes which were difficult to explain with prevailing equilibrium models.

Then there is mathematics. Or math. It can be argued that this is either a formal science or not a science at all. But in the marketing world of data it is the language of data insights. No wonder most robust commercial courses at renowned tertiary institutions insist that statistics is a mandatory study unit.

But what is the point of defining and distinguishing the types of science and art? Well, social science is neither rocket science, astrophysics nor pure chemistry. It is a social science that provides insights and observations into human behaviours. And mathematics, including statistics, is the qualitative and quantitative language that supports it.

So, next time someone is saying what they do is an art or science, instead of nodding in agreement, perhaps you should be asking if it is indeed science, then what type of science? And does it conform to the definition and vagaries of the discipline? And is it being applied in an appropriate manner?

Just accepting that something is an art or science is at the least confusing and at its worst, misleading.

See Also: Woolley Marketing: How many awards are too many awards?

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Darren Woolley is Global CEO of TrinityP3, Australia’s largest and most influential independent marketing / pitch consultancy and is well known to the advertising industry. Founded more than 20 years ago TrinityP3 has a significant presence in Australia where it leads the pitch process for many of the country’s leading advertising accounts as well as having offices in London, New York and Zurich.

Darren Woolley

Dennis Flad is responsible for Trinity P3 EMEA and founder of t’charta, a management consultancy boutique for strategic product management, pricing and go-to-market based in Zurich, Switzerland. Dennis worked his entire life in marketing and advertising, which allows him to infuse his whimsical drawings with a realistic understanding of management practices and behaviours.

Dennis Flad



A vivacious troupe of colorful paint blobs dance across a stage of oil and soap liquid in Thomas Blanchard’s latest video. Sliding around to the sounds of Chopin’s “Nocturne Op. 9 No. 2 (E Flat Major),” glittering spheres roll mesmerizingly across shimmering fields of color, which Blanchard (previously) captures in high-definition, slow-motion elegance.

Watch “Colorful Liquids in Motion” above, and find more on the artist’s website and Vimeo.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Paint Whirls Through a Sea of Color and the Melodies of Chopin in a New Video by Thomas Blanchard appeared first on Colossal.

From Miami and Hong Kong to Paris and Tokyo, South Korean collector JaeMyung Noh has been traveling to almost all the major art fairs around the world over the past year. But in April of next year, he’s certain he’ll be in Seoul, where he will be launching an art fair of his own.

ART OnO, which stands for “One and Only,” will take place from April 18 to 21 at exhibition SETEC in Seoul’s Gangnam district. Details, including the exhibitor list and programming, are still being finalized, but the fair expects to have around 60 galleries, with around 40 of them from outside of South Korea. Peres Projects (Berlin, Seoul, Milan), Portuguese dealer Duarte Sequeira, Nicholas Krupp (Basel), and the Seoul-based This Weekend Room and Hakgojae are among the galleries taking part in the new fair.

But does Asia need another art fair, when the roster is already jam-packed since the region’s emergence from Covid restrictions last fall? South Korea alone had 65 art fairs in 2021, according to government agency Korea Arts Management Service (KAMS), and that number has gone up following the arrival of Frieze Seoul last year. The fair calendar got even more crowded this year with other new fairs popping up across the region including Art SG in Singapore, Tokyo Gendai in Japan’s Yokohama, and Art Busan’s Seoul venture Define Seoul, which runs from November 1 to 5.

A very crowded VIP day of Frieze Seoul 2023. Photo: Vivienne Chow.

Noh’s answer is “Yes.” Having travelled to so many art fairs around the world, the 33-year-old collector noticed that fresh artworks are hard to come by at art fairs. As a collector, he has been hoping to see exciting art, but blue-chip galleries often bring similar works to their booths, while high booth fees and operational costs have priced out small galleries, which can have great artists on their roster, he said.

“A lot of people care too much about the brand, the name, and the price. But the only thing we care about is the quality of the program and the works,” Noh said, adding that he wants to create a platform that allows galleries to bring something new to the audience.

To ensure that even small galleries can participate in Art ONO and take risks in their choice of works to show, Noh said he tried his best to keep the booth fees low to lessen financial pressure for galleries with fewer resources. The booth fees are about 30 percent lower than other local fairs in South Korea, he said. There will be big name galleries too, but he is asking them to bring fresh works rather than the usual art-fair suspects.

Art ONO will also emphasize its collaboration with other partners, including artists, institutions, and private collectors. “I want people to come and enjoy their stay in Seoul,” he said. Noh, who hosted dozens of groups of museum patrons, collectors, and art world professionals at his private collection during the Frieze Seoul week in September, has a rich roster of partners he can tap.

“We want to connect different parties together, and I would love to strike a balance between for-profits and non-profits,” Noh said. “An art fair is not just a market. I want local people to have an opportunity to experience something different, and understand that there are so many ways to enjoy art.”

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William Darrell describes his kinetic sculptures as “mechanically abstracted organisms,” animated forms that pulse, shimmy, and spin with lifelike motion. The London-based artist is inspired by the relationship between the organic and the mechanical along with the enticing, mesmerizing qualities of movement that can coax “fear or fascination” from the viewer. “There are cuttlefish that hypnotise their prey in order to catch them,” he says. “As an artist, I follow a similar method.”

Darrell 3D-prints each work to achieve the necessary level of precision. Every component needs to align perfectly to create such methodical, entrancing motions, powered by a single motor and a mix of gears, belts, magnets, cams, and elastic bands. Darrell shares:

I engage in kinaesthetic play with my prototypes, discovering new ways they can revolve and move together. I’m a self-taught engineer, and I always try to do something new that I haven’t seen before. Steadily, they get more complex over time, and sometimes something completely unexpected jumps out at me, bringing on a new wave of development.

The result is a diverse collection of sculptures that meld the form of botanicals with restless animal movements. Reactions “(vary) from viewer to viewer. For some, it’s a purely pleasurable experience, for others too stimulating and even perverse,” he shares.

Watch more of Darrell’s uncanny mechanics on Instagram.

“Optimism Bloom”

“Oneiros”

Detail of “Optimism Bloom”

“The Institute of Sex and Consumption”

“Ostara”

“Oneiros”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Kinetic Botanical Sculptures by William Darrell Wriggle and Writhe in Hypnotic Motion appeared first on Colossal.

The Taiwanese pop superstar is curating a sale featuring art market darlings Adrian Ghenie, Dana Schutz, and Jadé Fadojutimi.

Christie’s is collaborating with singer Jay Chou for its Post-Millennium Evening Sale in Hong Kong on 28 November.

‘I am looking forward to showcasing some of the most talented and promising emerging artists from around the world by creating a stage where more people can get to know their works,’ Chou said in a statement.

Dana Schutz, Singer Songwriter (2013). Oil on canvas. 195.5 x 228.6 cm. Estimate: HK $16 million–26 million (US$2.1 million–3.3 million).

Artists featured in the auction include Adrian Ghenie, Dana Schutz, Loie Hollowell, Jadé Fadojutimi, and Huang Yuxing.

‘Every one of the next generation of artists could be a future great artist. I would like to inspire them and be a guide throughout this journey as I myself have traversed this path,’ Chou said.

Huang Yuxing, Landing In the Coast of Childhood Dreams (2018). Acrylic on canvas. 220 x 300 cm. Estimate: HK $3 million–5 million (U.S. $390,000–640,000).

Previews of artworks in the exhibition will take place in Beijing from 5 to 6 November, in Shanghai from 9 to 11 November, and in Hong Kong from 25 to 28 November.

Jay Chou with Loie Hollowell’s Standing in a Sunrise (2020). Oil, acrylic medium, sawdust and high-density foam on linen mounted on panel. 183 x 137.4 x 9.5 cm. Estimate: HK $7 million–9 million (U.S. $900,000–1,100,000).

‘Jay Chou is a global luminary, and we are honoured to infuse this autumn’s Post-Millennium Evening sale with his distinct and pioneering vision,’ said Evelyn Lin, Deputy Chairman of Christie’s Asia Pacific. —[O]