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Over the years, we have been collecting a list of certain improvements that need to be made on the site in order to remove glitches and simply make it easier and more efficient to use the site. In 2015, we hired Anand Bora a web developer from Determinant Studios in Bangalore, India. Anand was part of our DNA of Creativity project working on the PAMM project (Poly Aesthetics: Mapping of the Muses). We had a great challenge for Anand as the original site was constructed in 2003 in India, which is ancient history in web terms. He has performed miracles to sort out our code, clean up the site and make some wonderful improvements for the user and for the administration of the site.
We highly recommend Anand Bora for any web design needs you may have, and will be continuing to use his services for even more improvements to the site, especially with your kind end of the year donations to SDVAN. We would like to add more search capacity especially for collectors looking to make commissions, added categories for mediums and locations for artists, continuing safety features, and a rating system for events by the public.
Just in the last year we have added:
Lots of back end admin changes have been made to make is easier to use and for the site to be more safe from virus and robot attacks.
A print function on the top left of each page.
The resource search function has been repaired and you can once again search for a type of resource in one part of the county.
There is now an alphabetical search possible for Art Resources divided into first letter categories.
There is a new easy way to upload image for event listings. You can just browse your own computer for an image. The image no longer has to be online. Images up to 500kb can be used.
Every page for the search is now properly branded and linked with our menu bar.
We have fixed the am/pm confusion and now all listing for month, day and year are on pacific standard time.
San Diego Visual Arts Network is a database of information produced to improve the clarity, accuracy and sophistication of discourse about San Diego's artistic and cultural life and is dedicated to the idea that the Visual Arts are a vital part of the health of our city.
Did you know:
The SDVAN connects almost 1,000 organizations and nearly 1500 artists and is the largest resource ever brought together to support the visual arts community in the entire region of San Diego. Its potential for influence within the entire community is great.
SDVAN is a nonprofit entity which provides representation and support for the entire visual arts community through its directory and calendar services and is FREE.
How you can help:
$100 pays for updates for the directory for one month
$500 covers the cost of making feature event banner status for five exhibitions
$700 prints a flyer for the year
$1000 makes possible additional improvements on the site like posting images
$2000 will create a rating system for our new View Art Now App
$5000 supports the SD Art Prize
Support SDVAN and you receive more than the gift of art. You support that which binds us together that goes beyond religion, race, or gender. You support our freedom to express ourselves and to gather to celebrate our creativity.
Donate to SDVAN online, by phone or by post. Those of you who can give $25 of more will be listed on the permanent sponsor page
Thank you so much for your tax deductible donation to our 100% volunteer non-profit.
Thankful for STEM into STEAM
ART MAKES THINGS STRANGE: Looking at and Talking About Art
One of the most interesting things about the evening was the comment that San Diego only needs sun, tech and the border. Maybe we do put too much energy in cultivating the general public. But my belief in the power of art is so great that I see it as a necessity like food, water and shelter. If art is this powerful in a great many lives, it does seem as if everyone would benefit from it. I admire communities that know and practice their daily involvement in the arts.They are richer for it.
Here is my presentation for the evening:
I have chosen to speak about the young or newly interested potential art gamer. This is someone who might have gone to the meet up at one of the museums like TNT at MOCA or Night Owl at Athenaeum or Culture and Cocktails at SDMA or Art After Dark at OMA. They might be tempted to attend by the possibility of picking up a date. But Art is not an everyday occurrence in our lives. It is a strange thing that makes us notice ordinary things in a new light. What we need younger generations to realize is that when you look hard and talk about a work of art, you are actually defining yourself. You reveal yourself to others and if you are lucky to yourself.
Most viewers have an inferiority complex and think you need an art history degree for the ability to understand art. This is compounded by many artists not being able to speak about their work. But a viewer can start by describing exactly what is viewed. Start with size, color, line, content and before you know it ideas will start to flow about content and meaning and you will bring yourself into the experience. Simply by describing a work you can start the process and once started here are some questions to enrich that dialogue.
What one art works would you choose to give as a gift and to whom would you give it?
Which artwork speaks to you and what does it say?
If you could meet one of these artists which would you choose to meet?
If you could walk inside one of these works in miniature, which would you choose?
Can you imagine this artwork in your home and where would you put it? Why does it relate to that place?
How did you think the artist got the idea for the piece?
What is the media used and why do you think that was chosen to fabricate it?
What do you like most about it?
What does it remind you of?
What did you learn looking at this art work?
Did this work remind you of another work?
Why do you think you like or dislike it?
Artist can do the same thing:
Start with a paragraph description of an art work of yours you like best.
How did you get the idea for the piece?
Why did you choose that media to fabricate it?
What do you like most about it?
What does it remind you of?
What did you learn by doing this art work?
Did this work lead you to make another work?
Who bought or expressed a liking for the work and why do you think they bought or liked it?
Artist can interview themselves as a way of preparing to create a dialogue
When did you first start creating artwork?
What media do you use?
Is there a reason you choose that medium?
Do you start out with an idea of the end in mind?
What inspires your work?
When you conceive or set about executing a work of art, do you think you're guided mostly by a constant driving inner aesthetic? Or do you think you're in some significant way reacting to the world around you - to culture or the economy, say?
Do you think that you actually see the world differently than other people?
Does religion, or any sort of spiritual belief, play in the creation of your work?
Who would you say are your greatest influences? Or is there a particular historical period from which you draw inspiration?
What's your history of working in San Diego?
Does your work sell well in another geographical area? If so, why do you think that is?
Is it ever hard to part with a work?
Did you ever consider expressing yourself in other art forms?
What do you think art is really about today?
Do you have a favorite art work among your creations?
How do you know you've finished a particular art work? i.e. How do you know when to stop working on a piece?
When it comes right down to it, what do you like best about making art?
How can people see your art and buy it?
Or an artist could:
Keep a diary - write up notes during the creation of the work and pull information from those notes.
Or an artist could
Interview a good friend about the art work and borrow the best bits
BECOME AN ART BUYER - NINE TIPS TO HELP
Yes, I do mean you may have never said, "I'll buy that one, please."
1. When the lights are on in an art sales gallery after 5 o'clock and a crowd has gathered, it means you can walk right in, have a drink and a bite to eat and look at the art. No invitation is needed. You don't have to pay to enter and you won't be pressured to buy anything. Gallery openings are listed in magazines and newspapers and you are welcome to attend.
2. One of the pleasures of owning a work of art is meeting the artist. There are many opportunities for this to happen. Go to an exhibition opening and the artist is often present. Most cities have an open studio tour or an art walk (San Diego has both). An art dealer may be able to arrange a meeting and most artists welcome a call from you directly to arrange to see more of their work.
3. Celebrate if you fall in love with an artwork. This is a totally valid reason to buy. Like in any good love match, if you treasure it, it will reward you. Give yourself permission to own the work. Long term you will learn more and more about it and about yourself.
4. It is also OK to buy a work because it fits the décor of your home. Just make sure you have an emotional and/or intellectual connection to the work as well.
5. Don't hesitate to buy a work of art to commemorate a special event or to remember a favorite place or feeling. Many famous collections were started in just this way.
6. If you do happen to like one of the works but you are unsure, ask if you can take it home to see if you can live with the artwork.
7. If you are nervous about buying or even looking at art, seek out a friend, an art collector, an art dealer or consultant to mentor you. Some artists are excellent mentors and can speak well about a whole range of artwork.
8. If you buy art, you may eventually outgrow it. This is all right and you can sell the work, give it away or put it in the attic and see if it can tell you more later. Just make sure and replace it with a new work.
9. Once you buy an artwork, share it with friends and let them experience the joy, insight and pleasure from the works that surround you. Your art defines you and is another way to show who you are.
I have been listening to the radio in the car this week. I usually end up with a take away. No, the universe is not speaking to me, but someone on the airwaves seems to be communicating directly to me. Sometimes I even have to keep listening to the radio even after I pull the car into the garage. (My garage only has two sides so I don’t worry about carbon monoxide.) But the downside is that I don’t have any idea who it was that said what I found inspiring so I can’t quote names or organizations.
For example, I came in on the middle of a discussion by an art marketing specialist. The interviewer asked her the one biggest mistake that artist make in promoting their work. I held my breath for the answer. Would it be over or under pricing, meaningless artist statements, or maybe getting drunk at their own opening receptions? No to all of these. IT WAS NOT SAYING THANK YOU ENOUGH.
Sounds simple, but I started thinking of all the people I say thank you to and how it is never enough: Artists involved in SDVAN projects, art gallery and museum directors, patrons who give donations, writers who report on our SDVAN efforts, masses of volunteers, our Indian software expert, community leaders who support the arts, my family and personal friends that help me through moods swings, stress, ranting, and who feed and walk me and all those people on the radio and their words of wisdom.
So I researched how to say thank you. Be sincere, be grateful and be specific. It can be in person, over the phone, in a text, in an email and don’t forget the classic written note. I could be saying thank you 24 hours a day, day in and day out. But can one be sincere day in and day out….I know I am grateful every moment of my life. But sincerity can be exhausting and much harder to muster if you think you should be grateful but the “gift” was more trouble than it was worth.
Deep down my mother loves to get compliment and thanks, but she always shrugs it off as insincere. She does not think she is worthy because thinking you are worthy is too prideful and to be resisted.
And who says thank you to me? Masses do but a lot of what I do is never acknowledged. The thanks is seeing a worthy project happen and the fun I have in participating. Do we need to start saying thank you to those who thank us? Do others think that saying thank you, is a thankless task?
Next on the radio was news of the drop by 1000 points of the stock market. Echoes of 1929, but the reassuring words came fast. THE STOCK MARKET IS NOT THE ECONOMY. The Economy is fine. I am grateful for this viewpoint. Who do I send a thank you note to for the good night’s sleep I can have tonight?
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Changes to the SD Art Prize
I was thrilled that Kinsee Morlan of City Beat choose to write about the SD Art Prize and changes we are considering. She presents a fair and accurate reporting of our thoughts which you can read below. I was always surprised that there was not more controversy about this prize in San Diego and I am very glad to see an open discussion about it.
Our intention was to shine a light and and even make some new local art stars and get a bit more attention for the high quality of art in our region. We added an mentoring aspect but collaboration, education and recognition were always the most important aspects of this project. As we move forward with an experiment in smart device public voting and the elimination of the emerging and established categories, we hope to continue that push to create partnerships, to inform the public and to see our artist recognized in all their glory.
To that end, a number of the SD Art Prize artist recipients will be featured in Open Walls Project which is focusing on the SD Art Prize this year. These are large billboards (a bit larger than 10 by 22 feet) scattered through the city. The Open Walls is made possible by the presenting sponsors Art San Diego Contemporary Art Show and CBS Outdoor
Rethinking the SD Art Prize: City Beat by Kinsee Morlan
Most people who pay attention to the local art scene know about the San Diego Art Prize, but few truly understand it. The confusion and some ongoing complaints are driving organizers to propose major changes to what's become an important and mostly lauded institution over its nine-year history.
"You know, it's always good to have something morph and become something else—nothing should stay exactly the same forever," says Patricia Frischer, coordinator of San Diego Visual Arts Network, the volunteer-run nonprofit organization behind the prize.
The Art Prize is an award given every year to two established artists and two emerging artists. The four artists win modest grants, exhibitions, educational materials, a write-up in the Art Prize catalog and a decent amount of press. Each year, a special committee convenes to select the two established artists, and each of those artists is then asked to handpick an emerging artist to share the prize.
And here's where things start to get wonky—the established artists are given a list of names of emerging artists chosen by a nominating committee made up of past Art Prize winners and arts professionals. The list is called the "New Contemporaries," and the artists on it are included in an annual exhibition. The established artists are encouraged to go to the exhibition and they can either pick someone from the show or completely ignore the list and award the Art Prize to any local artist they want. Over the years, this piece of the Art Prize puzzle has led to some grumblings, especially from the nominated emerging artists who feel like they've been ignored in exchange for favoritism and even nepotism, as was the case in 2013 when established artist James Hubbell picked his own son, Brennan Hubbell."I didn't see the point of having nominations only to [have the established artists] not select any of the emerging artists nominated," says Andrea Chung, one of the dozen emerging artists named this year. "[The San Diego Art Prize] is well-intentioned, but I didn't care for the format."
Another common criticism of the Art Prize is the categorization of artists. In many cases, the artists nominated as emerging are just as accomplished as the established artists. That was certainly an issue in 2009, when longtime artist Richard Allen Morris picked his buddy, Tom Driscoll, to share the prize. Driscoll's been making great art almost as long as Morris.
"You know what emerging is," says Dave Ghilarducci, an artist nominated in the emerging category last year even though his credentials clearly indicate that he's better described as established. "It's young up-and-comers or someone just starting out. If there's a question, then the artist probably isn't really emerging."Frischer is currently addressing these concerns. She gave CityBeat a first look at a draft of proposed changes, which includes eliminating the established and emerging categories and instead just awarding four artists the Art Prize. Past winners and arts professionals would nominate the artists—similar to how nominations for emerging artists work now. Frischer is also considering letting the public vote alongside the Art Prize committee to select the four winners.
Other changes are proposed, but nothing will go into effect until next year
. A total of almost $50,000 has ended up in the hands of area artists thanks to the Art Prize. Interesting collaborations between the established and emerging artists have taken place, too, and that's the one aspect Frischer says she'll miss most if the proposed changes take place.
This month I am writing a very simple post about an observation that I hope will make others have a guilt free art life.
I lived in London for 35 years and London has so many visual arts exhibition, fairs and events that you could never attend them all. I took my students out every Friday to a new major art display at a museum and never ran out of choices. The result was a strange confidence. There is always something to see and do and yes, it is true, when you are tired of London, you are tired of life.
The result of all this plenty is what I am now feeling in San Diego. When I first arrived and started to make friends and find out what was going on, I tried to attend all the events I could. Sometimes it was quite a thin selection, and I was pretty much able to see everything I was told about.
But over the last 19 years, San Diego has exploded with art events. Now we are spoiled for choice. Now no matter how hard you try, you could never show up for everything that everyone you know creates. So now I am more relaxed. I know there will always be something to see and I know that no one expects me to show up for this multitude of riches as it is just humanly impossible. Now I enjoy a guilt free art life in San Diego.
So go out and see some art today, and if not today, then tomorrow. There is plenty to go around.
Scaling Up and Out: The changing audience for the arts
Sometimes you just need to take the day off and I was more than happy to stay in bed and attend the 2015 Smith Leadership Symposium April 20 at MOPA online. This was an all day event and although I missed the networking and the lunch and after session cocktails, I think I picked up some valuable insights.The main theme of this symposium was exploring the new audience and how the museum world could address their interests and needs.
This new young millennial Patron is curious, engaged, open minded, looking for new experiences, plugged in because of tech, social, attracted by cool, brand obsessed, looking for meaning, and discerning. They are active, not passive. But they are restless and less loyal. We need to meet them where they live and understand how they feel.
We need to understand the role and value of culture in their lives. They want entertainment and enlightenment; they want to be with friends. They also want enjoyment, enrichment, challenges, aha moments, uses of all senses, and an enlarged world. They want to be uplifted with unique and profound experiences. They use culture to escape stress. They even want to support their community. But they may not want to donate in the tradition way. If we can present the arts as an opportunity to participate instead of a demand for funds, we can create a new paradigm.
They attend events if the cost is right, the subject interests them and if it allows for social interaction. The don’t go if those things are not present and if it is inconvenient to get there. Facebook, Utube and Twitter are still the media of choice. Smart phones and tablets are the devices of choice. Taking and sharing photos, looking at websites and apps, checking in and commenting on shows are all activities on the rise. They don’t join or subscribe much, but when they do, they have to love the institute, it has to offer discounts and the price has to be right.
Donations are up for those organizations that make a community impact. The new audiences see corporate sponsors as just a way for those to get a marketing benefit but they still admire them for supporting the arts.
Audience behaviors and expectations are ever changing for all age groups. Leisure time is expanding and new tech continues to alter the way we interface with the world. How do we embrace this change that is inevitable? So how do we COPE? My plan is to continue to Collaborate; to make sure that our Online audience development continues by constantly introducing innovative social media experiments; make sure that we include ways for the audience to Participate and have meaningful Experiences at our events and other interactions.
The second of four 2015 North County Arts Network (NCAN) meetings was held on April 16 at The California Center for the Arts, Escondido ( 340 North Escondido Boulevard, Escondido , CA 92025 ). The honorary NCAN host was Jerry Van Leeuwen, the Executive Director of CCAE and all 110 participants were treated to wonderful food and drink by this gracious supporter of north county arts.
Daniel Foster made introductions and explanations as there were many new people attending this event. NCAN aims to strengthen the arts organizations and communities of North County San Diego and beyond through convening, networking, and strategic/collaborative approaches that will produce leveraged impact for arts and culture in the region. The goals for this evenings meeting is to discuss the purpose and forming structure for NCAN, map and survey our NCAN community and priorities, create dialogue and discussion with all attendees, and provide excellent informal networking opportunities to build relationships and sense of community.
A panel facilitated by Leah Goodwin, Education Partnerships, CCAE had in put to help define the need for this newly formed organization from Jim Gilliam, Arts Administrator, City of Encinitas , Jacquelyn Kilpatrick , Director, School of Arts, CSUSM, Vincent Kitch, Cultural Arts Manager, City of Carlsbad and Wendy Wilson , Executive Director, Escondido Arts Partnership.
There were five break out groups after the panel. I was one of the facilitators for the first group Marketing, Membership, and Development Group with Erin Decker, Sr. Associate Dir. of Development, La Jolla Playhouse. Alexandra Kritchevsky, Grants Manager, La Jolla Playhouse was our secretary and will be presenting full notes as will the other four groups. I hope to post those results in the future.
We started with a brief statement about how the three topics were related: Marketing gets people in. Membership makes them want to stay in and Development turns members into supporters. NCAN is all about coming together and that implies collaborations, so collaboration was a big part of our discussion. We discussed sharing an understanding of our audience and the importance of clarity of our message. I have outlined below just a few of the strategies that were discussed.
I found that five breakout groups were not enough for 110 people and the number of people in our group (over 30) made it more difficult to really know the participants. If we intend to do any real projects together, we need to get to know and trust each other. So I am hoping for no panel and smaller groups at the next session which will be held at the Lux Institute on July 16. We might also need to have a separate pre-event for first timers so they are familiar with NCAN and what we are trying to achieve. I see NCAN very much as a pilot program for other parts of the county. If we can make it work in the north and invite others to form their arts network, we can eventually all join together to form an official SD County Arts Council.
The most exciting aspect for me was to encourage some new brave initiatives that might fail but if they succeed will raise all boats on the tide. Sometimes you need the support and help of your colleagues to make this kind of leap of faith.
The four other groups were:
Visual Arts Programming Group
Performing Arts Programming Group
Civic / Municipal Arts Group
Arts Education Group
Collaboration can be the pits. The challenges are many when any two people or organizations come together. It is a sort of marriage and many of us have failed at least once at that! You have to compromise, be empathetic, get over jealousies and perceived slights. Your win wins can become loose loose unless you respect your partner(s) and persevere. Sometimes you have to take the road less traveled and re-invent the relationship all together. It is a voyage of discovery.back to top
San Diego Visual Arts Network has facilitated many collaboration. In fact, collaboration is the life blood of this organization. Without collaboration, nothing at all would have been achieved, no directory of the visual arts, no calendar of events, no location app, no Movers and Shakers, no Little and Large or Eat Your Art Out or DNA of Creativity, Hats Off to Life, Art Meets Fashion or SD Art Prize. Non of this would have been possible without our partner artists, art venues, and supporters.
But we did not set out to build a reputation for San Diego Visual Arts Network. Our goal was and is to pull the arts community together. We want to show what is possible when we work together for a higher level of quality that benefits us all.
So this is a call to get out of your silo. Notice what is happening around you. Join together to do more than you can do alone. Work more efficiently by grouping together for promotions. Challenge each other to perform better, have more fun and share the joy. And if all boats do rise on the tide, then remember that healthy collaboration means sharing the credit as well.
The envisioned role of the San Diego County Arts Council (SDCAC) is NOT to manage the existing county disbursement of funds by the supervisors. Instead it is our belief that SDCAC will provide a multitude of assets for the benefit of the entire county. It is then that the Arts and Culture Community can continue to help meet the goals of our county.
State of the Arts: Are these the Questions for 2015?
The State of the Arts series is about a wider vision of what is happening in the art world. At the end of 2014 we look forward to 2015 not so much with answers but with a list of questions which I think may be important to ponder, discuss, and perhaps give us inspiration for action.
1. The San Diego Art Institute SDAI has a new director Ginger Porcella. She has to turn an almost dead organization into a thriving innovative art destination. How is she going to do this? What are the changes needed. How does she balance old with new? SDAI has the prime location in Balboa Park for contemporary artists and the potential to be amazing. Porcella is a highly motivated and articulate young woman from New York. She came up with the idea of a new job description for a staff member at SDAI: Director of First Experience. So instead of a PR person, a fundraiser, an education director, you would have someone who was responsible for the first impression of the institute; how is the institute branded before you even walk into the building and how do you first get involved as an artists or a visitor. This question of the future of the non-profit arts organizations and how they need to change seems particularly important in the year we almost lost the Opera and where the SD Foundation and the Commission for Arts and Culture both have new leadership and as we struggle to establish a SD County Arts Council.
2. Reading about 10x talent agency in the New Yorker (The Programmer's Price), I was impressed with the idea of Rock Stars of Tech. It is fascinating to see how creativity is so sought after. Musician, producers, actors and now software designers all want to be thought of now as “Artists”. That seems to symbolize that they are innovative. As technology and the arts are tied more and more closely together, what can we expect to see in the future? Besides the development of new ways to make art with 3-d printing, there will probably be algorithms to compute metrics for audience involvement, funding and sales.
3. This leads me to the more specific questions of what are the new trends in commercialization of art on line? SDVAN just joined an online second hand goods fundraising site called WebThriftStore. You can take all those holiday presents that disappointed you and sell them online benefitting SDVAN and earning a tax donation for yourself. They let you upload an image directly from your phone, they even send you a shipping label when the item is sold and the shipping is paid by the buyer. Our very successful accessory exchange happens only once a year, when old favorites are given new homes. Now we hope you will try this out anytime during the year anytime you clean out your closets. You can sell anything so don’t forget that work of art that may not inspire you any longer, but will appeal to someone new. And if you are not the artist selling your own work, you get a nice tax deduction.
Your can read all the past State of the Arts addresses by Patricia Frischer here. But please also go to our A+ Blog State of the Arts, 2015: Are these the Questions for 2015? to blog back and watch for future opportunities through SDVAN to join in the conversation.2014 Past A+ Art Blog including
Mural by Paola Villasenor at SDAI and Art Fair Miami
Turn on, chill out and Pop up
Incubator for Innovation - final 9 teams for San Diego
London Journal 1: Tate Britain Folk Art
London Journal 2: Horst at the Victoria and Albert Museum
London Journal 3:Today's Special: Pace Gallery, Tate Modern Matisse
London Journal 4: National Portrait Gallery and Saatchi
London Journal 5: London Fashion Week and London Design Show at Tent and Super Brands
London Journal 6: Gilbert and George, Boyd and Evans, Anslem Kiefer and AI WEIWEI
A Call to Action
SD Fringe Festival Art Exhibition at Ten Street Art Center
ILLUSION: Nothing Is As It Seems at the Ruben H. Fleet Science Museum
Deborah DeLisi and One Minute Mandalas at SDVAN sponsored Mission Federal ArtWalk
DNA of Creativity Introduction at Oceanside Museum of Art
Notes on Aesthetics and Authenticity Symposium
SD Art Prize has its roots in the Turner Prize
2013 Past A+Art Blog including
State of the Arts: The Rise of the Living Artist, 2013
New Art at the SD Airportt: Flying High
San Diego Incubator for Innovation
Arts Leaders Motivations
Politics and Art in San Diego
Art Eats Food
Alternative Materials Panel Discussion - Sparks Gallery
London Art Newsletter 2013
San Diego: Identity Crisis or Identity Opportunity? March 2013
Palm Springs Art Fair, Feb, 2013
Corporate Collecting Book Review, Jan 2013
2012 Past A+Art Blog including
2009 Past A+ Art Blogs including
2008 Past A+ Art Blogs including
2007 Past A+ Art Blogs including
2006 Past A+ Art Blogs
PATRICIA FRISCHER, author of "The Artist and the Art of Marketing" has lectured extensively on marketing for artists. She is a trainer of artists’ agents, art dealers, consultant and collectors. Frischer has taken on the roles of gallerist, curator, writer, teacher, website coordinator and artist. Her many metamorphoses make her difficult to fit into any of the usual art world categories. She is a founding member and coordinator of the San Diego Visual Arts Network, (www.SDVAN.net ) which funds the SD Art Prize, directory and events calendar and SmART Collector features. Her own artwork (www.DrawsCrowd.com ) has been shown internationally and her most recent one person show was at Oxford University.