Spring started yesterday, but it’s hard to believe–we hear that people are having snow days in the Gorge and down in Eugene. Even though is it cold and wet outside, the trees around the factory are budding, making plans for April and May. We’re making plans, too…

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Watching paint dry.

Even worse. Watching someone painting a booth two aisles away via a photo posted on the gallery’s Facebook page. How distant can we make being this close?

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The difference between a blog and Facebook?

On a blog, no one talks to you. Ask a question? Good luck. On Facebook everyone is so busy yabbering that your questions are drowned out by all the other chatter. But more often than not, people respond. Silly stuff sometimes. But at least you’re heard.

It’s kind of like speaking on stage compared to blathering in the local pub. And with Facebook you don’t really need a prepared speech. Anything seems to fly.

Get AWAY from me with that stupid camera – go embarrass some of your human friends!

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Context is critical in showing art.  The preferred setting is typically spare and white. When we acquired the building that now houses the Bullseye Gallery, it was anything but. It is what it was: the raw bones of an old fish-smoking plant.

The Upper Gallery waiting for e-merge.

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If I left the impression with my last post that receiving art is only about crates, delivery receipts, photography, data entry, and insurance claims, it was only a small part of the story. At the bottom of every one of these incoming boxes is an opportunity to see the world through an individual artist’s eyes.

Our Registrar rises from the Bed of the Undead to talk about the e-merge 2010 entries he’s seen so far.

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As you may know, every two years Bullseye Glass mounts a competition/exhibition intended to identify un- or under-recognized art-makers working with its materials in the methods known collectively as “kiln-glass”.

Note that I did not say “best” when describing the art-makers selected for exhibition in e-merge. Nor did I say “young” or even “new”. Note that I did not say a lot of things about how e-merge is structured or what it is. Or who gets in. Or who doesn’t

I promise to discuss all that in later posts. For right now I want to start the conversation with a tour behind the scenes on the gallery side of Bullseye.

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Somewhere back in Portland, Oregon,  Susan, Janet and a dozen other serious-minded staffers at the Bullseye Glass Company imagine that their leader, Jim – in Chicago for Bullseye Gallery’s showing at SOFA 2009 – is working hard to uphold the supremely professional reputation of the company and the many fine artists its gallery represents.

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Wrong. Made irreparably giddy by the fumes of Sherwin-Williams #7048, the normally no-nonsense Mr Jones has been buzzing about the monkey bars all morning, drunkenly painting and repainting the endless corners and angles that make up the skeleton of Michael Rogers’ Beekeeper’s Staircase.

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