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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When I started at Bullseye 25 years ago there were 20 of us. I knew everyone. I worked in the warehouse – between preparing export documents and other stuff  (yep. My best day I packed 17 crates of glass – probably still my greatest accomplishment at BE)

“You want me to work where? Doing what?” – moi, circa 1985

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