From an article by Arne Glimcher, "Brave New Art World," take note of cause for optimism: Glimcher is the founder of Pace-Wildenstein Gallery.
In response to the comparison between the recent over-heated art market and when the Japanese collectors were going ga-ga in the 80's, Glimcher says as follows,
"The difference between then and now is vast. The Japanese were collecting already famous artists. Whereas the new collectors of the last decade were making artists famous by their rapacious patronage. Is it within reason that an artist's prices could from $50,000 in the gallery to $1 million in the auction rooms within six months? They did with Marlene Dumas. And within a two-year span a Nurse painting by Richard Prince went from $120,000 to $10 million.
"The only parallel to this frantic escalation of prices was the tulip-bulb scandal that destroyed the Dutch economy in the 17th century. Today's art market is global and therefore susceptible to adjustment on an international scale. Consequently there is an immediate crisis in the art market as in other markets and sometimes they interact. Brandeis University's decision to sell its extraordinary collection of 60's art and close the Rose Musuem due to the diminished value is just one incredible example.
"But in crisis there is also opportunity. Serious collectors who couldn't get near an object now have access."
That's the answer, there is opportunity. Let's get out there and urge all serious art lovers to buy local, buy from living artists so we can buy more art supplies to make more, and remember, I always give 50 percent off to the second sale!
Sunday, February 22, 2009
Courage of My Convictions
[caption id="attachment_723" align="aligncenter" width="600" caption="Untitled, 8"x8", 2008, oil stick, pencil, prismacolor pencil on clayboard"]
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I attended a symposium sponsored by FOTA, here in Chicago, the topic being how to make a living or at least try to market one's artwork. The main things I took away was to have the courage of my artistic convictions and validation of my current program of promotion, with the concern that I'm not doing enough, but that I have the best tools in hand, this blog being one of them.
[/caption]I attended a symposium sponsored by FOTA, here in Chicago, the topic being how to make a living or at least try to market one's artwork. The main things I took away was to have the courage of my artistic convictions and validation of my current program of promotion, with the concern that I'm not doing enough, but that I have the best tools in hand, this blog being one of them.
The painting of the week is Untitled, 8"x8", 2008, oil stick, pencil, prismacolor pencil on clayboard. These sell for $75.00.
Sunday, February 15, 2009
Painting of the Week Deprofundis--Center
This is the center piece of a triptych; artist--Nancy Charak, 2008, 24"x30", oil stick, prismacolor pencil, pencil on acrylic primed masonite. Enjoy.
Sunday, February 8, 2009
Darrell Roberts at Thomas McCormick Gallery
You have got to go to 835 West Washington, just west of Halsted in Chicago to Thomas McCormick Gallery to see Darrell Roberts' paintings. You can also see the exhibit on-line at the gallery's website, but oh gee, oh gosh, you really should see them in the real, they are compelling objects, with great color, texture and presence.
Sunday, February 1, 2009
The Secret of a Good Painting
[caption id="attachment_716" align="alignleft" width="300" caption="Ryman Robert, "Ledger""]
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Once again the magazine Tate etc. hits paydirt with in the section called Microtate, in which Esther Stocker comments on Robert Ryman's painting Ledger 1982. The painting may be hard to see depending on your monitor, it consists of the subtlest changes of color on aluminum.
"I think it is the deeper secret of a good painting that it doesn't give you something, it takes something away from you. It leaves you with less than you had before, sometimes even with nothing. At least that is what happens with me. My old room-mate told me once that I am the dumbest person on earth for not knowing which things belong to me. This hurt. I hated hearing my human importance being measure by remembering (or not remembering) which teacup was mine.
"Paintings such as Robert Ryman's Ledger don't tell you what to see or what to think. Whatever instruction you might be given for its better understanding, it only shows you it is useless. I like to hang out in a painting such as this, not remembering this and that, things I always thought I should know. My head slowly empties and I cannot find much in there anymore. I am always happy not to find things. It gives me a calm sense of freedom. It is so great not to get it, to know a little bit less. I think this is called liberation."
[/caption]Once again the magazine Tate etc. hits paydirt with in the section called Microtate, in which Esther Stocker comments on Robert Ryman's painting Ledger 1982. The painting may be hard to see depending on your monitor, it consists of the subtlest changes of color on aluminum.
"I think it is the deeper secret of a good painting that it doesn't give you something, it takes something away from you. It leaves you with less than you had before, sometimes even with nothing. At least that is what happens with me. My old room-mate told me once that I am the dumbest person on earth for not knowing which things belong to me. This hurt. I hated hearing my human importance being measure by remembering (or not remembering) which teacup was mine.
"Paintings such as Robert Ryman's Ledger don't tell you what to see or what to think. Whatever instruction you might be given for its better understanding, it only shows you it is useless. I like to hang out in a painting such as this, not remembering this and that, things I always thought I should know. My head slowly empties and I cannot find much in there anymore. I am always happy not to find things. It gives me a calm sense of freedom. It is so great not to get it, to know a little bit less. I think this is called liberation."
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