Matilda Anderson

The Cummer Museum of Art and Gardens

2011-02-27T17:09:00.000-08:00

I recently wrote this brief post for the Cummer Museum, a local Jacksonville institution. I personally believe that regional art institutions are a must, so I think it's important to take a moment to reflect about a local organization that helped me develop my interest in art. I may regularly go to MOMA and The Met but I really owe a debt of thanks to my neighborhood museum:

There are a lot of things about the Cummer Museum of Art and Gardens that should be celebrated: its breathtaking location along the St. Johns, the spectacular oasis of green that makes up its gardens, the treasures that the museum holds, and its vibrant history and ties to the region. Having grown-up in Jacksonville, I became well aware of these virtues at a young age. From fourth grade on, it seemed that my teachers made a point to schedule yearly field trips to the Cummer. During these trips patient docents would take us through the rooms and ask all of us to describe our thoughts about the pieces. Even as young children, we’d sit in front of the canvases to learn about the symbolism, movement, and history of the works. We’d also eagerly look forward to being able to interact and play in the Art Connections area which we were convinced had been created just for us.

I didn’t know it then, but the Cummer Museum was changing the way I viewed the world and helping to establish a love for art that would last a lifetime. Looking at the work allowed me to experience history in a new way. Suddenly artists weren’t just craftsmen, they were powerful creators able to convey the feeling of a generation, restore a follower’s faith, and shape the future of a political movement.

During high school my fondness for the museum further developed. As soon as I learned about the Renaissance or Romanticism I would drive to the museum and stand a few feet away from the history that I was studying. There was something truly magical about seeing an Albrecht Durer the same day I learned about Albrecht Durer.

Those early experiences convinced me to study art history in college and have led me to continue to make memories that include the Cummer today. I have seen exhibits, attended events, watched friends wed, and even met my Love at the Cummer. Now I know the museum like the back of my hand, which is convenient when I want to impress all of the out-of-town guests that I introduce to the Cummer.

Defining Curating and Curators: Shaken Not Stirred

2010-10-12T15:18:00.000-07:00

I always hear people have the same perception of curators, usually that they're some bookish woman with thick rimmed glasses. Hey, those are considered stylish now, right? I myself prefer to fantasize about a more artistic James Bond-ish male who wears fashionable suits to auction houses. But who am I to criticize other people’s visions? Anyway, when I got an email from one of my friends asking me to define the terms Curator and curating I put aside my dreams of well tailored suits, martinis, and English accents and came up with this response:

This is actually an interesting question because people often haphazardly use the term. In a traditional sense, a curated collection would be a grouping of art or artifacts that represent a specific theme, social trend, or movement. In recent years, maybe the past 20 or so, curating has become more of an anthropological exercise. The thought is that you can relate art to overarching social and political, rather than just stylistic, movements in order to reach a broader audience and shed light on a different perspective.

Historically art has been primarily curated by Curators, that is, classically trained Art Historians--think people who have gotten their Doctorate--and specialized in very specific periods or genres. Now, having said all of this, there is much room for interpretation. As the art world has changed, and with the Avant-garde being dictated by a younger grittier group of artists, this notion has also gone through a metamorphosis. Today it's not uncommon to see artists themselves curating and directing even major museum shows. Jeff Koons just infamously curated a show at The New Museum--he didn’t do a great job, but he did it, lol. This is also probably due in large part to the way we communicate now via blog and social networking. More people have become “experts” and personality and communication style have been given a higher regard.

In short, my definition of a curated show would be a one that is thoughtfully organized, with a cohesive stylistic and cultural message organized by an individual well studied and immersed in the creative movement they are trying to relay. Oh, and I tend to respect those curators who have some professional/classic art training as well.

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Maurizio Cattelan Gives the Middle Finger to the Piazza d'Affari

2010-10-07T08:22:00.001-07:00

It has been extremely difficult for me to balance work, life, and writing as of late. Despite this however, I still get tons of questions from friends and acquaintances about my views and thoughts on contemporary art. I tend to write brief answers to all of them, usually because I find the entire experience quite enjoyable. I love those random questions; they allow me the freedom of easily expressing my quick thoughts on a work or movement. And usually, much to my delight, the questions are about fairly controversial topics. So please, keep them coming!

Last night I got a quick Facebook message (you can find me on Facebook at: http://www.facebook.com/matildaeanderson) about this recent article from the BBC http://www.bbc.co.uk/news/world-europe-11474311. The article briefly discusses Maurizio Cattelan’s sculpture in front of the Piazza d'Affari, pictured below. Here is my brief response to the question of whether this is art:

Cattelan is one of the most famous artists around today. Although his work is political, sometimes crude, and very controversial, it isn't without a solid art historical basis. If one were to set aside the clear (and in my opinion, completely substantiated political discourse) then at the very least you must admit is that work is pretty flawlessly sculpted. That has to count for something, right? And good on him for using Carrara marble. That was intentional! I like how he uses the same material that Michelangelo and Bernini used to create sculptures that resided in spectacular spaces dedicated to God...using that infers that the stock market and capitalism is essentially the contemporary version of worship. Probably true.

Anyway, I wouldn't exactly compare that sculpture to the Last Supper, as the article does in a round-about-way, but I will say that it seems present a valid social commentary and it is well made. Sounds like a decent piece of art if you ask me.

On Abstract Expressionism

2009-09-23T13:41:00.000-07:00

I see evidence of the profound impact of Abstract Expressionism every day. Right now there’s even a trend in fashion that echoes the movement! And yes, I have already purchased a multicolored shirt that fits right in to the trend. A ton of books, movies, paintings, designs, and even performances follow the fundamental aspects of the movement. Yet despite this, Abstract Expressionism has been met with so much resistance. The phenomenon is baffling to me. So many of my conversations with people about art happen the same way… Usually people begin by saying that they absolutely love Impressionism, and that the Renaissance was really inspiring. This always becomes a natural segway into an explanation about their profound hatred modern art because it’s filled with splotches and splattered paint. If the person I’m speaking with has young children then typically they’ll say something like, “Maybe if it didn’t look like something my untalented three year old created then I’d love it.” Ok, ok, they never say their child is untalented, but forgive me if it becomes a little tiresome to hear the same line over and over again. In an effort to avoid this type of conversation I thought it might be useful to explain a few fundamentals. Hopefully with this background people will no longer be tempted to throw up a (gasp!) re-sized miniature Rothko poster just because it matches the couch. And if you do actually do decide to do that, then in the very least you’ll be able to explain the work to little Timmy and recognize that, while his work is absolutely delightful, it may not exactly constitute the same level of skill. :) Here are a few tidbits of trivia and advice to consider when looking at these paintings; I hope you enjoy them and that they help when trying to discover the meaning of this work!

Let’s begin with invoking a little bit of patriotism since Abstract Expressionism is considered the first American avant garde movement. This is important because this movement helped define New York as an artistic epicenter. To this day New York has the most impressive collections of paintings from this movement. MOMA and the Met’s collections will literally make you swoon, or in my case tear up out of shear excitement.
There were political catalysts that spawned this movement. All of the artists involved survived World War II, and this traumatic event not only forced relocation stateside but also because people were disillusioned with reality and needed a nonrepresentational, visual break from the stresses of war.
The theory that the movement is based on is Carl Jung’s “collective unconscious,” this is why the works are relatively unplanned before they are executed. This is also why viewers were asked by artists to respond intuitively rather than through a structured conscious that relates to historical visual ques.
Aesthetically the movement owes a lot to cubism in that there is shallowness to the composition and a focus on frontality. Cubism paved the way for this, and allowed artists to eliminate or reinterpret conventions about space and perspective.
To determine whether you’re looking at an Abstract Expressionist painting look for some of the following things: lack of focus and depth with little or no perspective, an emphasis on the act of painting, gestural and rapid brushstrokes, energetic and spontaneous application of paint or pigment, an innovative use of commercial or household paints, expansive scale, a sensitivity to color placement, and either severe abstraction of imagery or a canvas that is nonrepresentational.
The term “action painting” has survived the art history test of time and is typically used in descriptions. The phrase itself was coined by Rosenberg when describing De Kooning’s Woman series. Incidentally, DeKooning is the only Abstract Expressionist that famously represented the human form (in a somewhat frightening way).
There are two types of abstract expressionist painters: Gestural Abstract Expressionists and Chromatic Abstract Expressionists. As you might guess, the former has energetic and expressive application of paint whereas the latter focuses on the emotional impact of color.
If you’re looking at one of these works it is typically advised that you do so close to the canvas. This is because the shear monumental size of the painting is part of the point; you’re supposed to almost feel swallowed by the work. This is also why buying a re-sized reproduction is virtually a sin! I can personally attest to the importance of size, and will openly swear that the canvases at the Rothko Chapel looked as if they were moving when I stood near the surface. ;)

Check out some of the most famous examples of Abstract Expressionism below…

Lavender Mist, Jackson Pollock

Woman I, Willem De Kooning

Vir Heroicus Sublimis, Barnett Newman

Green and Tangerine on Red, Mark Rothko

College is Back: Now go get some respectable posters for those dorm walls!

2009-09-02T14:59:00.000-07:00

When I was in college I would frequently have this one experience with boys I would meet. Looking back, it’s become both vaguely flattering and simultaneously hilarious. It would go like this… I’d meet a random classmate or acquaintance in the art, history, or english building. They would tell me that they found art fascinating and encourage me to come see examples of what they liked. Eventually I would go over (usually with a girlfriend in tow—it’s always good to go in pairs) to their dorm, swim through a cloud of incense, and while indie music played in the background the guy would show me a Dali poster. For fifteen seconds he would try to fain an interest in art and then immediately begin to discuss going to the newest jazz club downtown where he hoped to avoid contemporary hip-hop. Being the person that I am, I just couldn’t help but persevere. I would insist on an explanation of the work. Inevitably I would get this horrible answer and the piece would be simply described as “trippy.” I’m not kidding, I heard this several times.

After experiencing this phenomenon four things began to occur to me: 1) A lot of people use their art as a means of bolstering their own image, sometimes to seem more intellectual than they really are. 2) If you find a person like this they typically know nothing about art history. 3) A lot of people don’t know the basic content of the images on their walls. 4) You can’t wholly trust someone who has no clue what you’re talking about when you mention apple bottom jeans and boots with the fur. After all, not everything in life is cerebral; some things should just be fun. ;)

In an attempt to separate the brooding, artistic intellectual from a pandering co-ed, I thought that it might be fun to cover some of the most popular movements and paintings that continuously appear in dorms, homes, and businesses. Just think of this as my contribution to college females everywhere! And even if you’re not in college, the information over the next week or two will provide you with some interesting dinner conversations. Here’s what I’m planning to cover:

Abstract Impressionism- American movement that following World War II that was defined by Clement Greenberg. Pollock and Rothko tie as the most recognized figures for this movement. Paintings are spontaneous and there is an emphasis on movement. Works are usually non-representational.
Impressionism- Paris based art movement that began in the 1870s. Claude Monet is considered the founder of the movement which gained notoriety because it was in stark contrast to the Paris Salon. The style is characterized by its focus on color theory, loose brushstroke, light, and the everyday.
Cubism- European movement that began in the early 20th century. Cubism is defined by two different categories: Analytic Cubism and Synthetic Cubism which each have differing visual characteristics. Pablo Picasso and Georges Braque are considered the innovators of this style.
Surrealism – A primarily Parisian movement that started in the 1920s based on literary trends. Often meticulously finished and detailed, Surrealist works are mind-bending compositions that juxtapose odd imagery in unexpected ways. My old friend Dali is the most commonly acknowledged Surrealist artist.

The man, the myth, the legend: Salvidor Dali And yes, I can admit it, he does look a little "trippy"

On getting personal...

2009-08-20T12:11:00.000-07:00

Since I went ahead and got all personal on ya’ this past weekend I figured that it might be fun to do it again. Art has always been a fundamental part of my life and because of this collecting became a natural part of my education and life. The work that I happen to own is probably a little more personal than you might anticipate. I describe my pieces as an eclectic mix where folk art makes a regular appearance. Gasp! It may be a little surprising that I happen to enjoy art that most would consider a craft. Well I do, especially when it has a great story that people can relate to. In my own home, I tend to favor collecting things with a Latin American flavor that reminds me of my childhood. Here are a few of my pieces; I hope that you like them. I figured that a short description/explanation might be helpful so I went ahead and added that as well. ;)

This is one of my highwaymen folk art pieces that was painted by one of R.L. Lewis. I actually purchased this piece from the artist and he wrote an endearing and lovely message on the back. I display it so that if you're standing in my kitchen you can read the inscription. Every time I read his note it makes me smile. The scene itself is uniquely Floridian and so nostalgic. The frame is original and made by the artist from random baseboard scrap wood.

This piece is more edgy and has frequently become the topic of conversation during dinners at my house (there happen to be a couple of naked people scattered amongst the figures). Cut-Out Army, by Carlos Betancourt was a print that represented the enormous installation that Betancourt created for Art Basel, Miami. This print lead to my fascination with the work of the artist and eventually helped me to meet him. That, and it reminds me of the excitement, vibrancy, and colorfulness that some of the more cosmopolitan regions of Florida enjoy.

Both of these prints are by Javier Marin. Marin is most famous for his sculptures but I happen to believe his prints are absolutely stunning. Both are untitled, but I can't help but think that there has to be some sort of Catholic reference. The anatomy is exceptionally interesting, reminiscent of Michelangelo. The woman's body is structured similarly to the male's, you can probably guess what that infers. A detail is pictured below the image with the sofa.

I had to throw this image in as well. Mainly because I Love, Love, Love this chair! True, it's completely uncomfortable and not particularly functional, BUT it was designed by Harry Bertoia who was a student of Brancusi. The chair is so sculptural, and I love how it interacts with the space around it. Plus, it was probably the best Valentine's Day gift that I have ever gotten.

I framed that print that I bought from 20x200 Gallery by Mike Monteiro and here's the proof! Now it rests above my cabinets as a constant reminder of all of the fabulous times that are just around the corner. Do you like how I spun that message? Lol. I frequently read it while taking deep breaths and drinking coffee in the morning.

Yet another piece of folk art. I actually don't know who the craftsman was for this one, but it combines two of my favorite things: skulls and flowers. The piece is actually meant to be used as a Dia de Los Muertos decoration but to me is has such a kitschy, postmodern, pop art aesthetic. It's actually supposed to be a candle holder but I've put it in an alcove of my wall so that it looks like some sort of bizarre idol. Who doesn't love a day that incorporates candy, spirits, AND skulls, needless to say, I've always had a fascination with the Day of the Dead. I bought this on Olvera Street in Los Angeles, which, incidentally happens to be where I was born.

Let's Get Personal

2009-08-15T09:09:00.000-07:00

Just in case you’re wondering, the song Let’s Get Physical is definitely echoing in my head as I’m typing this post. And, while I have absolutely no intention of getting physical, I’m much more of a lounging on the beach kinda girl; I thought that this could be a great opportunity to get a little personal.

I was in my best friend’s wedding on August eighth and was fortunate enough to be her M.O.H. which is wedding speak for Maid of Honor. Anyway, the opportunity reminded me of two things: 1) How much I absolutely love Katie and Jon (the bride and groom) and 2) How lucky I am to have unbelievably talented friends who are photographers. Becka Knight and Nathan Robinson, who are also incidentally engaged, have been fabulous friends for some time. Their talent to capture a special moment is inspiring, and I am so happy that they were able to do Katie’s wedding. Here are two of the images. If you have a moment please check out Studio 222 and Becka and Nathan at:http://www.studio222photography.com/blog/

So what do I think about that infamous poster in L.A. anyway?

2009-08-11T10:09:00.000-07:00

There has been a lot of press about the President Obama Socialism/Joker poster lately. Because of this I have gotten several emails of articles that relate to the topic. Here's my take on it...

The other day during an upbeat session of online shopping I was emailed a picture of the now infamous Barack Obama “Socialism” poster that’s been popping up all over Los Angeles. The email was followed with a link to this article that criticized the art community to penalizing artists with more conservative views. You can check it out here: http://www.reason.com/news/show/135293.html

Here is my response to this article. I emailed it to the person who originally sent me the article. Several other emails followed which I may post later but here’s the initial one. .. :) Names have been removed to protect the innocent.

Here are my thoughts on this particular piece and the article that you sent me...
I agree with some of the thoughts presented in this article. It echoes the sentiment that I expressed regarding the NEA's endowment for this type of work. Work that expresses a political message is typically a valid and valuable form of expression. There are exceptions of course if the work is blatantly racist, fascist, or generally hateful. Just as it is never ok to deem child pornography "art" it also isn't ok to promote a hateful agenda.

The point that I don't agree with him on relates to an unwillingness to express dissent. Historically, the art community has ALWAYS led the way in asserting disaccord with government, politicians, and religious or social movements. Almost (actually, I can't think of any art that doesn't) all art has an undercurrent relating to one of those four issues. The thing to remember is that historically, almost all artists/critics/historians/educators have also been liberal. The entire sub-culture tends to lean farther to the left than the average individual. The thing that this artist seems to be lamenting isn't the fact that artists refuse to express a social or political idea (after all, they have been expressing ideas-- they just don't happen to be ideas that he agrees with) it's that the vast majority of fellow artists don't hold the same political beliefs as him. But, as I just mentioned, the vast majority of artists are liberal, so it follows that the vast majority of blatantly political work would also convey a liberal message.

In response to the idea that certain conservative artists feel as though they may be "persecuted" for producing anti-Obama work... They need to get over it! If Eugene Delacroix was willing to risk life and limb to portray liberty and freedom in France pre-revolution, and if Goya was willing to put a face to the horrible executions of the defenders of Madrid during the Napoleonic invasion despite the threat of execution (see right), and if an entire generation of avante-garde German artists were willing to pursue their craft and defend their social values despite certain death if caught be the Nazi army, a few American artists with different ideals just sound like whiners when they complain that other people are being critical. Criticism is part of art and they need to get used to it. In fact, criticism is such a part of art that it is literally built into an art curriculum in college, and nothing is off limits. Your technique is criticized alongside with the political undertones of your work.

Regarding this particular image of Obama as a "Joker".... I can understand why a lot of people are interpreting it as racist. The idea that it is racist does not spawn from the socialist political message. The idea that it may be racist probably originates from the fact that the President's face is painted. This is traditionally racist imagery that is found in cinema and graphic art from the latter half of the 19th century and first half of the 20th century. In these pieces, African Americans are depicted with painted faces and overly articulated features (especially their lips). If this was not the artist's intention to represent this particular idea, then he or she could have easily quelled people's fears by including their reasoning in an artist's statement about the work. The article mentioned that they did not do this. Instead, they posted the images anonymously which makes me think that there was a racist undertone. Why else would you need to be anonymous? The artist needs to clear this up by stating his intention.

In an industry that historically has questioned just about every government and regime, where political imagery is encouraged no matter how controversial, and where extreme criticism is just part of the job, it's not a valid argument that an image isn't popular and is being met with dissent. The artist needs to get over it, explain themselves, stop whining, and perhaps pick another profession (if they can find one) where a critical eye isn't one of the main facets of the game.

Eyestorm: Prints and Photography

2009-08-04T07:06:00.001-07:00

Since it’s been a little while since I’ve made some recommendations about art I figured that I should make a few new suggestions. Primarily I’m interested in work that is priced under $10,ooo, not because I’m incapable of dreaming big, but because I’d like to be able to afford a car, home, and designer shoes to go along with my art. That, and anyone can get fabulous work if they’re willing to pay enough, but it takes hard work and ingenuity to get great work at an attainable price.

Enter Eyestorm http://www.eyestorm.com/. Eyestorm is an online gallery/publisher that sells limited edition prints by top contemporary artists and photographers. All works are guaranteed authentic and reasonably priced when you consider the talent level that they offer. Since 1999, Eyestorm has offered limited editions from artists such as Jeff Koons, Damien Hirst, Peter Blake, and Maurizio Cattelan. And as an added bonus Eyestorm is now allowing buyers to name their own price. This means that you can go on their and try to see if you can get an even better deal than the site is currently offering. *I’d guess that you won’t get much more than 10% off, but you never know until you try.

Here are a few pieces that I think are interesting:

Montana Forbes, Figure 2008

Maurizio Cattelan, Untitled 1999

Simon Yewdall, Yes We Can 2009

Stefen Ruiz, Billboard, Pan American Highway 2006

Museum of Fine Arts Houston: End Game

2009-07-30T08:20:00.000-07:00

I was thinking about my trip to the Museum of Fine Arts Houston this morning and I couldn’t help but start laughing as I recalled my experience with the Damien Hirst sculpture, End Game. I happened to stumble across the acclaimed sculpture as I was trying to hunt down the Latin American art exhibit at the museum. I had already heard quite a bit about the work, mainly because the MFAH seemed to embark on a press junket once the piece was donated. Anyway, the entire experience was a little surreal to me probably because I’ve seen the image in print so many times before. What also made the experience even better was that I was with someone who wasn’t particularly enthralled by the work. The best moment? When Joe (the person that I was with) noted that he could think of a ways to represent mortality without incorporating human skeletons.

Naturally, I ignored Joe's sentiment and instead opted to take pictures near the work rather than debating it. What says sophistication more than blowing kisses to the skeletons?? ;)

On a more serious note, the really interesting thing about this piece in particular was the traditional Hirst use of the skeleton paired with the medicine cabinet aesthetic that he has also made famous thorough such works as Pharmacy, see right. End Game really becomes a hybrid of both of these common themes by incorporating ideas of consumerism, mortality, medicine and the idea of treatment, illness, and sexuality (the skeletons are male and female). End Game is unique compared to other medicine cabinet sculptures and it is more compelling than the Hirst works displaying only skulls and skeletons.

With Love Sometimes Size Really Does Matter

2009-07-27T08:47:00.000-07:00

Have you ever noticed how interesting an object becomes when it is either too small or too large? For some reason it’s as if the everyday becomes magical once it changes in size. When I was little I remember walking by this store in the mall and stopping in amazement because everything inside of it was larger in size than normal. The store had pencils that were the size of my body and for some reason I thought it was absolutely fantastic. Needless to say, the store didn’t remain open. It turned out that enormous pencils weren’t especially useful, but my interest in oddly sized objects has persisted and today I am still fascinated by the phenomenon. I think this is why I actually buy Coronitas (the miniature Coronas) and I once thought that it was a brilliant idea to purchase novelty oversized calculators for everyone at the office.

In the spirit of this sentiment, I have always loved Claes Oldenburg. Oldenburg, if you’re not already familiar, is a very relevant mid-century pop artist whose work is primarily sculptural. Famous for being able to transform the mundane into something whimsical, he is able to make the viewer reconsider our consumer based culture and the role everyday objects play in our lives. Unlike his pop-art counterparts, Oldenburg questions consumption in a way that is fun. This attitude, and his innate sense of humor, makes Oldenburg a 21st century genius that has managed to change our outlook without an antagonistic abrasiveness. Check out Oldenburg's Giant Soft Fan, left; which is part of MOMA's permanent collection, http://www.moma.org/explore/multimedia/audios/3/84

The Menil Collection in Houston currently has an exhibit dedicated to Coosje van Bruggen and Claes Oldenburg. The duo worked extensively together in 1976 and were soon married in 1977. Coosje van Bruggen at the time of her passing was considered the foremost Oldenburg Historian and is famous for her brainstorming sessions with the artist. These sessions resulted in the work on display in the Drawings on Site exhibit at the Menil, http://www.menil.org/exhibitions/DrawingsonSite.php. Although these works show a variety of artistic accomplishment and are interesting based on their drawing and rendering style alone, I didn't focus on this. Instead I couldn't help but consider the love and personal relationship of both artists that seemed to be a consistent undercurrent. Go ahead and call me a hopeless romantic, but Coosje van Bruggen seems like a permanent reminder that there's always a fabulous woman behind every brilliant man. I'm just glad this exhibit allowed van Bruggen to achieve a little bit of the acclaim that she deserves.

The drawings in the exhibition represent works that have not yet (and maybe never will be) realized. As you wonder around you begin to get the feeling that the images are a permanent and profound reminder of the existence of an incredible love story between Oldenburg and van Bruggen. Each image has a sense of humor, is monumental, and shows a clear transition from earlier Oldenburg sculpture. As you look at the renderings, you get the sense that van Bruggen really challenged Oldenburg’s aesthetic vision. It's as if every drawing allowed an opportunity to dream bigger than the one before. The exhibition portrays a set of possibilities so grand and exciting that the viewer becomes assured that the love and admiration shared between Oldenburg and van Bruggen enabled a level of artistic development both were incapable of realizing alone.

Here are a couple of the drawings that were at the Menil:

Clarinet Bridge

Shuttlecock/Sphinx

Trombone Bridge

How art historians & the market will respond to Dash Snow's death.

2009-07-20T16:42:00.000-07:00

It’s been quite a long time since I’ve sat down and written a blog post!! I have been so busy running around here and there and haven’t had a great opportunity to take a few minutes and reflect. But now I’m back in Jacksonville after a stint in both Houston and Orlando and I can’t wait to tell everyone all about it.

First things first, since I wrote last there have been quite a few crazy developments in the art world. Aside from some new auction results (Old Master works are holding steady), Dash Snow passed away from a Heroin overdose. As you know, I’ve already blogged about him before. As a highly publicized member of the New York avant garde, Snow became infamous due to his gritty work, colorful lifestyle, and impressive family heritage. Because of this, I figured it might be a little fun to hypothesize how he’ll be remembered and how well his work will do in the art market. And, since he is already getting nods from fellow graffiti artists Os Gemeos, see left, I thought I may as well give him a bit of a nod as well. Interestingly, the mural by Os Gemeos, which is located in the Bowery and Houston corridor in New York has already been tagged with a note that people should blog about it. So thank you random taggers, I will gladly accept your invitation and go out on a limb and say that the Os Gemeos mural would probably not suite Dash Snow at all. Snow would consider the work too culturally specific, maybe even non-urban, and since he was gradually more focused on photography and collage, possibly a little out of date. As an aside, I actually personally like the mural. I just don’t think Snow would agree.

No publicity is bad publicity, and despite what people say, Dash Snow clearly recognized his cult-like underground celebrity. The very nature of his work was voyeuristic. Snow extended his personal and work mystique by becoming reclusive and just plain bizarre. Snow’s identification as a defunct de Menil and Saatchi collaborator made the coarse nature of his pieces even more appealing, creating a unique, multi-layered sentiment to his body of work.

So here’s how I think it’s going to go… Let me begin by saying that I have heard that Snow’s work is already priced 15-20 percent higher than it was the day before he passed. This seems to be just a rumor to me, as ARTINFO is reporting that no one has sold a piece since July 13th. Today in fact, a piece was pulled from a benefit auction for the Watermill Center until further notice (http://www.artinfo.com/news/story/32067/dash-snow-piece-wont-go-to-bid/). Despite this, there should be a jump in price immediately for Dash Snow pieces. People will be panicked with the finite supply that is left and leap at an opportunity to own it. I actually think that the 15-20 percent mark is underpriced. The work can be considered a little unpalatable to the unseasoned collector, but in the worId of contemporary art Snow’s aesthetic fits nicely amongst edgier British artists. Plus, he has pieces in the Whitney and the Brooklyn Museum. Because of this, I believe that there will be a significant increase in the price of his pieces. This will only be dampened if Saatchi randomly decides to flood the secondary auction market with Snow pieces. Dash Snow over all will prove to be a wise investment over the course of the next few years.

So how do I think Snow will be remembered by Art Historians? I think he will be represented as a transitional figure that put an edgier spin on the work of graffiti artists popularized in the 1980s. I also believe that his subject matter will also hold up because the visceral response it evokes will be considered a more American take on the Young British Artist movement. The obvious reference will be Jean-Michel Basquiat since he also began his career in New York as a graffiti artist and then inconveniently passed away at age 28 due to a drug overdose. To date, Basquiat’s work has gone through periods of high and low value. And, although I do recognize the obvious talent of Basquiat I tend to believe that overall he has been overvalued. In my defense, even MOMA has had reservations and as of 2006 had never invested in a piece of Basquiat’s work. Snow will probably be the same way. His work will thrive short-term in private collections but many larger museums will hesitate to invest. There will be an immediate reliance on the auction market. This could lead to initial fame but will not guarantee that Snow will be one of the epic artists of this decade. In short, he’ll be remembered but it will mostly be as historical footnote that will mention the notoriety of his de Menil ancestry. Peak value of his work will probably be in 4 to 7 years as we gain more perspective about the direction of contemporary art, the economy changes, and the shocking visual aspect of 1990s British art is solidified into a more concise historical movement rather than a purely British aesthetic.

Leavin' on a Jet Plane

2009-07-09T08:36:00.000-07:00

I meant to get this up yesterday, but I had a few technical difficulties...

I’m writing this as I’m en route to Houston. If you haven’t been then I’d highly recommend it. Houston is a large city that almost feels like a separate country. But be prepared, people do actually wear cowboy boots, say “howdy”, and the Texas state flag seems to magically appear on absolutely everything. Oddly, the phrase “y’all” doesn’t seem to be too frequently used—which is really weird, at least to this southern east-coaster.

Since everything is about to turn into a whirlwind, or a tumble weed, or a dust storm, or whatever they have out there; I figured that it might be fun to fill you in on some of the amazing art and culture related things that I’m planning on doing.

First on the agenda are several art museums. Due to my recent interest in Dash Snow, I am trying to make a point of to the Menil Museum, http://www.menil.org/. I just realized that they’re doing a Claes Oldenburg and Coosje van Bruggen drawing exhibit, which feels a little like a personal pilgrimage to honor the late van Bruggen. After reading a particularly flattering article about her work and life, I felt as though I would one day like to be remembered the same way, http://www.latimes.com/news/obituaries/la-me-vanbruggen13-2009jan13,0,4188739.story. In reality, I’ll probably be remembered for my fabulous shoes, but that doesn’t mean that I can’t acknowledge that van Bruggen was a truly brilliant scholar.

Maybe while I’m in that neck of the woods I might also be tempted to visit the Rothko Chapel, since it is one of the most serene and all-encompassing places I have ever been. I once read a book about the emotional component of art that mentioned the chapel. In the book there were several stories about people being oddly moved by the paintings and the structure. Ever since I read about that I’ve fully expected people to erupt into inconsolable sobs the moment they cross the threshold. So far I haven’t witnessed any emotional uproar, but I’m patiently waiting.

Tonight I’m planning on attending a gallery talk for the North Looks South exhibit at the MFAH, http://www.mfah.org/exhibition.asppar1=1&par2=1&par3=624&par4=1&par5=1&par6=1&par7=&lgc=4&eid=&currentPage=. This should be interesting for two reasons. First, I tend to be a bit of a snob when it comes to docents. I’ll let you know how well they do. So far the only docents that have consistently impressed me were at MOMA. But then again, just about everything impresses me at MOMA. Even the food at MOMA is superior. Incidentally, I recommend the Heirloom Tomato and Gorgonzola Salad if you’re ever there, it’s delish! Second, I have an incredibly keen interest in Latin American Contemporary art. The MFAH is trying to build a collection as we speak, and I actually think that it is really going to help increase focus on the region.

At some point I also hope to go to a local store that specializes in Mexican folk art called Las Manos Magicas, http://www.lasmanosmagicas.com/. I’m eager to see how Houstonian folk art compares with the folk art that I’ve bought and seen at Olvera Street in Los Angeles, http://www.olvera-street.com/. I’m also excited to fuel my skeleton/Halloween obsession with some decorative Dia De Los Muertos artifacts. How cool is it that Latin America has a Day of the Dead?

Last, I’m hoping to get in a gallery visit or two. So far there have been few contemporary galleries that I’ve seen in Houston that seem particularly interested in, but I’m trying to stay open to suggestions.

The Future of Contemporary Art

2009-07-03T09:21:00.000-07:00

Ever stopped to think about how much life has changed within the past 5 years? During this time we have all done a major communications overhaul. I Tweet; I post a blog; I belong to at least one of your groups on LinkedIn (and like you I’m also looking for career opportunities); I monitor my friends status updates on Facebook as if they’re a running tally on the story of their lives and am completely willing to give you the thumbs up/”like” that you deserve; and I do it all while I’m sending out mass text messages. Chances are you’re like this too. People everywhere have embraced rapid information distribution by using these new and timely mediums. More than ever before, we feel as though we have access to almost anyone almost everywhere. This broadened ability to openly communicate paired with recent world-wide economic turmoil have lead to a collective human experience that is the first element essential to contemporary criticism. Artists, at least the good ones, are often cultural predictors. Because of this, these changes should be reflected in art. I don’t necessarily mean that they should be visually represented, what I do mean is that the affect of these changes should provide a thematic undercurrent. In the coming years look for pieces that exhibit the following:

A return to existentialism. As the technological and urban landscape changes a sense of disillusionment will prevail. Much like artists during and after the industrial revolution, artists today will note the changes that our world is undergoing. This will provide a sense of irony to creative types who, although living in a time of greater accessibility and open communication, will become disenchanted and powerless. This powerlessness will spawn from two things: 1) The internet. Although we can now access people within an instant, tens of thousands of miles away, these types of communications limit our actual physical and verbal interaction with other human beings. This will bring a loneliness and sense of powerlessness that echoes modernist theory. 2) The failing economy. This is upsetting to everyone and adds to a sense of helplessness.

Culture focused work. This will occur as we have greater accessibility to other countries and cultures and will continue to be facilitated by changes that the art market is undergoing. No one even knows where the center of the art world is right now. New York? London? Berlin? The answer is that there is no art epicenter any longer. Art has gone global. We’re now in the age of the Biennial and the art fair. Auction houses have locations throughout the world and interest has been peaked in every region. Internet bidding has also encouraged this. In 2007 Christies introduced internet bidding by 2008 the number of people registered to bid had increased by 117%.

Installation. The eighties brought about a focus on performance and video art, the late eighties and early nineties focused on photography, and the late 90s and early 2000s ushered in the resurgence of painting. Since everything is cyclical, expect to see some amazing installations. Also expect Cildo Meireles see right, to become more recognized. Meireles offers a combo of the existential, personal culture, and conceptualism that collectors will find irresistible. Plus, he has a ton of heavy hitting collectors that are supportive of his vision.

Disassociation from the trappings of wealth. This will be one of the main holdovers from postmodernism. The bottom-line is that no one has extra money, even the art market, although in better condition than other markets that are economic indicators, has suffered. The days of flipping a young artist’s work for double or triple what you initially paid for it within a year is over. The inflated prices from the early 2000s will be viewed by artists as bad time for fine art. Disillusionment about the art and artists whose work was unreasonably priced will lead to art for more altruistic purposes. As galleries become less willing to accept and fund new artists, the disassociation with the trappings of the former art market, and with financial dependence, will be complete.

References to art history, nods to the past. This will not be with the immediate past; there will be a love affair with the 50s-70s, inspiration will likely come from installation and performance art. Yoko Ono’s work will continue to gain in momentum and influence a new generation of conceptualists. In a basic sense, art history will be a more central focus because most of the viable artists will be more seasoned and classically trained.

No more ironic portrayals of pop culture. The pop art aesthetic is over. Art will be more cerebral. Koons, and Hirst will take their rightful place in Art History but their portrayal of contemporary society will feel dated. Irony will still be a necessary, but it no longer involves funny portrayals things as they relate to the consumer tendency of bourgeoisie life.

Modernism v. Postmodernism

2009-07-01T14:57:00.000-07:00

There’s this story that I always tell people when they ask me why I have so much difficulty cleaning out my closet. It’s a fable of sorts, and it goes like this… Around 1999 Isaac Mizrahi had a lower priced line of clothing called Isaac. It was available at Saks. Although I was only 15 at the time, I had admired Mizrahi’s designs for a while and decided that I just HAD to have one of the pieces. Although this line was considered to be “affordable”, it really wasn’t. Sweaters were around $200. With a little ingenuity and a lot of sale scouring I managed to find a military inspired sweater to buy. The sweater looked amazing; it was fitted and long, a rarity during the “baby-t”, midriff showing fashion of the time. I bought it, I loved it, and I had it for many years. Then one day after deciding (and reading about) military inspired fashion being out of style; I discarded the piece even though it fit well and still looked fabulous. A few months later I regretted the decision when, of course, the military look came back in style. It was at that moment that I realized that style was truly cyclical and that you should never discard a good, culture-based inspiration. This leads me to my discussion on modernism and postmodernism, both of which present viable ideas that simply need updating and modifying. Think of this as the art equivalent of pairing some sky-high ankle boots with an outfit that included my former beloved Isaac sweater. Sniffle.

Let’s begin at the beginning… Contrary to popular belief, modernism and postmodernism aren’t really descriptive phrases; they’re philosophies. On the outside, people unfamiliar with theory and criticism think that historians go about labeling art by determining a geographical location that is dense with creativity (like New York), finding artists that are doing something a little new, relating it to something currently going on, and then categorizing it all within a tidy little group. To a certain extent this can be true, at least historically. In reality however, the entire process is much more complex. There are theories, cultural trends, philosophical issues, and historical data that are triple analyzed to produce a critical theory allowing critics to properly interpret work. Brit-art is a movement; modernism and postmodernism are schools of thought.
It’s taken a little reviewing to recall the specific facets of these theories. For this I ran to my copy of Criticizing Art: Understanding the Contemporary by Terry Barrett, a book so deceptively short that you might make the mistake of assuming it was an easy read if you didn’t move past the cover. For purposes of argument, I’ve created basic definitions for both theories below.

Modernism- Influenced by rationalism. Modernism is highly critical of the constructs of modern society. Modernists take note of the perils of capitalism, the marginalization of women, imperialism, and loss of indigenous people. Bureaucracy and the urban landscape are consistent trends. Modernists believe that theory reflects reality. Universal truths exist, and a unified form of thought can be rationally determined and commonly applied. Last, modernists believe that people are rational and unified. To me, modernism enabled the heyday of the art critic. Under this construct the elitist, academic community was able to dictate both the importance and direction of art. Clement Greenberg’s analysis of Abstract Expressionism is a great example of modernist theory.

Post-modernism- Post-modernists believe that there aren’t universal truths, instead truth becomes a creation of cultural norms. Knowledge is the construct of language and culture. Postmodernism in this way, is less elitist and exclusionary; it embraces differing views and indeterminacy. Postmodernism blossomed following a dismissal of the overly academic, exclusionary views of modernists.

It seems as though I haven’t read a decent piece of art criticism in some time. As I thought about the two theoretical approaches to criticism it struck me that the reason why that could be, was because the two most common ideologies for evaluating art weren’t fitting. Modernism and post-modernism no longer echo our times. Art has reached a level of accessibility and importance that precludes the hierarchical approach of modernism, and yet we are no longer willing to accept the notion that everything is culturally relative. Now there is a more unified common experience.

Currently, the entire world is suffering from a downturn in the global economy. These shared experiences and our constant connection via internet social networking sites, permits our generation to expand upon widespread commonalities. Interestingly, increases in empathy are occurring while diversity is also taking center stage thanks to our many communication advances. Right now we are uniquely able to understand the intricacies of a distant culture while also finding common ground, sometimes via Twitter! Previously, this situation would have been considered a contradiction in terms. Now we have entered a new age of economic and political globalization based on an intertwined economy and communication structure. The feelings and acceptance of these changes have encouraged artists to use their medium as an expression of their own culture while also reaching out to a more broad, world-wide audience. This change can even be attributed to the decentralization of the art market itself.

Tune in on Friday when I explain the standard that should be applied when critiquing current art. In the meantime, please don’t throw out any blazers, pencil skirts, safari inspired gear, or anything Chanel; since, just like the human condition, they always seem to come back in style.

Theory and Criticism

2009-06-28T12:00:00.000-07:00

For a long time a battle has been waging amongst art historians and critics. While it may not be apparent to the general public, it has affected the art community greatly, resulting in confusion and disagreement. It centers on the parameters of modernism and postmodernism. When you take an Art History survey class and ask about this dilemma your professor will almost certainly avoid the debate. You’ll probably get an answer that’s vague and insinuates that modernism ended in the 1960s. This type of response is a great disservice to the issue.

I personally began to think about this issue a few days ago when I was confronted about my earlier article, Graffiti, Abstract Expressionism, & Fabulous Auction Returns. Asserting that the criticism in the post was incomplete, he complained that I overlooked key issues. Specifically focusing on Dash Snow, he said that I failed to note that the artist had given up family fortune and fame (Snow hailed from the de Menil family) and had chosen to live a life on the streets. He, of course was right. This information makes all of Snow’s work highly personal, and some would argue completely personal. Because of this, each piece not only becomes testimony on the human condition or urban life; it’s a chronicle of Snow’s individual life and running evidence of a disassociation to privilege. Snow specifically chooses to ignore high-society (at least visually), elitist background of his family, instead opting to live on the fringes of society. And yet, even after I conceded these points, I wasn’t willing to admit that the piece I wrote was wrong critically. One of the main reasons was that I was simply trying to put a little historical perspective on graffiti. The second reason was because I really believe there are shared truths like the “urban plight” evidenced in Snow’s work. I think that the personal background does not preclude a piece from having what I often jokingly refer to as visual archetypes. My friend’s approach to the work was a traditional, postmodernist critique.

As I began to more deeply consider my own point of view, it struck me that this sort of logic was a little controversial; at least in the realm of art criticism. The vast majority of critics today take a post-modernist approach. It is my conjecture, however, that neither the modernist nor post modernist approach is fitting for artwork created within the past five years. I believe that a sort of highbred, global, approach is necessary due to tremendous changes in communication and the common impact of the global economic crisis. Historians and critics must begin reconcile some of the ideas set forth by modernism and postmodernism. Neither has to be mutually exclusive, and key ideas from both are necessary to create a more relevant critical approach. Postmodernism’s popularity has contributed to the downfall of recent criticism. With the elimination of universal truths and an inability to decisively determine what is good or bad, postmodernism has effectively take the criticism out of the critical approach. Ironically this has happened at a time when individuals are more inextricably linked than ever before. Communication innovation, social networking, and online news outlets have managed to make global conditions part of the human condition. For this reason, both modernism and postmodernism are outmoded.

Please stay tuned to Wednesday's post for further information. :)

Tips for Framing Prints//

2009-06-22T15:53:00.000-07:00

I was completely thrilled when I opened my door this morning and found the two prints that I ordered the other day during that 20 x 200 gallery sale. To capitalize on my child-like excitement I decided that I should get them both framed immediately. While I was driving there it struck me that print framing would be a fabulous post topic. Framing is a part of the visual presentation of a piece and it is also essential to preservation. Since this is the case, it’s well worth noting the elements of proper framing.

Here are a few of my top tips…

1. Be sure to pick a trustworthy framer. If a print is improperly framed or framed with sub-par materials it will be ruined. You can contact the local chapter of the PPFA (Professional Picture Framers Association) for advice or you can solicit advice from a local gallery or museum. If you opt to get a referral from a gallery make sure that the gallery has had some longevity within the community and truly deals in fine art.

2. If you purchase a piece from a gallery that is already framed consider paying the additional price for the frame rather than getting it reframed by your own framer. The first reason for doing this is because the artist has typically chosen the framing that is on exhibit during a show. Its best, whenever possible, to present a piece in the way that an artist intended for it to be displayed. Plus, galleries will always get a better deal on framing than the average person; there’s no way an individual can compete with the consistent level of business that a gallery can promise a framer.

3. If you are given an option to have a gallery drop-off your unframed work or to drop it off yourself always opt to allow the gallery to move the print. This is especially true if you have a sizeable work. Transporting a piece can damage it, its surface shouldn’t be touched, and there’s too much chance for human error. Avoid this by having the gallery deliver. If something does happen during the move a reputable gallery will probably replace the print. Same goes for hanging and print deliveries. If a gallery/framer offers to deliver and hang a work accept the offer.

4. Be SURE to use UV glass and archival, non-acidic matting. Although there is extra expense associated with these materials they are absolutely essential. You may also consider getting glare-free glass; this also comes with an additional fee but it can be worth is if you’re hanging a print near a light source.

5. Once you choose a frame and the color of your matting, be prepared to either “float” the print or to choose to utilize the more traditional overlay matting. If you choose the floating method (which is usually what I prefer because I think it looks more contemporary) it will look like the print is suspended over the matting. When a print is floating framers will use small amounts of tape and spacers to keep the print in place so that it does not touch the glass. This is ok, and the tape will not damage the work. If you opt to use the more traditional overlay matting then a framer will typically use specially fitted corners to hold the print in place along with small amounts of tape to insure that there’s no movement. Overlay matting will often cost more especially since you will probably need to use more than one mat so that you will probably want more than one mat so that an images colors are accentuated.

6. Be prepared to spend big money for framing. Getting a work properly framed is often very expensive but it is an absolute necessity for purposes of conservation. For example, I would expect to pay around $600 to frame a 36 x 36 print using the floating method, a single colored mat in the background, without glare-free glass, and a very basic frame. Also be prepared to wait, it will typically take about two weeks for framing.

Good luck and happy framing!

Graffiti, Abstract Expressionism, & Fabulous Auction Returns//

2009-06-19T12:37:00.000-07:00

It is so weird how graffiti can cause such a visceral response amongst people. The other day I found myself defending tattoos and graffiti as artistic/lifestyle choice. It’s important to note that I don’t happen to have a tattoo and that I’ve never actually done any graffiti; but I have always been interested in the counter culture associated with them. I think it is to art what good girls are to bad boys as a dating phenomenon. As I debated whether it was sordid or just the byproduct of an intensely artistic lifestyle, I began to claim that it could be an opportunity for creative genius. Insisting that in many cases, so-called “graffiti” has provided an outlet for talented fine artists, I started talking about historical influences that have lead to the medium. Later that day I read a news story that described the tremendous success of Banksy’s surprise show in England. After finishing, I was sent another article about Dash Snow by a friend from high school. Naturally I assumed that it was fait and that god was willing me to put some historical perspective on the whole phenomenon. Artists like Banksy and Snow have had a massive appeal and people always question me about them. Here’s an abridged history of graffiti as fine art. And don’t worry, I didn’t chart this back to Paleolithic cave paintings in France, although that alone is an interesting consideration. This one focuses on the 20th century. ;)

The idea that graffiti could be a medium for fine art has significant art historical roots. Several movements were absolutely essential to its development and acceptance. The first, called Dada, dates back to the early part of the 20th century. During this time artists challenged the establishment by putting their own spin on surrealism and added a dash of extra absurdity. Disillusioned because of the First World War, people like Kurt Schwitters, see right, decided to take an un-academic approach to art. Two things followed: trash began to reign supreme and the phrase “What’s so great about that, it looks like something my kid could create?” was born. Ok, maybe the latter didn’t actually happen, but I know it’s something that a few people are thinking. The real result was the use of cast-off materials to create collages that had a distinctly urban feel and the appearance of hasty creation. Everyday objects were being repurposed and made into fine art. Today, this would be a distinctly un-absurd idea, but at the time it was revolutionary.

Later, another generation of artists known as Abstract Expressionists would take hold of some of this ideology, translating it to large, color-ridden canvases filled with gestural strokes. The artist who was the absolute epitome of Abstract Expressionism was of course Jackson Pollock, see left. Interestingly, Pollock also utilized a variety of unorthodox materials. Known for using house and commercial paints, he feverishly painted monumental canvases that people often insisted were a sort of visual assault.

The late 1950s welcomed a new type of controversial art. Artists such as Robert Rauschenberg were using gestural strokes and incorporating discarded objects like those immortalized by Schwitters. In contrast, Rauschenberg's contribution would have a more notorious approach. Violent in nature, Rauschenberg paid homage to political issues, city life, and even homosexuality. This is evidenced in his work, Bed from 1955, see right. The scale and medium were also noteworthy; Rauschenberg’s work walks the line between sculpture, painting, and installation. The idea of invading public spaces was on the immediate horizon.

Just as quick execution, unconventional materials, the plight of the inner-city, and untraditional painting techniques were coming full circle, another piece of the puzzle necessary for a graffiti aesthetic was about to surface. By the 1960s artists were thinking on a monumental scale. Richard Serra and Robert Smithson began constructing huge site-specific works. These pieces were purposefully imposing and forced nature and mankind to (usually) accept and adapt to the artist’s work. Richard Serra has long been considered one of the forefather’s of this movement. He encountered severe public discontent in the case of his Tilted Arc, a site-specific sculpture meant for the Federal Plaza in New York, see left. Serra, in an effort to demonstrate his aesthetic, constructed the arc that bisected a walkway utilized by pedestrians on their way to work. The result forced walkers to take a longer, more inconvenient route. Eventually the work was taken down due to public complaint. Serra countered this decision by utilizing his contractual right to disassemble the sculpture following its removal from the premises. Publicly stating that the sculpture was intended to be site-specific it could not be moved to another location. The actions by site-specific artists such as Serra further solidified the idea that an artist should confront the viewer, and could create an unexpected invasion of public space.

These historical developments would eventually provide the necessary elements that allowed artists such as Keith Haring and Jean-Michel Basquiat, see right, to succeed. Armed with a knowledge of the urban atmosphere, an abstractly-gestural style, quick execution, un-orthodox materials, politically charged content, and a willingness to use public space as a canvas, Haring and Basquiat are now universally accepted artists. Their work, as well as their lifestyle is echoed in a new generation of artists represented by Banksy and Snow. Both of these artists explore the urban plight and alternative lifestyles that Haring and Basquiat gave a voice.

Still not a believer? Consider that Banksy is regularly commanding six figures at auction and that Snow has a solid presence in the Saatchi gallery and collection. And that’s not even mentioning the acceptance received by Haring and Basquiat, who alone prove that graffiti can be a legitimate and challenging form of fine art.

Here's two Banksy images:

And one by Dash Snow:

Extra credit reading & looking:
Dash Snow at the Saatchi Gallery: http://www.saatchi-gallery.co.uk/artists/dash_snow.htm
Article about Dash Snow that I was sent: http://nymag.com/arts/art/profiles/26288/

Article about Banksy: http://www.artinfo.com/news/story/31741/banksy-shows-opening-draws-thousands/

20 x 200 Gallery//

2009-06-16T14:09:00.000-07:00

I’ve always really loved prints and paintings that use bold letters and words in their compositions. From Barbara Kruger to On Kawara, I seem to have an affinity for fine artists who add flair to their work with writing. I think it all began when I first saw Rene Magritte’s, The Treachery of Images. The moment I saw that painting I knew that I was completely in love. The way words and phrases can take on a whole new life when they’re carefully integrated into artwork is amazing, and the end result often is a more challenging and meaningful image.

Based on this background, you can imagine my surprise when I found this delightful print by Mike Monteiro on the 20 x 200 gallery’s website. To me it was perfect… Quirky phrase—check; words as a central focus of the composition—check; cool black background reminiscent of Malevich and On Kawara—check; and with a message that I can personally relate to! I had to have it and luckily I got it and for 20% off! I actually just bought one of the last two prints a moment ago. I am trying to write this blog as fast as possible so that you can quickly take advantage of the sale before it ends.

Although the 20 x 200 Gallery is actually headquartered in New York, the gallery mostly relies on their website to sell prints. The result is an easily navigable site that provides good work from talented artists for a reasonable price. Please take a moment to look at their website, your walls will thank you. J 20 x 200 can be found at: http://www.20x200.com/ The following prints are a few of my picks:

Because as I mentioned, I love words, I can't help but be attracted to this one by Shaun Suudholm.

Because using bright colors and having a pop art aesthetic is awesome I loved Trash Mountain by Megan Whitmarsh

And last, because this walks the fine line between creepy and hilarious, I adored The Office by Rebecca Loyche

Art Basel: What you need to know//

2009-06-12T11:00:00.000-07:00

As you’re reading this blog something wonderful, no magical, is happening in the art world. Right now, many of the heavy hitting collectors and galleries have descended upon Basel, Switzerland for Art Basel. Art Basel is one of the most important contemporary art fairs. All of the taste-makers are aflutter while they try to figure out which pieces are best and who the newest noteworthy artists may be.

A lot is going on, so in order to best quantify the early developments I have noted the following highlights:

First and foremost, much of the pre-buzz about Art Basel focused on doom and gloom. It seemed as though galleries were lamenting slow sales before they even had the chance to sell. This isn’t shocking considering that the entire universe is worried about finances, but it did result in a few price markdowns - notably on a highly publicized Warhol. (further details: http://bloomberg.com/apps/news?pid=20601088&sid=aAFQ2UwGrAMY&refer=muse)

However, there does seem to be some good news on the horizon! Apparently galleries are doing better than they expected at Basel. While sales aren’t comparable to 2008, they aren’t horrible. There have been solid returns when good works are offered at the six figure mark or below (see here: http://www.artinfo.com/news/story/31708/basel-grins-and-bears-pre-boom-prices/ ).

What impact does this have on the young collector? It means that all of our economic problems are solved! Kidding. It means that opportunities will begin presenting themselves for more reasonably priced art, which may actually be evidenced by that controversial print by Tracey Emin that I discussed on Wednesday. Gone are the days (at least for right now), when galleries could rake in 7 figures for contemporary art of average quality. There’s no longer a feeding frenzy, and though you may not find yourself selling a painting in 2 years for ten times what you paid, you will still be rewarded for thoughtful and educated buying. Even auction houses seem to have leveled off when it comes to their losses. Christies recently began to see more positive results on their lower priced good work. (Christies May results here: http://www.artnet.com/magazineus/news/artmarketwatch/artmarketwatch5-14-09.asp )

There was one standout example of oversold art at Basel. It happened when the worlds of Pharrell Williams and Takashi Murakami collided to create The Simple Things (see right). The work ultimately sold for $2 million. The purchase of which makes me wonder when other people will start questioning when Murakami will stop relying on rappers or Louis Vuitton for acclaim. (http://www.nytimes.com/2009/06/12/arts/design/12vogel.html?_r=1&ref=arts)

Last, the folks over at ARTINFO have created an Art Basel preview. This provides a fabulous way to get a little inspiration or discover a style or artist that you never knew you liked. I was certainly amused by a few pieces. One work even inspired me to sing one of my fave’ Bob Marley songs, but I’ll let you discover which piece that may be. ;) http://www.artinfo.com/news/photos/1653/16362/

Cheers to hopeful financial returns, inspiration, and more accessible and affordable art!

Tracy Emin: I Swear She's Legit//

2009-06-10T13:24:00.000-07:00

Back when I was in undergrad one of my big projects in Theory and Criticism class was to create a zine that conveyed some sort of critical analysis of art. The whole topic or lack thereof seemed very broad at the time. That is, until I realized I had a raging hatred of Thomas Kinkade and that “fifteen pages or less” was the perfect opportunity to express it. Naturally, I took a bunch of Thomas Kinkade pictures (I still refuse to even call them paintings, they don’t deserve it) and juxtaposed Nan Goldin, Eric Fishl, and Robert Mapplethorpe on top of country cottages and pastoral scenes. In the two weeks leading up to the project’s due date my roommates were absolutely thrilled. Who wouldn’t want blown-up images of Kinkade paintings and photographs of bondage, AIDS victims, and murder scenes placed throughout the walls of their apartment? Nineteen year-old girls, that’s who. Regardless, they all put up with me by focusing on the light at the end of the tunnel that was the project’s due date. When I turned it in, my professor was receptive. I got a 100%; a grade so elusive for college projects that I had always figured professors more or less assumed that giving me one was like admitting defeat. Needless to say, my parents were thrilled, several copies of the zine were made, and in under a month my grandmother had a copy on her coffee table. Saying that my parents were open minded about the entire thing was a little of an understatement. They not only focused on the grade, they also happily accepted the message.

A year later, their trust in my judgment paid off again when they begrudgingly purchased a print that, as my dad describes it, “is a horse-head with cheerios exploding out of it,” see right. For the record, the print was by Jeff Koons and is now worth six times what we paid for it. Having said all of this, you can imagine my shock when I was recently met with complete resistance while showing them the newest print I think would be a great investment. True, it is a bit controversial, but it’s also important and it has a lot to say. The print, by Tracey Emin is being offered by White Cube Gallery. You can follow the link if you wish to take a look, but be advised that it does contain adult material. http://www.whitecube.com/editions/sufferlove/

To be honest, this print is not something that I would typically consider buying. But, as you can see by my story above, I am a little bit of a fan of controversy. Anything that gets people who wouldn’t otherwise participate in an art-related conversation to discuss contemporary art has value. This print definitely fulfills that prerequisite. In a matter of two days, it has ignited what I am calling a, Matilda Anderson: Friends and Family Art Brawl. Suddenly everyone wants to put in their two cents. To me, this was proof that I was on to something. The more controversy, the more I wanted to defend the print. So here's my shot at trying to legitimize this print to the general public…

Tracey Emin is grouped amongst the YBA or Young British Artist movement http://en.wikipedia.org/wiki/Young_British_Artists. This movement, made popular in the 1990s by the Saatchi collection and gallery, included artists such as Damien Hirst, the Chapman Brothers, and Glenn Brown. These artists had conceptualism in mind when they were creating their art. Conceptualism as a movement derives from the 1960s and focuses on the thought that art is rooted in the idea an artist is trying to convey rather than in the final, material product. The movement itself may date from the 60s, but this thought has been pervasive throughout art history. For example, Marcel Duchamp, pictured left, questioned what could be considered art with his Fountain and the Dada movement; and Jeff Koons touched on the idea as well by encasing vacuum cleaners in Plexiglas. So how does Emin’s work fit into this idea? It does so by manifesting highly personal images, feelings, and issues into a final product that takes the form of installations, line drawings, scrawled phrases, and in this case, a print. Her work is much more than a simple sketch; it’s the idea that enabled the work that’s important.

Still not convinced that it’s kosher? Let’s consider the image and this artist’s feminist roots. Go back to the bra burning of the 1960s. Remember when free love, unshaved armpits, androgynous clothing, and a promise to not get married were the epitome of feminism? This is a contemporary visual example of those types of acts. Think about the barrage of sexualized imagery that we’re exposed to. The modern media (and our dependence on it) has enabled Paris Hilton to make a living by being a sex object. Emin plays off this notion, and unabashedly puts it on display. But there is a double entendre present since the artist is a female. A female choosing to visualize her personal sexuality creates an added level of dimension, and further erodes stereotypes. Emin’s work is proof that women are now finally in charge of their own sexuality and no longer purely the object of male desire.

Beyond the obvious link to feminism, Emin’s works are also heartfelt. She has been known to examine personal tragedies, even referencing the rape that she suffered at thirteen. Although you may be tempted to relate her work to Eric Fischl’s voyeuristic style, pictured right, because of the awkward discomfort that is evoked, don’t. Emin’s work may make the viewer feel awkward, but this type of awkwardness is unique. After understanding her story, style, and the historical roots, you begin to realize that you are witness to imagery that portrays a convergence of her own lust, sadness, and torment. It’s rare for an artist to display both vulnerability and power at once, and yet Emin regularly accomplishes this.

And that my friends, is why this print is legit. Legit and incredibly reasonably priced. At $600, this may be a regular person’s (i.e. not an incredibly rich person’s) last opportunity to own an Emin work. She’s been selling well and her auction record is steady. And, if you still can’t quite find it palatable, you can at least take comfort in the fact that the print itself is small in scale. :)

Flat File Gallery //

2009-06-08T10:05:00.000-07:00

As I was getting my fix of the Urban Jacksonville about a week ago I ran across an article about a new gallery that was opening in Five Points called Flat File. Located in the theatre that has become a local landmark, Flat File is dedicated to something that I find irresistible: good, affordable, and accessible art. After listening to the interview I became immediately intrigued. During the interview Chris and Calder Yates pointedly remarked that they wanted the space to be warm and inviting to both long-time and new collectors. That sentiment made me interested since many of my friends always complain that museums and galleries make them feel intimidated. With that, I immediately made a point of grabbing my tough, “I’m not a beach girl” shoes, filled the car with gas for my journey across town, and emailed Calder Yates so that I could scout out the work at the soft opening.
The opening was a lot like I expected; small space, a lot of people who seemed to know the owners personally and densely hung walls of photographs. The experience was a little different from the openings that I usually go to, but I was met with welcoming smiles and people who were cheerful and excited. It was nice.

I brought a friend of mine that consistently avoids going to openings with me, one who, I believe, has a sensibility for nuance and detail in visual art. I thought it was absolutely fabulous to see her take an interest in the work and not hesitate to engage Calder Yates about his and his father’s pieces. I think she even found a few that will fit in nicely in the new home that she’s buying. After leaving she even remarked that the entire experience was completely different from what she had anticipated. Now I think I may be able to convince her to attend a few more openings in the future.

Flat File will specialize in photography and sell prints for $20 per piece. They will be in editions of somewhere between 50 and 100. Although this is a higher number of editions than I typically prefer, I think that the gallery will really fulfill a certain niche demand and help to expose art to new possible collectors. Plus it didn’t hurt that the work was actually good. I was attracted to some of the photographs of Calder’s that portrayed eerie interiors complete with oddly placed animal skulls or skeletal fragments. The imagery was plainly ominous and the color scheme was reminiscent of the Night Café by Van Gogh, a painting that most art historians site as evidence that Van Gogh was clearly insane. That’s not to say that Calder Yates is insane, or at least I hope not, since I’m rooting for this new gallery. And, if it’s any indication how I really feel, I’m not only referring friends to the gallery, I also plan on buying a few pieces myself!

Damien Hirst, Skulls & Black Nail Polish //

2009-06-05T12:52:00.000-07:00

I hinted in my last blog that I find art, society, and politics to be intertwined. The following entry describes a trend that has infiltrated fine art and popular culture and may have even influenced your choice in movies in a way that you hadn’t anticipated…

There’s a pop culture phenomenon that I have grown very fond of. The focus of this trend is the macabre and it has enabled pirates and vampires to go mainstream. Consider this, Ralph Lauren offers ties with skulls and crossbones, Betsey Johnson has clutches with sparkly skulls, and in the trend’s worst incantation it lamely surfaces on Ed Hardy t-shirts. It has helped turn Pirates of the Caribbean into a billion dollar Disney franchise and consistently put the Twilight series at the top of the bestseller list.

I know what you’re thinking… Who cares that the pirate themed aisle in the party store has quadrupled in size over the past five years? Here’s the thing, in my opinion this is a little more than a trend. To me, this relates to imagery that has presented itself throughout art history and is called a Memento Mori. Memento Mori is a Latin phrase meaning “remember you shall die.” The term originates from a Roman tradition where victorious Generals had a slave follow them during their victory celebration as a reminder of how quickly fortunes can change. Typically in western art a Memento Mori manifests itself as a skull placed somewhere in the foreground of a painting. If you study this in an Art History class you’re presented with a few textbook examples from the Renaissance. Albrecht Durer is one such example and is pictured at right. These images are meant to remind of you that life is short and they may even take on a sort of apocalyptic flair. This type of imagery seems to become broadly popular in times of great change, or when there’s a political or cultural upheaval. People in transitional times reflect on their own existence by contemplating their fait. This is why there has been an influx of this art during the Renaissance, the Protestant Reformation, early Puritan America, the Victorian era, and again in recent times.

For the past 8 years the western world has been faced with terrible tribulation. September 11th, the stock market crash, unemployment rates, and the war in Iraq have contributed to a sense of volatility that has people (maybe even subconsciously) considering their own mortality. Given this instability it’s no accident that Damien Hirst’s Summer Show at White Cube in 2007 sold out and grossed 130 million dollars. Or that in August of the same year Hirst’s Diamond Skull, pictured left sold for over 100 million dollars (the highest price ever paid for the work of a living artist at that time). The appeal of this work was that it emphasized mortality and the transience of human existence. Hirst’s work presupposed the catastrophic dip in the stock market in June and July of 2007 because he was visually representing a palpable uneasiness throughout the western world. At the same time, people everywhere were wearing a skull on their t-shirt, debating getting a pirate themed tattoo, and unknowingly participating in a visual archetype.

Fast forward to today. Consider, even if you don’t agree, Obama-mania and the constant focus on hope. Watch the news and witness analysts trying to formulate theories predicting that the worst is over. Polls conducted in March and April showed that Americans were cautiously optimistic about the economy and their future. As all of this is happening there has also been a fall from grace within the art market by critics examining Hirst. How does this translate to the everyday? It does in two ways: (1) People are probably going to stop wearing black nail polish (finally!) and (2) Skulls, skeletons, and Hirst are “out” in the realm of fine art for the time being. It seems as though we’re transitioning into a post-apocalyptic visual vocabulary. Or maybe we’re just no longer focusing on a pop culture trend— even if it is a trend with historically relevant visual roots.

Carlos Betancourt and Louboutins //

2009-06-03T11:38:00.000-07:00

This story begins with a hot pink pair of Christian Louboutins so jaw dropping that my friend couldn’t help but call them “major” (major should be pronounced with a Posh Spice accent so that you have the full effect). As I was staring at the shoes I began to put two and two together. I ran and grabbed my bright purple dress, my orange purse, and pointed to the shoes. It became a little clearer why I had been so attracted to the Carlos Betancourt print I had helped my family purchase a few weeks earlier. After all, the print completely embodied my personal aesthetic. Heck, it actually probably visually embodies my personality. I’ve been described as talkative by elementary school teachers, bubbly by friends, and was once nicknamed Light-Bright by a co-worker. So here’s the point: everything around us influences our taste in art. Every buyer should be purchasing something that speaks to them and that they love but it should also be worthy of investment. Friends always ask me how I pick a print. Here's what I (mostly) considered when buying this piece:

This print in particular has a lot going for it. First, from a broad art-market perspective artists with a Latin American Flair are getting hot. There has been an influx of collecting that focuses on this as a cultural art movement. Or look at it a different way; consider how important politically Hispanic voting trends have become within the past decade. Simply put, the time has come to recognize the culture and the often romanticized and vibrant imagery that goes along with it. It also can’t hurt that reputable art fairs such as MACO and ArteBA have forced critics and collectors to take note. Betancourt in particular fits within this change and has personally contributed to a movement in Miami. Opening up his studio in Miami Beach to fellow creative-types, Betancourt was there before Art Basel even alerted the glitteratti that Florida could house important art and artists.

From a design perspective the piece is also fabulous. It flows, it’s balanced, and the colors are vibrant and complementary. The size itself was also a consideration. This piece measures 50x50 which makes it more digestible since it is comprised of hundreds of smaller images. The Betancourt work is nuance and detail based, this can be lost if a piece is too small. Larger pieces also really confront and encompass the viewer. This allows you to feel like you’re almost a part of a happening and the rich, celebratory life that the artist is expressing.

When buying a piece like this you have to do your homework. First I checked the edition number; this work was an edition of three which is low. Often editions of 30 to 100 are acceptable and provide a means of owning work that you may never otherwise have access to. At auction Betancourt holds up, and he’s in the Smithsonian’s Portrait Gallery and the permanent collection at the Met. He has an understanding of art history and clearly conveys his influences. Betancourt mentioned Jeff Koons and David Lachapelle when I met him at the opening and openly talks about how the work itself is narrative. A narrative or a link to what is current, historical, or cultural makes artists relevant moving them to the realm of fine art. Expressing that one exists also insures that a collector is dealing with a seasoned, educated artist. I like it when artists (or at the very least their galleries) can explain the purpose and message of the work. In this case they were able to do just that AND it didn't hurt that the print was gorgeous! ;)

I hope this helps to clarify a few things! I’ll be sharing a few artists that I’ve come across that I absolutely love and tell you all about the new gallery that’s about to open.

Introductions //

2009-06-03T11:33:00.000-07:00

Well hello there! This is the first installment of my blog. I plan on updating this site at least three times a week with my inspirations, experiences, and thoughts about art. It’s my hope that some of my insights and exploits will help cultivate interest in art and make it seem more accessible and exciting. In the next few months I have some pretty impressive plans lined up and even a few places that I’m planning on traveling. I can’t wait to share all of this with you.

In the words of Ralph Waldo Emerson, “Love of Beauty is taste. The creation of beauty is art.”
Hopefully I’ll prove that I know a little bit about both taste and art.

xo-Matilda