Monkdogz Artblog

With the current extra excitement about anything Picasso, helped by the show at Gagosian, Sotheby’s is very happily promoting their next Impressionist & Modern Sale with Picasso’s portrait of his daughter Maia, holding a favorite boat toy. 

The painting titled “LA FILLE DE L’ARTISTE À DEUX ANS ET DEMI AVEC UN BATEAU”( Oil on canvas.  28 3/4 by 21 1/4 in. 73 by 54 cm) is estimated in the catalogue at US$16-24 million.  It was painted in 1938 just after Picasso painted the famous Guernica which depicts the suffering people, animals, and buildings wrenched by violence and chaos caused  by the bombing of the town by 28 German bombers during the Spanish Revolution.

As usual with Picasso, it’s all a bit complicated.  Maia was the daughter of Picasso’s mistress, Marie-Thérèse Walter.  However at the time he was still married to his first wife Olga Koklova and had a son Paulo. On Picasso’s death in 1973, Paulo’s daughter Marina Picasso inherited the painting. 

Jan Krugier of Galerie Krugier’s became Marina’s exclusive agent, handling one of the largest collections of Picassos in the world, although it had been somewhat decimated by the French government which had taken many pieces for inheritance tax after the death of Picasso.  Jan had helped Marina’s brother Pablito, when he was ill in hospital after what would become a successful attempt at suicide by swallowing bleach.  

Jan Krugier handled the painting on consignment and it was sold to art dealer Arnold Katzen of New York who owned the Arnold Katzen Gallery and American-European Art Associates, Inc. sometime after 1983.  

The current private collector bought the painting in 1986 and it had not been shown in public since until this auction.  It is hanging in London until Saturday when it will be flown to New York in time for the auction next Tuesday evening, May 5^th.  

There are only 38 items in this particular sale and it will be interesting to see how well the whole Spring sales will fare.

The Federal Reserve released a statement today, suggesting that the economic downturn may be easing. It may not be getting better yet, but “the pace of contraction appears to be slowing down.” It continues saying that “household spending has show signs of stabilizing,” and the “economic outlook has improved modestly since the March meeting” however “activity is likely to remain weak for a time.”

In London consumer confidence rose for the 3rd month in a row despite figures showing that the economy shrunk at the fastest pace in 30 years between January and March of 2009.

People are starting to talk about what they’ll do after the recession is over and many are currently saving until that day arrives. In the latest New York Times / CBS News poll, 72 percent of Americans said they were optimistic about the next four years and President Obama seems to have survived his first 100 days.

It’s not a New York spring, when the flowers and trees explode in a matter of hours, drop-kicking the winter out in a blink of eye, but a very slow English thaw that starts with the little snow drops in the bleak of the mid-winter and gradually warm up the bulbs and blossoms over several months.

So what does this all mean?

President Obama said today at the press conference reported in the New York Times  “we cannot go back to an economy that is built on a pile of sand — on inflated home prices and maxed-out credit cards, on overleveraged banks and outdated regulations that allowed the recklessness of a few to threaten the prosperity of us all.”

Similarly in the art market we cannot go back to the ‘Harrod’s annual sale’ style art fairs, the cliquey private views and gallery dinners, the ‘any celebrity (even D-list) will boost anything’ mentality, the ‘I’ll lick your behind if you’ll lick mine’ rules of business, the ‘if we haven’t seen it, it must be good’ biennial and the ‘if the artist is pre-pubescent I must have it’ group of collectors or the ‘my bid is better than your bid’ style of auction house shenanigans. Robert Hughes the Australian critic nailed it when he called the art market “a barren landscape of commercial mediocrity”.

The President answered that we need a solid foundation. We need to promote our artists who have integrity, drive, creativity, skill and an extinguishable passion for their art. Now is the time to find the ground swell of these artists. The risk may be high on start-up businesses, but so are the rewards. The same is true for artists; promoting the rising artists will bring greater rewards as a participant in the their future than being a voyeur on the sidelines of a blue chip artist. In the words of General Patton, “accept the challenge so that you can feel the exhilaration of victory.”

I had a call from London a couple of days ago, telling me I just to HAD to see an interview on Youtube by Lady Gaga, the electro-pop sensation that is sweeping both sides of the Atlantic with her current single ‘Poker Face’. 

On the interview with Radio 1 Live, she sings and plays her song in an acoustic/jazz style with just a keyboard for accompaniment.  I loved it; this version showcased a depth to her voice and range.  She has been classically trained since she was 4 and later moved to ragtime and jazz as she grew older.  Her career started as a song writer for some well known groups such as Pussy Cat Dolls, Fergie New Kids on the Block and Akon.  She really understands the fundamentals of composition, style, and the fact that it’s the total package that captivates the audience. 

In 2008, Lady Gaga started working with a collective she called “Haus of Gaga” which collaborates to create her clothing, sets and sound.  In an interview with the Sunday Times in London she said “In this industry, you get a lot of stylists and producers thrown at you, but this is my own creative team, modeled on Warhol’s Factory. Everyone is under 26 and we do everything together.”

The point of her pop music, she adds, isn’t merely to entertain, but to provoke response and discussion. “How do I make pop, commercial art be taken as seriously as fine art? That’s what Warhol did.” “How do I make music and performances that are thought-provoking, fresh and future? We decide what’s good and, if the ideas are powerful enough, we can convince the world that it’s great.”  Andy Warhol continues to influence and motivate new generations of artists 20 years after he death. 

After a short bout with drugs she “decided it was more important to become a centered, critical thinker.  That was more powerful than the drug itself.”  Her commitment to her art is total; “some artists are working to buy the mansion or whatever the element of fame must bear, but I spend all my money on my show,” she says of her impressive stage set. “I don’t give a f*** about money. What am I going to do with a condo and a car? I can’t drive.”

Her integrity to her art is absolute, “I eat, sleep, breathe and bleed every inch of my work. I’d absolutely die if I couldn’t be an artist.”

www.ladygaga.com

When we’re looking at a new artist for the gallery, there are several things that we look for; uniqueness, creativity, integrity and that something extra that makes them special, the WOW factor (Is that copyrighted by Tom Peters?  If it is thanks for the share Tom) which makes you want to have a closer look, a second and third look.

Barend’s WOW factor is the power with which the paint explodes off her canvas.  The paint looks alive and is imbued with tremendous kinetic energy, ready to be unleashed upon the viewer.  Unlike many abstract artists, I find that her subjects morph into vivid forms as you keep looking at the canvas.  Bob says she has an “explosive imagination and (a) hand that seems to be guided by supernatural forces”.

She uses an extensive color palette, combining and juxtaposing them to create her vibrant canvases.  Barend talks about the many layers of paint that she interleaves, both thin and thick, by painting “wet on web” with acrylic paint.  Her genius is in her full use of the canvas, with calm, serene areas cradling the power strokes.

The validity of Barend’s work comes from the raw honesty that she transfers to the canvas.  She paints with her emotions, her thoughts and her beliefs with a level of integrity that is pure, allowing her to connect with others.  I think this is what makes viewers linger in front of her paintings and makes them want to take them home with them. 

The joy of working with Barend is that she has an added dimension that few other artists have.  She’s owned and operated a gallery for several years.  Understanding the business aspect of art not only makes her dealings very professional, but she also looks to see what will appeal to the collector.  Her insight has led her to create various sizes of works which exhibit well and also appeal to a wider range of buyers by offering a range of appealing price points.  This is reflected in the number of respected galleries that represent her and the volume of sales that she achieves.   

To learn more, read her excellent blog. 

Growing up in Japan and in England before the advent of the internet, I rarely had the opportunity to read the New York Times. The occasional invitations to the American Club in Tokyo or friends visiting from the US, gave me a glimpse of this legendary publication.  You didn’t read the NY Times for it’s news; the world tended to be a rather small place according to them, where nothing much existed passed the borders of the 50 states unless there were visiting Americans at the foreign destination involved in something newsworthy.  Rather we devoured the print for its prose.  The writers of the NY Times were revered world wide for their writing, whatever the subject.  

Holland Cotter, an 11 year veteran, staff art critic of the New York Times received the 2009 Pulitzer Prize in Criticism last week:

“for his wide ranging review of art, from Manhattan to China, marked by acute observation, luminous writing and dramatic storytelling.”

He is a worthy journalist in the tradition of excellence from the New York Times that I remembered from my youth with the added benefit of extended borders.  Cotter writes frequently of non-Western art; so much so that on the rare occasion that he is criticized, it is about his focus on personal specialties.

Holland Cotter grew up in a family immersed in the arts and he spent many days at the Museum of Fine Arts in Boston where the excellent collections from Japan and India sparked his interest in non-Western art.  He continued his studies at Harvard, City University of New York and finally fished his doctorate in early Indian Buddhist art at Columbia University where he taught Indian and Islamic art.

His undergraduate studies in poetry writing and his years teaching are clearly evident in his writing.  His articles are very evocative, re-creating atmosphere and visuals.  I never feel ignorant reading his work as he is able to simply explain and pass on his knowledge, experiences and opinions.   I find myself emotionally involved with his subject matter and I find I can smell the aromas, feel the environment and see the vistas that he shares.  

He also always makes the think.  His articles always require a second or third reading; there’s so much to take in that my limited capacity struggles to take it all in.  He is open-minded but sure in his critique.  I may not always agree with him, but I always want to hear his views.  

Selection of articles by Holland Cotter:

Buddha’s Caves July, 6^th 2008

Miró, Serial Murderer of Artistic Conventions, October 31^st 2008

Old South Meets New, in Living Color, November 7^th 2008

The Boom is Over, Long Live the Art!, February 15^th, 2009

Young Artists, Caught in the Act, April 10^th, 2009

As a gallery owner representing contemporary living artists, the emphasis placed on dead artists seems to me to be a bit of a cop-out.  There is little risk in buying and selling these works and for a collector there is only a role of voyeur.  The collector is not a part of the development, growth and excitement of the rising career of a living artist.  

However, I felt that the new show at Gagosian “Picasso:Mosqueteros” was a risk to take.  Picasso exhibited his late work in 1973 just before he died.  He was slammed by the critics and unappreciated by the public.  So to exhibit these works took either a leap of faith or some insider information.  It was obviously the latter; the collection was put together by Bernard Picasso, the artist’s son and curated by John Richardson, a friend and biographer of Pablo Picasso.  

I was surprised by the gushiness of the New York Times review and slightly put off to be honest.  Yet last Saturday, there were over 5000 people who came in through the doors, with many waiting for over an hour to get it as the line snaked down the block to the West Side Highway.  There were so many people in the gallery, they had to allow 20 people to leave to allow another 20 people in for safety and security reasons.  People have been coming in from all over the continent and around the world specifically to see this show.

The show has been hung very creatively by John Richardson to best showcase the paintings, drawings, and prints.  It is a very dynamic show of powerful work.  I was there for nearly an hour today but it was not nearly enough.  Not all the work is of the same stature in terms of quality and technique, but for a man who created nearly 50,000 pieces in a lifetime and spent the last 6 years of his life, after a major operation, continuously working in his late 80s and 90s, the achievement is phenomenal.  

I’m going to go back again to see the show next week to give the old man his due and myself another education.  If you’re going to go and see it, I recommend seeing the interviews on Gagosian’s site and reading whatever you can before you go.  It will be worth your time. 

In the New York Times today, there is a story about the little wooden crucifix attributed to Michelangelo, that the Italian Culture Ministry purchased for $4.5 million in December last year at a vastly reduced price by exercising it’s preemptive right to purchase the artwork in order to prevent the piece from leaving the country.  

The controversy surrounds whether the attribution to Michelangelo is correct or not.  Interestingly Francesco Caglioti, a specialist in Renaissance sculpture is quoted in the paper as saying that there were at least a dozen skilled artisans capable of making crucifixes like the one in question and that it was typical of those made in such workshops at that time.

He astutely continues “Unfortunately,……every time something beautiful emerges, they (my colleagues) attribute it to a famous name.  It would seem like everything done in Renaissance Florence can be attributed to 10 people with a thousand hands”.    

The thing is that the problem doesn’t really stop with Renaissance Florence.  Today in major capitals of the contemporary art world, it would seem that there were only a handful of artists, Warhol, Picasso, Hurst, Koons  to name a few, who create exhibitions worthy of the attention of the establishment.  There are other artists today who create masterpieces worthy of our attention.  Maybe the Italian Culture Ministry should be looking to support their own excellent group of contemporary artists.

Shephard Fairey flouts the law to get free publicity.  It’s a form of guerilla marketing.  It’s really no different from the trespassing and vandalism charges that he’s faced in the past.  He was fully aware that he was using another artist’s image; he actually trawled the internet to find just the right image and he filed a lawsuit first before AP did to try and claim “fair use”.  It’s not the first time he’s done this.  He’s also sued other artists for copyright infringement of his work.  Is he so poor that he couldn’t pay for a license to use the image or at least give Mannie Garcia some credit?  I suppose he wouldn’t have received as much publicity if he had.

A little like Tony Shafrazi, who was so anti-establishment in his youth and now is a stalwart member of the art establishment,  Shephard’s success in underground art has lead to several successful corporate design and marketing companies working for corporate heavyweights such as Hasbro, Netscape, Pepsi and Urban Outfitters.  Does anybody else see the dichotomy here? 

Or is the real point that even I’m talking about it and I’m yet another fool that’s fallen into Fairey’s cleverly woven trap?

Sensationalist art is a tough one to walk well.  Not edgy or pointed enough and people don’t get it or it doesn’t get the required reaction.  If it goes over the line too far it just becomes bad taste, which is in itself is very subjective and probably a very liquid measure changing from season to season, year to year.

Over the last few weeks in the run up to Easter, a very life like sculpture of Christ with his attendant crown of thorns and bleeding hands and feet sitting in a wooden electric chair has been exhibited in a cathedral of all place; la cathédrale de Gap (Hautes-Alpes) in the very South East of France near the Italian border.  The sculpture (one of three) is by British artist Paul Fryer titled “Pieta” created in 2006.  

The sculpture has been exhibited with the blessing of the Bishop of Gap, Monsignor Jean-Michel di Falco and courtesy of François Pinault’s collection.  Protests of blaspheme has been refuted by the bishop who has said that he wanted the exhibition to “shock us into regaining the consciousness that a crucifixion was a scandal…. and that the electric chair (today) is no better than a crucifixion”.  The bishop also seems pleased with the volume of people, especially those who normally wouldn’t enter the hallowed halls of this catholic cathedral and national monument, who have been prompted to visit during Holy Week.

Paul Fryer (born Leeds, England 1963) currently lives and works in London.  He has had a rather interesting life so far and has gone from being an electro pop singer to a transvestite DJ and being recognized as the creator of several well received art-based clubs.  He worked at the Italian design house Fendi for five years as a musical director and has also designed books and other printed material for several artists, fashion houses and record labels as well as working as technical consultant for several contemporary artists. During this period he wrote a book of poetry, Don’t Be So…, which was illustrated by Damien Hirst and published by Trolley Books in 2001.

Damien Hirst also owns a “Pieta”.  The third one is for sale through the Kristy Stubbs Gallery in Dallas Texas where Fryer had a solo show in 2006.

I find it interesting that the Catholic Church isn’t above using sensationalist art in encouraging new and lapsed patrons to attend and probably adding to the much needed coffers.  In this climate we’re all doing what we have to do.  Go Monsignor Go!

Let me preface this by saying, yes I know this is an art blog but in reality the visual arts world is part of a much larger family that has relatives called theatre, music, dance, and poetry to name a few. What we all share in common is commitment, imagination and communication.

Form, movement, color and sound are foundations to engage and interest.

There are quite a lot of people who have seen this amazing video of Susan Boyle from “Britain’s Got Talent”. When it was first suggested I look at this, I thought it was a goof. and almost made the mistake of not watching it all the way through. After watching the video the first time like many people who have seen her I found myself looking at my computer screen with the same amount of disbelief and awe that I would if alien beings had landed on my front lawn.

It’s a beautiful piece of work. But it’s more than that. It’s the realization that there’s hope and dreams do come true even today.

In a world where we have come to associate success and talent through marketing, beauty and carefully crafted hype. It’s refreshing to realize that talent is an internal thing that is so stand alone powerful in its raw validity that it supersedes the three card Monte game that we have all on some level come to believe is the reality of value and talent.

I think as artists if we can find a little piece of Susan Boyle in ourselves then the possibilities are truly endless.

Take a look….