mia looks strong, i like everything shown here. will have to make the trek out to the ol' pottycrack.
anyone get a list of who is being shown?
Mona looks cool. I like glass. i dont care if people say "its craft not art" fuck you. you stick your face into a 1000 degree kiln and blow on a hot pipe. If it burns, its art.
I posted this weeks ago on the Forum. And I don't think anyone responded. You really should. Read the article below and understand what I was getting at:
Saatchi site seeks Arctic Monkeys of art world
Dealers are looking to the internet to find the next big talent
by Owen Gibson Thursday May 25, 2006
A computer mouse on a piece of abstract art from the Saatchi gallery's new website, Your Gallery. Photograph: Dan Chung/Guardian
First internet sites such as MySpace turned the music world on its head, enabling bands like Arctic Monkeys to become hugely popular without the patronage of radio stations or record labels. Now a new website set up by the Britart patron Charles Saatchi that aims to have a similar effect on the rarefied gallery world is attracting work from hundreds of artists every week.
Described as a "godsend" by dealers and collectors, Your Gallery (saatchigallery.com/yourgallery) allows artists from around the world to post examples of their work on the Saatchi website together with their biography and contact details.
Resulting sales are commission-free and artists exhibiting on the site claim that some dealers are already spending upwards of £100,000 on paintings without seeing them in the flesh. Since the site launched a month ago, 1,750 artists have displayed their work via the Your Gallery site and it is attracting upwards of 1.4m hits a day.
The gallery owner Bernard Jacobson, one of the world's leading modern art dealers, said he had already bought several pieces through the website.
He said the site was "wonderful", allowing him to pick up work by up-and-coming young artists that he would ordinarily miss because he is focused on higher value work by more established names.
"I couldn't do the legwork. My staff are very good but it's got to be my eyes," Mr Jacobson said.
Painters
Sacha Jafri, an acclaimed young British painter, said the role of the internet in establishing younger artists could not be overestimated.
"My work is now quite expensive and I'm lucky enough to do shows and exhibitions around the world," he said. "But a few years ago when I was starting out, if I'd had this sort of exposure things could have moved a lot quicker." He said he primarily used Your Gallery and his own site to introduce interested parties to his work.
With no restrictions on adding work to the site, the range of quality and subject matter is vast, from art school efforts to established artists whose work sells for thousands of pounds. Stella Vine, the controversial painter who enjoyed the patronage of Saatchi, said the internet had transformed the way she related to potential buyers and fans of her work.
"I wouldn't be where I am without it. It's all very lo-fi and DIY but it's exceptional," Vine said, adding: "Young people want their work to be seen. In the art world, doors get shut in your face all the time. Saatchi is tapping into a spirit that's rebelling against that.
"To me, it's an honour to be up there with all sorts of people, from a 90-year-old grandmother to a student at Goldsmiths."
Dealers
Mr Jacobson accepted that there would be a lot of chaff among the wheat but said the cream would rise to the top. "My eye is pretty highly trained. If you're a music A&R man you might occasionally pass over the Beatles or Kurt Cobain, but it doesn't happen very often."
Those close to Saatchi, who rarely gives interviews, claim that the site is partly an attempt to puncture some of the pomposity in the art world, while also uncovering future stars.
This week Your Gallery also launched a companion online art magazine and blog that aims to get visitors talking about the featured work and point them towards new additions.
Some contributors to the blog have begun virtually curating their own shows from the available material.
And after Saatchi closed his eponymous gallery on the South Bank in London last year after a legal row with the landlord, his online presence has assumed greater importance ahead of the opening of a new gallery in Sloane Square in London next year.
He wasn't from Detroit (Arizona), but a seminal artist has died.
Allan Kaprow, who has died aged 78, coined the phrase "happenings", which came to him, he said, while discussing Jackson Pollock's action "drip" paintings. Kaprow decided to "develop an action kind of painting, which was what Pollock was doing, and ... to take advantage of the action itself". Kaprow had already added movable parts to his canvas surfaces that viewers could manipulate. Then, he recalled, "instead of making ritualistic actions, I was proposing to hop right into real life."
His first event, in New York in 1959, was 18 Happenings in 6 Parts, in three rooms with clear plastic walls. Slides were projected on to one wall while performers walked with their arms held at an angle or read aloud from books. While this was going on, he had one artist painting while lighting matches, a woman squeezing an orange, and an orchestra playing with toy instruments. Among his performers were the pop artists Robert Rauschenberg and Jasper Johns. Perhaps because of them, the "happening" was well reviewed. Kaprow's selection of empty lots, warehouses, lofts, closed shops, and railway stations for his events added to the aura.
In 1960 he produced Apple Shrine at a Greenwich Village gallery and A Service for the Dead (1962) at an old brewery in the Bronx. A Spring Happening (1961) threatened the audience with a large powered mower and electric fan in a dark tunnel.
Sometimes the audience did not fully understand what it was all about. In Push and Pull: A Furniture Comedy, two rooms contained furniture that visitors could rearrange. Some older women visitors who noticed Kaprow's artistic lack of cleanliness, began to dust and polish.
That forum is dead, Jef. The most recent post was over a week ago and it was by the administrator. Nobody responded to that one either.
The number and depth of comments on this blog indicate that people want a venue to air their thoughts. What people aren't interested in is having discussions or dialogues.
sometimes the response to a show feels more like one to how "popular" the artists are or if we know them -- not about the art itself. we respond kindly to Nolan's debris-strewn installation because we know and like Nolan. or to the idea of it. not to the art itself. mona's show kinda left me cold. the artist is showing at 5 or 6 spaces across the country right now. that's creds. and she's from italy on top of it -- a foreigner in detroit. still didn't make for something i'd write home about. on the other hand the mia show was exciting because i didn't know the artists eventhough they were from michigan. i liked the idea that high school students (the work shows it) were being shown with "pros" (the work showed it). i liked the idea that these were michigan artists, not friends. and i liked a lot of the artwork. i think john sinar is doing something unique in this community of cliques and coveys and friends-just-supporting friends.
Maybe this will help Matt and others who might have questions about the current show:
From May 20 to June 30, 2006, the Museum of New Art (MONA) presents Mariella Bettineschi: Voyager, the first American museum exhibition by the Italian conceptual artist.
Voyager is a multivenue project that highlights various parts of Bettineschi’s oeuvre from 1999 to 2005. Although each exhibition is site specific, all combine to tell a single science-fiction narrative—of a young woman’s journey through space and time on a quest for understanding her own time and self.
For MONA, Bettineschi has created an installation comprising rich colored and gestural light drawings and motion-altered photographs alluding to extraterrestrial travel.
Voyager comprises images printed directly on Plexiglas that portray real and imaginary abstracted flying machines in reflective silver and black. All to underscore Bettineschi’s long-standing interest in cosmic motion models and optical theory as well as her experiments with printing techniques. Simultaneously slick and haunting, Bettineschi’s work transports the viewer to an alternate universe.
Mariella Bettineschi: Voyager is accompanied by a 132-page catalog published by Skira and is presented in collaboration with the Italian Cultural Institute, Los Angeles (IIC) and Director Francesca Valente. Work by Bettineschi will also be on view at the IIC from May 15 to August 19, 2006. For further details, please visit www.iicusa.org.
Widely exhibited in solo and group exhibitions around the world, Bettineschi’s work has been presented in such venues as the 1988 Venice Biennale, the Kunstverein in Heidelberg, Galleria Biagiotti in Florence, the Platform Gallery in London and the Museum of New Art in Detroit. Bettineschi’s works are in public and private collections in Europe and the United States.
READING ABOUT KAPROW AND THINKING OF HIS EARLY 60'S HAPPENINGS AND HOW UNDIFFERENT THESE MIGHT BE FROM WHAT RICHRICHRICH IS TRYING TO DO .... ESPECIALLY THE PUSHPULL, A RM FULL OF FURNITURE VISITORS REARRANGE. AND HOW 2 LADIES STARTED TO CLEAN AND DUST WITHOUT ASKING. THAT'S WHAT MADE HAPPENINGS AND WHAT KILLED THEM LATER ... IN THE BEGINNING THE PUBLIC WEREN'T ENTIRELY AWARE THAT THEY WERE INVOLVED IN A HAPPENING/ART. AND THAT'S WHAT MADE THE EVENTS SO EXCITING.
LATER, WHAT KILLED THEM, THE PUBLIC WAS AWARE THAT THEY WERE SEEING ART -- AND SIMPLY BECAME AN AUDIENCE.
Glass and other crafts are where photography was in the 1970s. They're starting to seep into museums, and certain collectors are buying up the best pieces, while the rest of the world scratches its head and wonders, "Yeah, but is it art?"
one last word on charles saatchi's site and article above -- i don't think this site will change your career overnight as the article might imply. and i don't think saatchi looks at it himself, then maybe he does. but i do think people who work for him peruse it --- and that could be important. so upload 8 of your images. it'd be great to see detroit artists swamp this brit thing:
Acrylic is cool too. Something about it. I used to work at an acrylic sheet factory and saw all the things that can be done with it. Kind of grew into a fetish. So i'm really geeked now that i know its not glass. Cool stuff.
Mocad seems to be stepping in dog poo. Maybe they need a local business man to be a CEO or Marketing director. Some one like Keith Crain or Penske. The MOCAD investors may have cash but a rape has more and better planning that MOCAD right now. These small mis-steps can doom any dream. I want it to work but its laughable. And I'm sure other MOCA's are having quite a laugh at us backwards detroiters.
HAMSTER HANDS: Mocad seems to be stepping in dog poo....
Look, there was an interview with Jack White in the paper today. He said he was leaving Detroit because he couldn't take all the negativity.
That, and a piece in a Brit paper (from home), came together in my head.
I'm sick of those who say Detroit artists don't make the grade. How can they, if they're never allowed to be tested!
That's negativity.
Wanting this MoCAD project to work for Detroit isn't negative.
Watching it become a mini-DIA vis-a-vis a social club for the wealthy much like that other institution isn't positive. I understand everyone needs money to make things work, but there's an entire cultural community here as well that's being ignored and neglected.
The other article made me think of MoCAD's paid curator Mitch Cope and his comments on there not being a breach of ethics by his including himself in the first two events:
The Tate Museum is still embroiled in what has been termed "one of the biggest rows in its 100-year history". The flak began to fly a month after the Tate made the triumphant announcement in July 2005 of a new major acquisition, The Upper Room, by former Turner Prize winner Chris Ofili.
The Upper Room was the trumpeted centre piece of a major rehang of Tate Britain.
There was one thing the Tate failed to mention in its successful media presentation and certainly none of the press reports picked up on it at the time. A reporter only noticed it by chance on the Tate web site: Ofili was a Tate trustee.
Thomas Hoving, the former Director of the Metropolitan Museum of Art in New York, didn't have much trouble seeing lessons in the promotion of a trustee's work and was fairly unequivocal in describing the conflict of interest as "staggeringly obvious". He added, "to think they thought there's not even a perception of a conflict ... For goodness' sake, it's so obvious." Guidelines for museum officers are equally unequivocal: "no-one should use, or give the appearance of using, their public position to further their private interests."
The guaranteed boost to Ofili's career and prices, from the Tate's major endorsement of him, raises another issue of lost ethics.
23 Comments:
mia looks strong, i like everything shown here. will have to make the trek out to the ol' pottycrack.
anyone get a list of who is being shown?
Mona looks cool. I like glass. i dont care if people say "its craft not art" fuck you. you stick your face into a 1000 degree kiln and blow on a hot pipe. If it burns, its art.
is that nude chick on mona's website the artist? she is a hotty.
are those glass? I assumed they were cause of the reflections.
I posted this weeks ago on the Forum. And I don't think anyone responded. You really should. Read the article below and understand what I was getting at:
Saatchi site seeks Arctic Monkeys of art world
Dealers are looking to the internet to find the next big talent
by Owen Gibson
Thursday May 25, 2006
A computer mouse on a piece of abstract art from the Saatchi gallery's new website, Your Gallery. Photograph: Dan Chung/Guardian
First internet sites such as MySpace turned the music world on its head, enabling bands like Arctic Monkeys to become hugely popular without the patronage of radio stations or record labels.
Now a new website set up by the Britart patron Charles Saatchi that aims to have a similar effect on the rarefied gallery world is attracting work from hundreds of artists every week.
Described as a "godsend" by dealers and collectors, Your Gallery (saatchigallery.com/yourgallery) allows artists from around the world to post examples of their work on the Saatchi website together with their biography and contact details.
Resulting sales are commission-free and artists exhibiting on the site claim that some dealers are already spending upwards of £100,000 on paintings without seeing them in the flesh.
Since the site launched a month ago, 1,750 artists have displayed their work via the Your Gallery site and it is attracting upwards of 1.4m hits a day.
The gallery owner Bernard Jacobson, one of the world's leading modern art dealers, said he had already bought several pieces through the website.
He said the site was "wonderful", allowing him to pick up work by up-and-coming young artists that he would ordinarily miss because he is focused on higher value work by more established names.
"I couldn't do the legwork. My staff are very good but it's got to be my eyes," Mr Jacobson said.
Painters
Sacha Jafri, an acclaimed young British painter, said the role of the internet in establishing younger artists could not be overestimated.
"My work is now quite expensive and I'm lucky enough to do shows and exhibitions around the world," he said. "But a few years ago when I was starting out, if I'd had this sort of exposure things could have moved a lot quicker." He said he primarily used Your Gallery and his own site to introduce interested parties to his work.
With no restrictions on adding work to the site, the range of quality and subject matter is vast, from art school efforts to established artists whose work sells for thousands of pounds. Stella Vine, the controversial painter who enjoyed the patronage of Saatchi, said the internet had transformed the way she related to potential buyers and fans of her work.
"I wouldn't be where I am without it. It's all very lo-fi and DIY but it's exceptional," Vine said, adding: "Young people want their work to be seen. In the art world, doors get shut in your face all the time. Saatchi is tapping into a spirit that's rebelling against that.
"To me, it's an honour to be up there with all sorts of people, from a 90-year-old grandmother to a student at Goldsmiths."
Dealers
Mr Jacobson accepted that there would be a lot of chaff among the wheat but said the cream would rise to the top. "My eye is pretty highly trained. If you're a music A&R man you might occasionally pass over the Beatles or Kurt Cobain, but it doesn't happen very often."
Those close to Saatchi, who rarely gives interviews, claim that the site is partly an attempt to puncture some of the pomposity in the art world, while also uncovering future stars.
This week Your Gallery also launched a companion online art magazine and blog that aims to get visitors talking about the featured work and point them towards new additions.
Some contributors to the blog have begun virtually curating their own shows from the available material.
And after Saatchi closed his eponymous gallery on the South Bank in London last year after a legal row with the landlord, his online presence has assumed greater importance ahead of the opening of a new gallery in Sloane Square in London next year.
He wasn't from Detroit (Arizona), but a seminal artist has died.
Allan Kaprow, who has died aged 78, coined the phrase "happenings", which came to him, he said, while discussing Jackson Pollock's action "drip" paintings. Kaprow decided to "develop an action kind of painting, which was what Pollock was doing, and ... to take advantage of the action itself".
Kaprow had already added movable parts to his canvas surfaces that viewers could manipulate. Then, he recalled, "instead of making ritualistic actions, I was proposing to hop right into real life."
His first event, in New York in 1959, was 18 Happenings in 6 Parts, in three rooms with clear plastic walls. Slides were projected on to one wall while performers walked with their arms held at an angle or read aloud from books. While this was going on, he had one artist painting while lighting matches, a woman squeezing an orange, and an orchestra playing with toy instruments.
Among his performers were the pop artists Robert Rauschenberg and Jasper Johns. Perhaps because of them, the "happening" was well reviewed. Kaprow's selection of empty lots, warehouses, lofts, closed shops, and railway stations for his events added to the aura.
In 1960 he produced Apple Shrine at a Greenwich Village gallery and A Service for the Dead (1962) at an old brewery in the Bronx. A Spring Happening (1961) threatened the audience with a large powered mower and electric fan in a dark tunnel.
Sometimes the audience did not fully understand what it was all about. In Push and Pull: A Furniture Comedy, two rooms contained furniture that visitors could rearrange. Some older women visitors who noticed Kaprow's artistic lack of cleanliness, began to dust and polish.
i made the trek.mona was a good show.mia was a bore.
jef said...
I posted this weeks ago on the Forum.
That forum is dead, Jef. The most recent post was over a week ago and it was by the administrator. Nobody responded to that one either.
The number and depth of comments on this blog indicate that people want a venue to air their thoughts. What people aren't interested in is having discussions or dialogues.
boring my ass, i thought mia was pretty interesting for being a group show. Each MIA is very different. Refreshing
I think the layout and interface of the forum is dreary. Is is possible to post images, or vary the type at all?
I post on/visit other forums that have constant flows of commentary; they are much more attractive visually. One example is DETROITYES.COM
The conversations are happening here, not on the FORUM...
as evidenced by the
RICH RICH RICH: IS THIS ART? thread.
It seems easier over here, with images to respond to an all
sometimes the response to a show feels more like one to how "popular" the artists are or if we know them -- not about the art itself. we respond kindly to Nolan's debris-strewn installation because we know and like Nolan. or to the idea of it. not to the art itself.
mona's show kinda left me cold. the artist is showing at 5 or 6 spaces across the country right now. that's creds. and she's from italy on top of it -- a foreigner in detroit. still didn't make for something i'd write home about.
on the other hand the mia show was exciting because i didn't know the artists eventhough they were from michigan. i liked the idea that high school students (the work shows it) were being shown with "pros" (the work showed it).
i liked the idea that these were michigan artists, not friends.
and i liked a lot of the artwork. i think john sinar is doing something unique in this community of cliques and coveys and friends-just-supporting friends.
Maybe this will help Matt and others who might have questions about the current show:
From May 20 to June 30, 2006, the Museum of New Art (MONA) presents Mariella Bettineschi: Voyager, the first American museum exhibition by the Italian conceptual artist.
Voyager is a multivenue project that highlights various parts of Bettineschi’s oeuvre from 1999 to 2005. Although each exhibition is site specific, all combine to tell a single science-fiction narrative—of a young woman’s journey through space and time on a quest for understanding her own time and self.
For MONA, Bettineschi has created an installation comprising rich colored and gestural light drawings and motion-altered photographs alluding to extraterrestrial travel.
Voyager comprises images printed directly on Plexiglas that portray real and imaginary abstracted flying machines in reflective silver and black. All to underscore Bettineschi’s long-standing interest in cosmic motion models and optical theory as well as her experiments with printing techniques. Simultaneously slick and haunting, Bettineschi’s work transports the viewer to an alternate universe.
Mariella Bettineschi: Voyager is accompanied by a 132-page catalog published by Skira and is presented in collaboration with the Italian Cultural Institute, Los Angeles (IIC) and Director Francesca Valente. Work by Bettineschi will also be on view at the IIC from May 15 to August 19, 2006. For further details, please visit www.iicusa.org.
Widely exhibited in solo and group exhibitions around the world, Bettineschi’s work has been presented in such venues as the 1988 Venice Biennale, the Kunstverein in Heidelberg, Galleria Biagiotti in Florence, the Platform Gallery in London and the Museum of New Art in Detroit. Bettineschi’s works are in public and private collections in Europe and the United States.
READING ABOUT KAPROW AND THINKING OF HIS EARLY 60'S HAPPENINGS AND HOW UNDIFFERENT THESE MIGHT BE FROM WHAT RICHRICHRICH IS TRYING TO DO .... ESPECIALLY THE PUSHPULL, A RM FULL OF FURNITURE VISITORS REARRANGE. AND HOW 2 LADIES STARTED TO CLEAN AND DUST WITHOUT ASKING. THAT'S WHAT MADE HAPPENINGS AND WHAT KILLED THEM LATER ... IN THE BEGINNING THE PUBLIC WEREN'T ENTIRELY AWARE THAT THEY WERE INVOLVED IN A HAPPENING/ART. AND THAT'S WHAT MADE THE EVENTS SO EXCITING.
LATER, WHAT KILLED THEM, THE PUBLIC WAS AWARE THAT THEY WERE SEEING ART -- AND SIMPLY BECAME AN AUDIENCE.
RE: "it's craft not art." Think again.
Glass and other crafts are where photography was in the 1970s. They're starting to seep into museums, and certain collectors are buying up the best pieces, while the rest of the world scratches its head and wonders, "Yeah, but is it art?"
in the past few days the mocad website has shortened the list of artists for its opening show.
they have removed: detroit artist to be announced.
no comment.
hmmmm....interesting. drama.
THey also don't know how to spell debue for the Shrinking CIties show. Someon should let them know.
hello spell-check! they spelled inaugural wrong in their text for the first show.
hmmm.... a pattern. what can it mean?!
bettineschi clarification -- she prints her photographs on acrylic, and it isn't glass art at all.
not to say i don't like glass art.
one last word on charles saatchi's site and article above -- i don't think this site will change your career overnight as the article might imply. and i don't think saatchi looks at it himself, then maybe he does. but i do think people who work for him peruse it --- and that could be important. so upload 8 of your images. it'd be great to see detroit artists swamp this brit thing:
http://www.saatchi-gallery.co.uk/yourgallery/register/
Acrylic is cool too. Something about it. I used to work at an acrylic sheet factory and saw all the things that can be done with it. Kind of grew into a fetish. So i'm really geeked now that i know its not glass. Cool stuff.
Mocad seems to be stepping in dog poo. Maybe they need a local business man to be a CEO or Marketing director. Some one like Keith Crain or Penske. The MOCAD investors may have cash but a rape has more and better planning that MOCAD right now. These small mis-steps can doom any dream. I want it to work but its laughable. And I'm sure other MOCA's are having quite a laugh at us backwards detroiters.
What is the web address again for the MOCAD?
http://www.mocadetroit.org/
HAMSTER HANDS: Mocad seems to be stepping in dog poo....
Look, there was an interview with Jack White in the paper today. He said he was leaving Detroit because he couldn't take all the negativity.
That, and a piece in a Brit paper (from home), came together in my head.
I'm sick of those who say Detroit artists don't make the grade. How can they, if they're never allowed to be tested!
That's negativity.
Wanting this MoCAD project to work for Detroit isn't negative.
Watching it become a mini-DIA vis-a-vis a social club for the wealthy much like that other institution isn't positive. I understand everyone needs money to make things work, but there's an entire cultural community here as well that's being ignored and neglected.
The other article made me think of MoCAD's paid curator Mitch Cope and his comments on there not being a breach of ethics by his including himself in the first two events:
The Tate Museum is still embroiled in what has been termed "one of the biggest rows in its 100-year history". The flak began to fly a month after the Tate made the triumphant announcement in July 2005 of a new major acquisition, The Upper Room, by former Turner Prize winner Chris Ofili.
The Upper Room was the trumpeted centre piece of a major rehang of Tate Britain.
There was one thing the Tate failed to mention in its successful media presentation and certainly none of the press reports picked up on it at the time. A reporter only noticed it by chance on the Tate web site: Ofili was a Tate trustee.
Thomas Hoving, the former Director of the Metropolitan Museum of Art in New York, didn't have much trouble seeing lessons in the promotion of a trustee's work and was fairly unequivocal in describing the conflict of interest as "staggeringly obvious". He added, "to think they thought there's not even a perception of a conflict ... For goodness' sake, it's so obvious." Guidelines for museum officers are equally unequivocal: "no-one should use, or give the appearance of using, their public position to further their private interests."
The guaranteed boost to Ofili's career and prices, from the Tate's major endorsement of him, raises another issue of lost ethics.
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