Monday, July 30, 2007

Interview with Lisa Hunter


(interview mp3 archive)

My next guest on the podcast is Lisa Hunter, who has written a very basic and thorough book on how to collect called The Intrepid Art Collector. She covers prints, photography, Native American and 19th and 20th century art and a heck of a lot more – the book runs the gamut. She also covers relationships, which is just important – what to look for in a dealer or at an auction house.

Her blog is even more extensive, as it includes all that input and questions from readers. It's a forum on art and the art market, two different things.... issues include conservation, presentation, art fairs, the market and even museum storage.

I especially enjoyed this repartee around art critics, but there are many fine posts. She has a great post on collecting art made by women. She says go for it and toute suite. Actually, her post today is damn good too.

Saturday, July 28, 2007

make your room

Verdicts are coming in at PORT on the Desoto project. I had heard that the building was finished very close to party time, and so planned exhibitions weren’t coming till later. But this can be no excuse to many who expected more - or just expected something else.

I recall Augen Gallery when it was across from the library in 1978. I wrote in my diary that the owner was aloof to say the least (he and I have made a few in-roads since then!), but that it was the only place in town where I could go see Andy Warhol. That he was still putting up Warhol prints in 2007 did not really surprise me, as it was probably those prints which paid for that new space.

New curators take on the new (and I hope I contributed my fair share towards that), but every gallery has their own style or agenda. It will exclude someone/ something. And sometimes “new” doesn’t necessarily mean young. Does this need to be said? Well, I’m saying it.

It wasn’t that long ago, in a totally destitute and gallery-less state, I took my ass/work to a few galleries at the Everett Station Lofts. I was so under the radar that one fellow completely forgot our studio visit, which took me several meetings and phone calls to arrange. No one said: “We don’t really look at middle-aged women who draw and paint” but no one needed to. Those efforts taught me a lot - it wasn’t just me being uncomfortable in those small rooms.

But Bob Kochs actually did visit my studio.

This isn’t to say that I got something against the Everett Station Lofts- hardly! - having shown Paul Fujita (co-founder of Zeitgeist) twice, curated him into that Tri-met project and had him on the radio. In fact he even let me show some work at the Everett Station Lofts - in a mail art show.

As to those other uninterested galleries, none of them survived much longer than my pitching days there. And I hold nothing against any of them, because like I said, no one can show everything. In fact it was that time spent in those galleries which inspired me to open Lovelake - I figured if they could do it, I could at least try. So time well spent actually. You can feel comfortable in your own room.

Thursday, July 26, 2007

grandparents

Someone at Edward Winckleman said that she did not want to see the family dog in an art blog. Guilty as charged. This post is just as personal; nada to do with art.

Above you see my Grandfather, the ever-capable man: WW1 hero, Model T mechanic and all around loving Libra (as they tend to be). Anyone who has read me before knows that he was the rock in my life.



And here you see my Granny, Southern belle and hard worker: seamstress, woman of the depression.



Tuesday, July 24, 2007

Interview with Jeanette Ingberman


(Jeanette with co-founder Papo Colo, photo: Mary Barone)

The non-profit space or organization is important, providing the kind of programming many commercial galleries and museums cannot. Exit Art, which is featured in my podcast tomorrow, is a perfect example of a pioneering non-profit space. Many of the artists once shown there are now in museums and major galleries, but it is Exit Art which takes the risks.
This year marks their 25th anniversary and I am lucky to have the co-founder Jeanette Ingberman on the show to talk about their history and current events. Their site is extensive and growing – all kinds of video and podcasts. Exit Art hosts not only art exhibitions, but theatre, video, performance and panels.

Sunday, July 22, 2007

Desoto



(photo courtesy Froelick Gallery)
The Desoto Building has already been written about by TJ and many others, and I don’t think there’s much I can really add.

Save, dear God, it was so nice to be there. Not me physically (though that too), but my painting. Augen represents many artists, dead and alive, from here and elsewhere, and it was no done deal that any of my work would grace those new walls.

TJ implied that there need not be a one-stop-shopping mentality as regards the Pearl and the consolidation this building might project - meaning there's plenty more to come from the four corners. Maybe I got that wrong and sorry if I did, but I do it's great to have it all and necessary.

I’ve spent a lot more time (decades?) in the four corners than the commercial galleries – all of it is really important. Sure, I coulda done without the shows in hair salons and real estate agents (true story, and not that long ago either), but I loved showing at the Haze Gallery (RIP) and at 333 too. And years ago, at ABCNoRio and Fashion Moda. It’s all good.

Today the building has a block party and sometime during the day 3 Leg Torso is playing. They played at my wedding and I never got to dance, we saying “thank you” so much. Maybe we can dance in the streets today.

Friday, July 20, 2007

a few more Judd montages


When I first moved into this house, it was discovered that I lost my stashbag of images. It's been recounted like a major tragedy in my collage career.



But I think I finally climbed out of it and I did it the same way I've encountered every other dry spell: just start cutting and pasting your way out of the swamp, come what may. Force the issue. The simple shapes are helping me.



Tuesday, July 17, 2007

Interview with Richard Polsky

(interview archive mp3)

When I first got online in 1999, Artnet was probably the first art site I found (save for the Met, which still amazes me for its treasure trove of endless masterpieces). And perhaps the first writer I consistently read was Richard Polsky and his Art Market Guides. He will be my guest tomorrow on the podcast.

In the eight years I’ve read him, he has told a twisting and evolving tale of how the art market has changed - and how the role of a dealer has survived, just to stay in business. He went from someone who bought work outright (and then sold to the appropriate client) to someone who did his best just to be there to broker the deal. But nowadays, he says it’s all about the auction, which is both good and bad.

In his last article at Artnet, he says it’s harder than ever to make deals and make money. Is it all due to auction? Or could it be that his entertaining I Bought Andy Warhol was a bit too much kiss-and-tell? I should think that it was a double-edged sword, because some people might want to be involved in kiss-and-tells, just waiting for his next book and their 15 minutes.

I’ve always been curious as to how he rates a “buy,” “sell” or “hold.” Some of that has got to be intuition. Some of it is cold hard facts and watching stats – a science. But some of it has just got to be taste and that, as they say, there is no accounting for.

Sunday, July 15, 2007

montaging Judd


He’s not necessarily my favorite artist, but is providing a bevy of easy cuts lately. (Then again, cutting is the easy part. It’s committing that’s a bitch.)






Friday, July 13, 2007

favorite poet


There are so much Andrei Codrescu writes which touches on themes in my life. How art and artists live, survive with some integrity is maybe the most constant. But then I came across another great interest we share: Tristan Tzara. He wishes to write a fictionalized account of Tzara’s life. When I gushed my fanaticism, Andrei asked me: Why haven’t we met before? (Listen to the interview here.)

I don’t think any poet ever grabbed and then sustained my imagination in the way Tzara has. Every action of his was spectacle, meaningful, outrageous spectacle, and in great aesthetic achievement. - That’s to say I love his poetry, whatever it means or doesn’t mean, and found as many books as I could. As Andrei pointed out, much of the poetry is only translated into French. Reading this kind of inventive French was such a pleasure - even if I wasn’t thoroughly “getting it,” Tzara would probably liked what I was getting.



I loved his roar roar roar roar. It’s been the secret password, blessing, prayer and curse. But most of all I’ve loved his leadership of something which cannot be led, as he founded Dada, the very word and all that comes with it, a scream. Dada collided with punk in my timeline and it was like the one thing to really verify and validate the latter. The only time I ever organized a poetry event (at Hotel Utah in SF), I called it The Spirit of the Tzara, so raucous, he may have invisibly presided.

(Plus he had great personal style.)

Thursday, July 12, 2007

then it hit me



I enjoyed:
This post and conversation at the Slog.
The site with more information.

The comments following the post talked about waking up one day when you are 25 and realizing: This is life, I’m not famous, I have to have a real job and it sucks. Or something like that. That’s what the poster meant to them.

I’m not sure what all it means to me, save, first of all, that the photograph of Marilyn does not exactly forward the fabulousness of fame. In her case, she might be thinking: And then it hit me. Being famous sucks.

Then I started thinking about what it means to invent our life and just how possible is it to do it after, say, the age of 25. If we can think outside certain formulas, I think a lot is possible. Artists, however they get to stay one - are not just squeezing, inching out “something that interests them.” They stake their lives on it. That’s why they’re so crazy. I see it all the time.

Tuesday, July 10, 2007

Interview with Andrei Codrescu

(Interview mp3)

When I considered doing a podcast about the state of art in New Orleans, I called up my pal Brian Borrello. He is from there, still has a gallery there and he has also curated shows out of there, like Guns in the Hands of Artists. I asked him who might be the best person to give the lay of the land. He told me Andrei Codrescu, and if Codrescu could not do it, he would know who might.

Codrescu: a created name, a fact I like. He writes – poetry, essays, novels, at least 30 books. He has been on NPR for over ten years. That he said yes to me blew my mind.

Andrei is so prolific that one has to be careful about spreading a net too wide: he’s the expert on Romania, Transylvania, Dracula, revolution, communist leaders, Allen Ginsberg, San Francisco, food, radio, the 60s, LSD and a certain version of women. But I am going to try to just focus on New Orleans and art in general. He’s had some interesting things to say about how artists live in the world.


Friday, July 6, 2007

urban growth boundary


The above collage is sort of the entire 20th century. The main photo was taken around 1945 and was meant to show 2 cultures meeting each other, the rural with an advancing population.

But the towers are sort of a mark of the end of the century. That's when they literally came down. Unless of course you choose to see something else in two skinny vertical rectangles.

Thursday, July 5, 2007

post-holiday


My friend has a bumper sticker that says: Feel Safer Now?

The words are well chosen and scary. Not that I wasn't already paranoid, but no, I don't.

Tuesday, July 3, 2007

Bringing on the Revolution



I am had a great time talking with Jen Bekman, who runs her gallery and has Personism. (Listen to the interview here.)


At Personism she has a post called "Women Speakers for your Conference." As I noted before, this post was inspired in part by a conference on creativity which had no women on the panels. The organizers said that they had asked women, but no one was available.


Who were the women? Cindy Sherman, Yoko Ono, Sofia Coppola! And the men on the panel? Well, it wasn’t John Cage or Richard Prince. Jen mentioned one fellow who made commercials. "Fine,” she said, “They make good commercials. Great. Hey, I know some women who make good commercials too.”


Do we gotta break the sound barrier? Case in point: I recently read a review of a local exhibition of a woman artist. The big complaint throughout the review was that she was not bringing on The Revolution. My question is: why is that her responsibility? Does she have to be Cindy Sherman?


Monday, July 2, 2007

green style


New collage: sort of a lawn-building.