Susannah Phillips was raised in London and attended the Slade School of Fine Art in London. Her paintings have been in many solo and group exhibitions in London, New York and Provincetown, MA, and are included in numerous private collections. In 2014 and 2017, she was awarded the Josef and Anni Albers Foundation Residency. The artist lives and ...
Lois Dodd has been painting her everyday surroundings for sixty years. Her current exhibition, from February 26 through April 4, 2015 at the Alexandre Gallery in NYC shows twenty-four recent small-scaled paintings that depict familiar motifs such as gardens, houses, interiors and views from windows. Dodd, now eighty-seven, is an iconic figure of ...
by Larry Groff I am honored that Ann Gale agreed to this telephone interview and thank her greatly for being so generous with her time and attention with sharing thoughts about her art and process. Ann Gale is a leading American figurative painter living in Seattle. Her portraits were shown alongside other leading painters of the figure ...
Good essay. The collector market for conceptual art is like an aging hot air ballon- its just a matter of time before its seams start to leak and it comes, either drifting or crashing down, to earth. (Of course I’ve been saying the same thing about Warhol’s Brillo boxes for the last 40 years and they’ve had way more staying power than I would ever have thought possible back in 1969, so what do I know). Wish the NY Times could have run a photo of a few of the prehistoric hand axes Prof. Dutton describes.
Philip said:
Let’s hope there aren’t too many little boys on board when it does!
I have a hard time feeling empathetic with the last collector who is stuck holding onto something like the Hirst’s medicine cabinet. There should be consequences for
stupidity.
>Wish the NY Times could have run a photo of a few of the prehistoric hand axes Prof. Dutton describes.
Some examples can be see here:
http://en.wikipedia.org/wiki/Acheulean
Thanks Valentino!
Good to see this stuff. With the grim predictions for the environment, these axes might again be handy!
>There should be consequences for
stupidity.
Definitely.
The last collector more than deserve his share of those.
Btw, it took more than 20 years for critics in Britain to come to their sense:
http://www.telegraph.co.uk/culture/art/6329047/It-couldnt-get-worse-for-Damien-Hirst.html
I wonder how long the American art establishment will need to become serious about art.
Valentino said,
Valentino, Great link to the article about Damien Hirst! I hadn’t seen that before. His paintings are really awful but what is more dreadful is their being hung next to a Poussin – how that could happen is beyond comprehension.
People are no longer fooled by the large inkjet printer and their images painted over with oil paint anymore, thus creating the dead image.
I guess that’s why the likes of a Peter Doig are getting 500,000 per now. Things are looking good for the art world. The realists are finally dying thanks to a digital world and the creative imaginable works are coming on strong. I guess it just takes time for the minds like a Cézanne or Bonnard to finally take hold.
Yes, it is a refreshingly sane view on idiocy called conceptual “art”. I haven’t read too many articles like this in mainstream press. Maybe one or two.
I receive Wallace newsletter several times a year. When I learned about this exhibition several weeks ago, I was little suspicious. Who has chosen the venue for that show? If it was someone of the Wallace staff they must have had a secret agenda – to show that the emperor is completely naked.
If it was someone else, perhaps he got tired of BS. I can not imagine a gallery that could be less suitable for the Hirst show. The contrast simply could not have been more stark. Those who hasn’t visited Wallace can only try to imagine the size of unfathomable gap between the sublime works in their collection and that Hirst garbage.
He must be really stupid to publicly expose his nakedness (that is – a complete inadequacy in making art) this way.
It is as though somebody lacking ability to sing in pitch insisted to join Metropolitan Opera Choir.
Hirst and his ilk are simply showing the “art world” to be what it is and has long been- a bunch of pompous, self-indulgent, self-referential arseholes who are easily suckered. As much as I find Hirst to be a (bad)joke, it’s the people who gave him credibility in the “art world” who should come under the real criticism…