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ARTICLES FOR THE MONTH OF JULY 2010
Contributing Bloggers: John Harbinger Jr.and David Harbrenig

My predictions for “Work of Art”

For what it’s worth here’s my take on Bravo TV’s “Work of Art” after this week’s episode which has left 6 contestants in the running for the $100,000 award and the chance of a solo show at the Brooklyn Museum. I have to admit that I have been following this show since its beginning as I was hoping to witness some good contemporary artists produce some good contemporary art. Although I was greatly disappointed after viewing the first episode, I have reluctantly, yet purposely, tuned in weekly hoping that the show would eventually focus on the art. I guess I was misled by my own pre-conceptions about what this show was going to be about…..
By now, we all know that reality shows are far from reality. They are as scripted and edited as any soap or sitcom. We know it, yet we are seduced by the possibility to observe the lives of other ‘real’ people unseen. Reality shows (the better ones at least) must be skillfully crafted to maintain the illusion of being ‘real,’ of spontaneity, of the elements of true surprise. The genre is no longer new to the screen so the producers know they must confound us even more to make us believe ‘that it’s all real.’

The dynamics of a reality show, - which characters will be highlighted and which characters are dispensable -, depend upon constant monitoring of audience feedback. Which contestants do audiences find exciting, intriguing, despicable or cute? Any adverb is good –except boring. If the audience is attracted to you and your antics, the ratings go up and the ad revenues go up. If you are boring you’ll be culled from the herd and eliminated from the show without damaging the level of viewership. Thus is the reality of “Work of Art.”

The show is a show about a group of people who just happen to call themselves artists. How they were picked out of the thousands who ‘auditioned’ for the show is beyond my comprehension. What is evident is that the show’s producers decided long ago that whoever acts the role of most ‘interesting’ personality will eventually win the prize. And why not? The art in this case is just a background prop on against which the actors play.

So, without further ado I’ll stick my head into the guillotine and make my predictions.

There are 6 remaining contestants –three guys and three girls. This equilibrium between the sexes was established from the beginning and will continue until the end. If a man is eliminated then the following week a woman will have to go. The last two contestants therefore will be a guy and a girl.

For the moment, the two characters who have played their roles well are Miles, who plays the role of the disinterested sleepy genius and Jacqlyn who has thrust her two most outstanding personal qualities into the camera on every possible occasion.

An inkling of romance has been indicated between Miles and Nicole. Sex and romance if managed correctly is a ratings booster –so look out for more of that.

As the number of contestants diminishes, the antics of the artists/actors will become more bizarre in order to maintain viewership. Look out for surprise behavior!

Now, for the moment of truth. I predict that the last two contestants will be Miles and Jacqlyn. The winner will be Miles. The biggest loser will be me for having watched the whole shebang from start to finish.

Actor to Artist

The latest show at MOCA-Geffen showcasing the art of the late actor and film director Dennis Hopper has over 200 works on display. It is a comprehensive look at the man’s art as photographer, sculptor and painter over last 40 years. MOCA director Jeffrey Deitch was instrumental in bringing about the exhibition, titled Dennis Hopper Double Standard, which was curated by Hopper’s long-time friend artist/film maker Julian Schnabel.

The show makes me wonder whether Hopper’s fame as an actor, enfant terrible, and rebel rouser is sufficient reason for a contemporary art institute such as MOCA to set up a retrospective of the man’s work as a ‘fine artist.’ Hollywood has a large number of actors and film directors who dabble in the fine arts but fame and fortune on the silver screen does not necessarily make an actor an artist in the finer arts.

Those of you who are curious about the art talents of other Hollywood stars can view a list of budding Hollywood Picassos at www poplifeart dot com. Below is an example of Hopper’s sculpture from the exhibition, and beside it some examples of work by Mr. Supercool Johnny Depp, who likes to paint portraits of his friends and objects of affection –such as a pair of well loved boots. Why show Johnny Depp’s work you might ask? Why show Dennis Hopper’s work? – I ask.

Sculpture by Dennis Hopper Examples of Art work by Johnny Depp

Blog July 16 2010

An earful of performance art

In connection with the previous article “I’ve had enough art- I’m taking a break” here is a resume of an article found online about “the depths of lunacy” to which some performance artists will go to stand out in the crowd.

A Cypriot-born, Australian performance artist has pushed the boundaries for “art” by having a third ear implanted onto his arm. The ear was grown in a university research lab from cells and then implanted into the artist’s forearm in September 2006.

The artist views himself as a living scientific exhibit and according to the online article from which this info is taken, is planning to install tiny transmitters so people can hear the sounds his arm-ear is picking up.

His idea for the third ear came while he was working as a Research Fellow at a certain University Digital Research Unit. Once the idea formed it took him almost 10 years to find a surgeon who would perform the operation. In addition to the ear, the artist has called upon his scientific background to prepare other performance art –such as a six-legged robot which, when installed in a gallery, responds to someone entering the room by performing a six-legged dance.

Blog July 15 2010

I’ve had enough art. I’m taking a break!!

I have decided to take a break from my weekend preambles through the art galleries of Los Angeles. I’ve had enough for a while. I am disappointed and depressed by what awaits me. I can no longer accept that what these galleries are exhibiting is the best of what contemporary artists have to offer. Gallery owners worldwide are inundated with portfolios from artists seeking shows and representation and I can only assume that in Los Angeles the same applies. Given the fierce competition among artists for space, the contemporary gallery acts as a juror, selecting from the vast array of CD’s, slides, glossy hand-made books and photos of art work which are constantly presented for review. Some are accorded a momentary regard, some a more in-depth inspection. The “rejects” outweigh the “possibles” 20 to 1 and from every 10 “possibles” there will be only one “Yes, let’s show it!” What the viewer (in this case –me) will eventually see is supposedly the best of the best according to the gallery’s “informed” opinion. Art is, after all, a profession, and we should assume that gallery owners have a certain expertise in their chosen field.

Now, I know that each gallery has its own selection criteria, and each owner or curator his/her own tastes. That is normal, and I expect diversity of opinions to be reflected in diversity of work when I visit different contemporary art galleries. What, I do not expect to find is that I am universally bored or disappointed wherever I go. To cut to the chase, for some time now, I find the art –bad!! Everywhere –all the time!

I guess I am no longer shock able by shock art. I am no longer intrigued by the concepts behind conceptual art. Spare me the explanations, spare me the whimsical and witty words scrawled on the canvas that are supposed to enlighten me as to “the deeper meaning.” Have aesthetics absolutely no place in art, anymore? Does contemporary art have to be devoid of any kind of aesthetic to be pertinent to our times. Are our times SO crappy?

Give me a contemporary painting or sculpture in which I can sense something more than derision, disgust or disdain for the world and for ME (the viewer). Let us install some Art into our galleries once again –and I don’t mean installation or performance art, which have now reached such height of lunacy that I am reminded of the times when gentry would pay money to visit lunatic asylums (like Bedlam) to enjoy the antics of the insane. You cannot fool all of the people all of the time! I, for one, have been fooled for long enough. I’m taking a break!!!

Collections in which we hope to be - The top art collectors 2010

Artnews magazine has published in its July issue this year’s top 200 art collectors worldwide. Those of you who wish to peruse the list of the 200 top dogs can buy the magazine or go online to read the article at artnews.com. I’m not sure what information they use to compile their list, but I’m sure that any artist would be pleased to have a work in any other the collections owned by these very wealthy patrons of the arts.

Here are the top ten:

Roman Abramovich is a Russian businessman, past politician and avid soccer fan who according to Forbes magazine 2010 is the 3rd richest man in Russia and 50th worldwide.

Helene & Bernard Arnault’s fortune puts them in 7th place worldwide according to Forbes 2010. The French Arnaults are the principal owners of luxury goods conglomerate LVMH.

Debra & Leon Black are Americans who have amassed one of the world’s most extensive private art collections. Leon Black is a businessman and financier who founded Apollo management.

Edythe & Eli Broad’s philanthropic activities are well known to Los Angelenos. The family is currently looking for a place to set up and house their huge private art collection. Eli Broad is the founder of financial giant SunAmerica.

Alexandra & Steven Cohen live in Connecticut and began collecting art seriously in the year 2000. Mr. Cohen has made his fortune as a hedge fund manager.

Joseph Lau from Hong Kong is a real estate developer who has been a major presence in the top auctions for several years.

Philip Niarchos from the famous Niarchos Greek shipping family inherited a fortune and has continued to create his own wealth. He sits on the Board of Trustees at MOMA New York and London’s Tate Gallery.

Francois Pinault is a Frenchman whose holding company controls worldwide retailers like Converse and also owns Christies auction house. He has one of the finest collections of contemporary art anywhere.

Emily & Mitchell Rales wealth comes from successful venture capitalism. Mitchell sits on the board of the National Gallery of Art.

Sheikh Saud bin Mohammad bin Ali al-Thani is a cousin of the Emir of Qatar who has accumulated an extensive collection of Middle Eastern Art and photography. In addition to his own private collection he is very active in managing several national museums and libraries in Qatar.

Thoughts on Performance Art

At a recent gallery opening, the owner announced that a performance artist was to ‘perform.’ His art was billed as “Some People Never Learn.” The 30 people in the room fell silent, watching as the young artist standing with his back to the wall, covered his head and face with a thick sack, and stood silently immobile for about one minute. I began to wonder if that was the performance. Was his message that we are all going through our daily lives ‘with our backs to the wall and blind to the world around us’? Then suddenly he marched forward in a straight line until he crashed into the opposite wall. The impact between man and wall looked quite painful. He then turned around, steadied himself and walked back until he bumped into the same wall where he’d begun. Oh, I get it! The message is “we are leading our lives in the dark surrounded by walls!”

We then watched him as he walked back and forth across the room crashing into the wall each time as if he had no idea it was there. There was no slowing of pace as he approached the wall each time and the knocks, I’m sure, were leaving him bruised –to say the least.

Epiphany!! No matter how many times he hit that wall –he “never learned from his mistakes!” Eureka, I thought “I get it! –some people never learn.”

I followed this for about 5 minutes, noticing also that, around me, people were gradually moving off until I was the only observer left. The others had moved on to look at the more conventional art in the main gallery.

Feeling uncomfortable, and also because I found the repetition –well boring, I too moved onto the other room and left the performance artist to his enjoy his performance alone.

Once I’d left the room I wondered if the artist knew that he was now alone with no-one to observe his art. And if he knew it, would he stop the performance?

I decided to take a look and saw he was still marching on… but then I thought of Schrodinger’s cat. By peeking back I was still an observer so I couldn’t really know if the performance stopped when there were no observers.

Can a performance be a performance without an audience?

Performance art, more than any other kind of ‘fine’ art is participatory; it is spectacle; it’s very purpose is to draw attention to itself -to be viewed. It can be shocking, jarring, irritating or disturbing but it is above all – fleeting. It is a brief fusion of the artist’s vision of the world with the reactions of the observers. In performance art the creative process itself is a dynamic part of the piece. It can be a perpetually unfinished, always changing canvas since the element of audience participation modifies the artistic process. A finished work of painting or sculpture is there to observe forever, while performance art exists only for the moment –never being exactly the same if repeated.
I know you’re saying –what about video recording? Obviously camera recording allows performance art to have durability but it is not the original art. It’s a bit like setting up a gallery or museum with photos of Picasso’s work and posters of Giacometti’s.

In any case, what I learned from the experience was

Buying Art: Avoiding the mistakes

Of all the tens of thousands of fine art galleries in the great cities of the world there are only a few that carry and sell investment grade art. The depressing truth is that most art galleries are simply stores selling paintings, sculptures and photography. Although the ‘merchandise’ might be art and pleasing to the purchaser it will never accrue in value. Luckily most art lovers of modest means are not looking for more than something which pleases them. Most are happy to keep the purchase forever hanging on the wall. If they, or their children, should sell the art pieces acquired, and get back whatever was paid, everybody is content. And content they should be…because the even more depressing reality is much worse: Most buyers of art are unlikely to be able to sell the artwork onwards… not now…now ever….never!!!

Most of the art works in estate sales from homes of modest means end up being auctioned off for peanuts or find no buyers and are put in storage. Isn’t it even more depressing?

The secret of buying art, if you’re an average working person with limited means, is not to assume that there is a resale market for whatever you buy. You are buying it because you like it and it is for your enjoyment and pleasure. That joy is the return you get for paying out the $500 or $3000 dollars from your pocket. Don’t think further than that about investments, future returns and profits. If you are lucky, and have chosen to buy the work of an unknown artist who later becomes famous, you’ll hit the money jackpot but those chances are one in a…..

As an experiment try selling a work you bought from a gallery back to the same gallery after a few years –if they’re not interested, the chances are nobody else will be.

Here are some statistics: Of the 1000 artists who had serious gallery shows in New York and London during the 1980’s only 20 were still being shown in comparative venues 20 years later. The others had simply disappeared from the circuit.

What happened to all the rest? Well if an artist doesn’t climb up the gallery ladder network he/she falls off the ladder completely. Galleries are considered the primary market place. If an artist no longer features in the primary market place then there certainly won’t be a secondary market where one can resell his/her work.

Is there an art to buying investment art? I wish I knew. There is certainly no science to it. The only way to know whether that painting you bought 10 years ago at the local gallery or art fair is worth something to somebody else is to check whether your artist has sold work recently at auction or at a well known gallery.

This way you’ll be able to gauge if there is an ongoing market for your artist and if there is a secondary resale market through auction. If the artist has not previously sold work at auction, there is a 90% chance that the artist probably never will and that no resale market exists.

Another statistic: Only half of the modern and contemporary artists listed in the top auction houses catalogs of 25 years ago are offered now in the same establishments.

Do not despair if you believe that you have the right flair. There have been some notable success stories such as the very modest Vogels of New York who accumulated a collection of investment grade art during a span of 40 years by buying unknown artists. They enjoyed collecting, enjoyed the art and eventually got good returns on their time and money.

I hope that art lovers remain – just that; lovers of art who are not motivated by capital gain. Let’s leave getting richer to the rich.

Selected Juried Competitions and Events – Deadlines July 2010

The Art School in Sandy Springs announces a call to artists for an exhibit titled “Atlanta Equestrian Exhibit” set for August 6 - 28, 2010 at The Gallery at Paper Mill Village in Marietta, Georgia. This exhibition is open to 2D and 3D equestrian artists excluding photography. There will be a limit of 50 pounds for 3D works. No more than 2 works per artist will be accepted. Merit Awards will be given. Juror: Robert Christie. There is no size restriction for this exhibit. The entry fee is $25 for up to 3 works. http://www.thegalleryatpapermillvillage.com/uploads/ATLANTA_EQUESTRIAN_EXHIBIT.pdf Questions? Please email Donna Thomas at dthomas555@aol.com or telephone 678-755-1079. DEADLINE: JULY 5, 2010

Artspace in Richmond, Virginia announces a call to artists for “Strassen Kunst” - an international exhibition of work inspired by graffiti. Strassen Kunst (Street Art) will be held from August 27 - September 19, 2010. Up to $1000 in cash and a solo exhibition in the Helena Davis Gallery. Juror: Martin McFadden, LRPS. International artists age 18+, working in any 2D or 3D medium whose work consists of or is inspired by any aspect of graffiti, including painting, tagging, stenciling, etc., may submit 3 digital images of work to be considered for the exhibition. $25 for three entries; $5 each additional to five total. Visit website for prospectus, or send a SASE to: Strassen Kunst, c/o, artspace, Zero E. 4th Street, Richmond, VA 23224, USA. Questions? Email artspacestreetart@gmail.com or Tel: 804.232.6464 DEADLINE: JULY 9, 2010

The Center for Fine Art Photography in Fort Collins, Colorado announces a call to photographers world-wide (amateur & professional) for an exhibition “Low Tech Photo in the Main Gallery” to be held Oct 1-30, 2010. Over $1,500 in cash and awards. Juror: Crista Dix. The Center invites photographers working in all mediums, styles and schools of thought to participate in its exhibitions. $35 Fee ($20 for members) for the first 3 images, $10 for each additional image. Submissions online. ?? Bill Guy at cfe@c4ap.org or call 970-224-1010. DEADLINE: JULY 13, 2010.

The Los Angeles Academy of Figurative Art in Van Nuys, California is awarding three $6000.00 Contemporary Representational Art Scholarships for the Full-Time Program. Artists who are applying to the Full Time Program are invited to apply for this Scholarship. Submissions are limited to original artwork only, completed within one year of the entry date. No copies or digital work allowed, however we will accept class work as long as an instructor has not modified it. Work should display a clear understanding of form, design, construction, and composition. We don't require any specific theme. Additional documents are required upon submission - visit website for details. No entry fee. Inquiries? Please email Kirstie Rothauge, Director of Admissions at scholarships@laafa.org or call 818 708-9232 DEADLINE: JULY 15, 2010

"17th Annual National Water-media Competition." The Rhode Island Watercolor Society announces a call to artists for a juried art exhibition, October 10 - November 5, 2010 at RIWS, Slater Memorial Park, Pawtucket, RI. There is $4000 in total awards; 1st Prize of $1500. Juror: Paul George NWS. This is open to all artists over the age of 18 residing in the USA. Work must be water media on paper, unvarnished and framed under glass or plexiglas. No collage, pastels, mixed media, pen & ink, color copies or computer generated work. No diptychs or triptychs. Work must have been completed within the last three years and not done under a teacher's supervision. No work exhibited in past RIWS juried shows. Artists may submit up to three entries. One work per artist is eligible for selection. There is a $20 fee for the 1st digital image, $15 for 2nd and 3rd images. Visit website for prospectus, or send SASE to: RIWS, Slater Memorial Park, Pawtucket, RI 02861. For questions contact Marylou Moore at marylou.moore@cox.net or telephone: 401-726-1876 DEADLINE: JULY 16, 2010

The Sierra Pastel Society announces a call to artists for its annual international juried exhibition, “Pastels on High” slated for October 1-23, 2010 at the Hang It Up Gallery, El Dorado Hills, California. Over $5000 in cash & merchandise, including $1000 Best of Show. Juror: Tina Moore; Judge: Waif Mullins. Work must be original, predominantly soft pastel, and must have been created in the last 3 years. Any work taken from previously published materials or produced in a student setting under direct supervision is not eligible. Only digital images on CD accepted. All entries must be for sale. 3 images - Member $30, Non-Member $35. Additional 3 for $6(M)/$10(NM) per image. Prospectus online; or send SASE to POH-SPS, P.O. Box 1936, Placerville, CA 95667. Questions? Email: Susan Levitsky at sierrapastelsociety@yahoo.com or call 530-676-0781. DEADLINE: JULY 31, 2010

"Art In Landscape Photography Exhibition" has a call for entries to a juried show at LH Horton Jr Gallery in Stockton, California from November 18 - December 16, 2010. Awards: $600 1st / $400 2nd / $300 3rd. Work made in all photographic processes, both traditional and digital, are accepted for entry. May be representational or non-representational, and set in rural, urban, or suburban landscapes. Images should emphasize unique composition, pattern, shape, and color/contrast. Entry fee: $25/3 until March 1st, $30/3 thereafter. Apply on-line. Questions? Contact Gallery Director Jan Marlese at jmarlese@deltacollege.edu or call (209) 954-5507. DEADLINE: AUGUST 1, 2010

The Santa Cruz Art League announces a call to artists for a juried national figurative exhibit, “Go Figure” Oct. 23 - Nov. 21 in Santa Cruz, California. There is $1,000 in awards. The show is a “fresh look at Figurative Art exploring the diversity of outlook and vision throughout the country.” Open to United States residents. Drawing, Oil, Watercolor, Acrylic, Pastel, Photography, Mixed Media and Sculpture will be accepted. $40 for up to 3 entries/jpegs. Juror: George Rivera, Executive Director of the Triton Museum. Visit website for info & prospectus, or send a SASE to: "Figurative", SCAL, 526 Broadway, Santa Cruz, CA 95060. INQUIRIES? Contact Cindy Liebenthal at cindy@scal.org or call 831-426-5787 DEADLINE: AUGUST 13, 2010