Saturday, December 15, 2007

new update

Where to start? The month of December is just flying by. Hell, no, this whole year kind of did. Soon, it will be 2008. The idea never crossed my mind when I was a child that I would be alive to see 2008.

Well, let's see. I went to the Marian Goodman Gallery last week to see the Francesca Woodman exhibit. This was the gallery's second exhibit of her work and I was fortunate to see both. This second show was comprised of published work as well as work never before seen until now.......and with good reason. It was, what appeared to be test prints, reject prints, and stuff that was probably lying on the darkroom floor. Some of the pieces were ripped and torn. Some were printed badly, and then there was one with her usual drivel written on it. So, naturally, I had to ask what the prices were. They ranged from $25,000 to $38,000 for these small "vintage" prints. Vintage?! 1980 is now vintage?! Poor quality prints are worth $38,000 because this woman killed herself at 22. Is that it? What I laugh at are these photographers that spend years making the perfect print. There are web forums talking about concerns about archival quality and the different factors of print permanence. This has been going on since Ansel Adams, which, honestly, I am not so thrilled about myself. Still, as much as I love Francesca's work, I don't understand the money aspect. What irks me more is that even if she was alive today, she would not see a quarter of that money. Once again, this makes me question the art scene and the selling of art. When, if ever, does the fine artist really make a living at this? I believe it's strictly through commissions.

And speaking of commissions, I then saw an exhibit at the Metropolitan Museum of Rembrandt and his colleagues that were acquired by the museum and presented in order of acquisition. Personally, Frans Hals' work was more appealing to me once I got past Rembrandt's beautiful 45 degree lighting on his faces. Hals' faces are so much more expressive in his portraits. His brushmark much more evident and bolder than Rembrandt's or even Vermeer's - though Vermeer's signature window light paintings are so atmospheric.

What really made me think about things was, when I sat for awhile there and stared at the art from a distance, I noticed compositional "flaws" in almost every painting. Honestly, I either wanted to crop or add to the painting to make it more interesting. Is that the photographer in me, the artist in me or just me being overtly controlling (in my mind anyway)? I wasn't in any way thinking to insult the work at all, but I just had the urge to shift things around on the canvases.

After I pondered that and left, I then caught a glimpse of 2 photo shows there that I was pretty disappointed in, and then the tapestry show that was pretty awe-inspiring, The weavings were incredulous!

Hehehe ok, so perhaps this post is sounding a bit too much like an art critique but I am just thinking out loud about what I saw.

So now that December is winding down, I have more free time. I need to finish up a few more Medieval pages, then, after receiving some wonderful advice from one of my former professors, need to comprise my traditional portfolio. All this before March.

A little concerned about March, I am. Finances are tight right now and I'm wondering how I will afford airfare and lodging for that......must apply for SOS grant.

Happy Holidays to all my readers and wishing you a wonderful ring into the new year :)
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