sin
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February 2013
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Who is the next big thing?, by sin on Mar 30, 2014 18:01:47 GMT 1, Yeah, it would seem most of this thread is a who you like, or who you collect list.
As I stated earlier, next big thing to me has 3 levels.
- Regional street artist doing international pieces, getting pieces in respected group shows. - An artists going from that level to actually emerging, having a solo at a respected gallery, releasing prints that sell etc. - An artists going from there going to mid career, breaking over 10K consistently, getting attention OUTSIDE of urban, strong auction results at a respected auction house, institutional interest or activity and gaining wider acceptance
Some of people mentioned dont fit or arent getting ready to move levels.
Geddes for example. Not only do I think Geddes isnt going to go from level 2 (high level 2) into level 3, I think he's at risk of having peaked and not going to level 3.
As a comparison, How & Nosm got picked up by Pace. Pace has only worked with one other street artist (Shep), they are an art institution (not in the museum sense but in a taste market, well respected, sense) Pace did the print show and they are doing a painting show. They (by rumor) are raising canvas prices to 20K minimum. If that show sells well they are set and it will go on from there. If they sell out, its going to take off.
Geddess to my knowledge isnt seeing this type of activity.
Going into level 2 Maya Hayuk Maya did the Bowery wall. A solid level 2 moment. It has to be the "I've arrived" moment for street. Shes booked into 2015. Is getting a lot of press exposure. Had mutliple pieces in multiple strong group shows (library collective and robert fontaine) all of which sold out.
Alex Yanes (not in my collection) Alex is from Miami. Got picked up by Thinkspace for a show and it sold well. He's unique, doing assemblages that include ipod docks etc. I think its an interesting crossover, its going to get picked up by some hip high end home decor magazine and could blow up, in an area that blue ocean.
Level 1 Evoca1 (not in my collection) Evoca has been producing some HUGE murals in Miami for a while. He recently started traveling more and just did some pieces in Chile that got solid exposure in the art blogs. If he rolls this into some pieces in group shows I think people are going to snag them up. They are solid works and will be reasonably priced.
Elbow 2, level 2 to level 3. (in my collection) Brian got represented by a Andrew Edlin gallery, an outsider art gallery that brings his work to big fairs around the US and internationally. He got a stellar review in the New York Times. His show sold well, almost everything above 10K (35K at the top, which sold) and was picked up by non urban collectors and urban collectors alike. He's getting ready to release an epic linocut, is heading back out to the street again and if his next solo sells well I think it will solidify him as having entered this level. He REALLY needs institutional activity to move further, even though he had some earlier in his career in the UK, I'm really supportive of him getting work into museum exhibits that focus on assemblage, collage, etc.
Yeah, it would seem most of this thread is a who you like, or who you collect list.
As I stated earlier, next big thing to me has 3 levels.
- Regional street artist doing international pieces, getting pieces in respected group shows. - An artists going from that level to actually emerging, having a solo at a respected gallery, releasing prints that sell etc. - An artists going from there going to mid career, breaking over 10K consistently, getting attention OUTSIDE of urban, strong auction results at a respected auction house, institutional interest or activity and gaining wider acceptance
Some of people mentioned dont fit or arent getting ready to move levels.
Geddes for example. Not only do I think Geddes isnt going to go from level 2 (high level 2) into level 3, I think he's at risk of having peaked and not going to level 3.
As a comparison, How & Nosm got picked up by Pace. Pace has only worked with one other street artist (Shep), they are an art institution (not in the museum sense but in a taste market, well respected, sense) Pace did the print show and they are doing a painting show. They (by rumor) are raising canvas prices to 20K minimum. If that show sells well they are set and it will go on from there. If they sell out, its going to take off.
Geddess to my knowledge isnt seeing this type of activity.
Going into level 2 Maya Hayuk Maya did the Bowery wall. A solid level 2 moment. It has to be the "I've arrived" moment for street. Shes booked into 2015. Is getting a lot of press exposure. Had mutliple pieces in multiple strong group shows (library collective and robert fontaine) all of which sold out.
Alex Yanes (not in my collection) Alex is from Miami. Got picked up by Thinkspace for a show and it sold well. He's unique, doing assemblages that include ipod docks etc. I think its an interesting crossover, its going to get picked up by some hip high end home decor magazine and could blow up, in an area that blue ocean.
Level 1 Evoca1 (not in my collection) Evoca has been producing some HUGE murals in Miami for a while. He recently started traveling more and just did some pieces in Chile that got solid exposure in the art blogs. If he rolls this into some pieces in group shows I think people are going to snag them up. They are solid works and will be reasonably priced.
Elbow 2, level 2 to level 3. (in my collection) Brian got represented by a Andrew Edlin gallery, an outsider art gallery that brings his work to big fairs around the US and internationally. He got a stellar review in the New York Times. His show sold well, almost everything above 10K (35K at the top, which sold) and was picked up by non urban collectors and urban collectors alike. He's getting ready to release an epic linocut, is heading back out to the street again and if his next solo sells well I think it will solidify him as having entered this level. He REALLY needs institutional activity to move further, even though he had some earlier in his career in the UK, I'm really supportive of him getting work into museum exhibits that focus on assemblage, collage, etc.
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spatia
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January 2012
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Who is the next big thing?, by spatia on Mar 31, 2014 0:51:20 GMT 1, Yeah, it would seem most of this thread is a who you like, or who you collect list. As I stated earlier, next big thing to me has 3 levels. - Regional street artist doing international pieces, getting pieces in respected group shows. - An artists going from that level to actually emerging, having a solo at a respected gallery, releasing prints that sell etc. - An artists going from there going to mid career, breaking over 10K consistently, getting attention OUTSIDE of urban, strong auction results at a respected auction house, institutional interest or activity and gaining wider acceptance Some of people mentioned dont fit or arent getting ready to move levels. Geddes for example. Not only do I think Geddes isnt going to go from level 2 (high level 2) into level 3, I think he's at risk of having peaked and not going to level 3. As a comparison, How & Nosm got picked up by Pace. Pace has only worked with one other street artist (Shep), they are an art institution (not in the museum sense but in a taste market, well respected, sense) Pace did the print show and they are doing a painting show. They (by rumor) are raising canvas prices to 20K minimum. If that show sells well they are set and it will go on from there. If they sell out, its going to take off. Geddess to my knowledge isnt seeing this type of activity. Going into level 2 Maya Hayuk Maya did the Bowery wall. A solid level 2 moment. It has to be the "I've arrived" moment for street. Shes booked into 2015. Is getting a lot of press exposure. Had mutliple pieces in multiple strong group shows (library collective and robert fontaine) all of which sold out. Alex Yanes (not in my collection) Alex is from Miami. Got picked up by Thinkspace for a show and it sold well. He's unique, doing assemblages that include ipod docks etc. I think its an interesting crossover, its going to get picked up by some hip high end home decor magazine and could blow up, in an area that blue ocean. Level 1 Evoca1 (not in my collection) Evoca has been producing some HUGE murals in Miami for a while. He recently started traveling more and just did some pieces in Chile that got solid exposure in the art blogs. If he rolls this into some pieces in group shows I think people are going to snag them up. They are solid works and will be reasonably priced. Elbow 2, level 2 to level 3. (in my collection) Brian got represented by a Andrew Edlin gallery, an outsider art gallery that brings his work to big fairs around the US and internationally. He got a stellar review in the New York Times. His show sold well, almost everything above 10K (35K at the top, which sold) and was picked up by non urban collectors and urban collectors alike. He's getting ready to release an epic linocut, is heading back out to the street again and if his next solo sells well I think it will solidify him as having entered this level. He REALLY needs institutional activity to move further, even though he had some earlier in his career in the UK, I'm really supportive of him getting work into museum exhibits that focus on assemblage, collage, etc. I'm surprised you suggest Geddes has peaked with one (US) show and a talent for realistic painting that is on par with any of his peers. I figured he was early in his career - now granted I don't have such an elaborate Level system in place as you do.
Yeah, it would seem most of this thread is a who you like, or who you collect list. As I stated earlier, next big thing to me has 3 levels. - Regional street artist doing international pieces, getting pieces in respected group shows. - An artists going from that level to actually emerging, having a solo at a respected gallery, releasing prints that sell etc. - An artists going from there going to mid career, breaking over 10K consistently, getting attention OUTSIDE of urban, strong auction results at a respected auction house, institutional interest or activity and gaining wider acceptance Some of people mentioned dont fit or arent getting ready to move levels. Geddes for example. Not only do I think Geddes isnt going to go from level 2 (high level 2) into level 3, I think he's at risk of having peaked and not going to level 3. As a comparison, How & Nosm got picked up by Pace. Pace has only worked with one other street artist (Shep), they are an art institution (not in the museum sense but in a taste market, well respected, sense) Pace did the print show and they are doing a painting show. They (by rumor) are raising canvas prices to 20K minimum. If that show sells well they are set and it will go on from there. If they sell out, its going to take off. Geddess to my knowledge isnt seeing this type of activity. Going into level 2 Maya Hayuk Maya did the Bowery wall. A solid level 2 moment. It has to be the "I've arrived" moment for street. Shes booked into 2015. Is getting a lot of press exposure. Had mutliple pieces in multiple strong group shows (library collective and robert fontaine) all of which sold out. Alex Yanes (not in my collection) Alex is from Miami. Got picked up by Thinkspace for a show and it sold well. He's unique, doing assemblages that include ipod docks etc. I think its an interesting crossover, its going to get picked up by some hip high end home decor magazine and could blow up, in an area that blue ocean. Level 1 Evoca1 (not in my collection) Evoca has been producing some HUGE murals in Miami for a while. He recently started traveling more and just did some pieces in Chile that got solid exposure in the art blogs. If he rolls this into some pieces in group shows I think people are going to snag them up. They are solid works and will be reasonably priced. Elbow 2, level 2 to level 3. (in my collection) Brian got represented by a Andrew Edlin gallery, an outsider art gallery that brings his work to big fairs around the US and internationally. He got a stellar review in the New York Times. His show sold well, almost everything above 10K (35K at the top, which sold) and was picked up by non urban collectors and urban collectors alike. He's getting ready to release an epic linocut, is heading back out to the street again and if his next solo sells well I think it will solidify him as having entered this level. He REALLY needs institutional activity to move further, even though he had some earlier in his career in the UK, I'm really supportive of him getting work into museum exhibits that focus on assemblage, collage, etc. I'm surprised you suggest Geddes has peaked with one (US) show and a talent for realistic painting that is on par with any of his peers. I figured he was early in his career - now granted I don't have such an elaborate Level system in place as you do.
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 1:24:50 GMT 1, While I agree that Jeremy is a highly skilled realist painter I just dont see another example of an artist breaking into level 3 whose output is like Jeremy's.
Jeremy's BA (before astronaut) work was distinct from the astronaut work. The Astronaut work had some print available before he really started to explode, then the prints really took off. He continued to explore the lost Astronaut theme, with some expansion into a human subjects, till the most recent series where he when back into this silent background with a floating subject, which was more akin to some of the earlier work I've seen of him. The prints have declined somewhat in value (some drops greater than others).
Jonathan really pushed his pricing in the last show. If he's going to break further, up to that $20K+ level and beyond then there are going to have to be collectors buying realist works like these. IMHO collectors who are investing that type of cash consider a number of matters other than skill. There are many great painters in history but what is that painter adding to the history of art. What about their work is timeless. This is no longer decorative. These are either tastemakers or people who follow them.
I believe museums have the same questions. As do master printers and print powerhouses like Pace. From that lens I dont see a lot from Jeremy that has much to say to those concerns. He isnt doing something that hasnt been done before, he isnt defining or redefining anything. He has skill and that is without question but I dont think you get to level 3 based on skill. I think you get there by offering something to these key questions. From a scholarly perspective what is this artist doing? OR devoid of that is there an active market for their type of work in the world of collectors who are spending 20K.
Is it possible to stay within a layer I've defined above, maybe. However with most art, music, etc, I often feel like if you arent getting bigger, you are getting smaller. If you look back to old threads in this and other formus it is littered with artists that were big and no one even discusses anymore. Likewise you can track the growth of artists by looking back and see what steps lead to their movement through these layers. My approach may not be right, but it came from exploring the phenomena that contributes to growth and discussions with others who explore the same patterns.
While I agree that Jeremy is a highly skilled realist painter I just dont see another example of an artist breaking into level 3 whose output is like Jeremy's.
Jeremy's BA (before astronaut) work was distinct from the astronaut work. The Astronaut work had some print available before he really started to explode, then the prints really took off. He continued to explore the lost Astronaut theme, with some expansion into a human subjects, till the most recent series where he when back into this silent background with a floating subject, which was more akin to some of the earlier work I've seen of him. The prints have declined somewhat in value (some drops greater than others).
Jonathan really pushed his pricing in the last show. If he's going to break further, up to that $20K+ level and beyond then there are going to have to be collectors buying realist works like these. IMHO collectors who are investing that type of cash consider a number of matters other than skill. There are many great painters in history but what is that painter adding to the history of art. What about their work is timeless. This is no longer decorative. These are either tastemakers or people who follow them.
I believe museums have the same questions. As do master printers and print powerhouses like Pace. From that lens I dont see a lot from Jeremy that has much to say to those concerns. He isnt doing something that hasnt been done before, he isnt defining or redefining anything. He has skill and that is without question but I dont think you get to level 3 based on skill. I think you get there by offering something to these key questions. From a scholarly perspective what is this artist doing? OR devoid of that is there an active market for their type of work in the world of collectors who are spending 20K.
Is it possible to stay within a layer I've defined above, maybe. However with most art, music, etc, I often feel like if you arent getting bigger, you are getting smaller. If you look back to old threads in this and other formus it is littered with artists that were big and no one even discusses anymore. Likewise you can track the growth of artists by looking back and see what steps lead to their movement through these layers. My approach may not be right, but it came from exploring the phenomena that contributes to growth and discussions with others who explore the same patterns.
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alittle
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November 2012
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Who is the next big thing?, by alittle on Mar 31, 2014 2:09:59 GMT 1, Geddes already hit the $20K+ level. Acedia and APV were both about $45K and Ascent was also $30K.
Geddes already hit the $20K+ level. Acedia and APV were both about $45K and Ascent was also $30K.
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 2:16:56 GMT 1, i agree, im not saying he didnt pass that level. im saying i dont see it maintaining. JLG has premium pricing, IMHO and where H&N came off that show into Pace, where is Geddes going to go?
i agree, im not saying he didnt pass that level. im saying i dont see it maintaining. JLG has premium pricing, IMHO and where H&N came off that show into Pace, where is Geddes going to go?
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 2:20:15 GMT 1, I can see my previous post suggested otherwise, I didnt mean to. I meant to reflect the fact that he was priced above that at JLG and I dont see it sustaining without a strong group of buyers at that level for representation, realist works, particularly if he doesnt take this work somewhere from where its been.
I can see my previous post suggested otherwise, I didnt mean to. I meant to reflect the fact that he was priced above that at JLG and I dont see it sustaining without a strong group of buyers at that level for representation, realist works, particularly if he doesnt take this work somewhere from where its been.
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stvro22
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February 2013
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Who is the next big thing?, by stvro22 on Mar 31, 2014 2:41:26 GMT 1, Without the purpose of offending anyone this thread is starting to give me nausea.
Since when should we chart progress of a creative medium through auction prices and rungs on the ladder of galleries? Is that how Banksy did it? Yes others brought his pieces to auctions and trade shows but what gallery has he himself shown in? Jonathan Levine? Jeffrey Dietch? Opera?
This cookie cutter process is just what NOT to look for when you talk about the next big thing.
I think some of you are talking about who will be the next artist to strike it rich (and watch your purchases rise in value) as opposed to which one is thinking outside the box and going about things his or her own way.
Without the purpose of offending anyone this thread is starting to give me nausea.
Since when should we chart progress of a creative medium through auction prices and rungs on the ladder of galleries? Is that how Banksy did it? Yes others brought his pieces to auctions and trade shows but what gallery has he himself shown in? Jonathan Levine? Jeffrey Dietch? Opera?
This cookie cutter process is just what NOT to look for when you talk about the next big thing.
I think some of you are talking about who will be the next artist to strike it rich (and watch your purchases rise in value) as opposed to which one is thinking outside the box and going about things his or her own way.
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stvro22
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February 2013
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Who is the next big thing?, by stvro22 on Mar 31, 2014 2:45:18 GMT 1, Might I add: Which galleries has Blu shown in? REVS? Are they not "big things"?
Might I add: Which galleries has Blu shown in? REVS? Are they not "big things"?
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 3:12:57 GMT 1, Blu and Revs are HUGE things. And IMHO they are because getting their work is either hard or damn near impossible and they have chosen to exist outside the layers i mentioned, Revs entirely. Blu has solid shows, including participation in a Tate Modern show and a censored piece at MOCA.
Revs will be HUGE in hindsight because of this refusal to sell art because of his beliefs in what money does to art. Its a rare artist that can take this approach and holding to it till he dies will put him in the history books.
Interesting side story, I have a guy who works for me, an unassuming salt of the earth guy. He worked with me when we were building out the panels etc for the project we did with Logan Hicks and Joe Iurato for Mike Tysons gym. His name is Mike. He grew up with Revs. He'd have no way of knowing how cool that is. He's 50ish / late 40's and just piped up when we were talking, mentioning that in his old neighborhood he grew up with a graffiti guy, his name was Revlon.
Blu, pretty much the same story. Blu does thought provoking, powerful, strong images, that are relevant to their location and the socio political environment surrounding it. He has extremely limited output, a few editions, no shows in years and the quality matched with that limited output keeps him ever relevant. his work transcends street. he could produce these works on paper and some of the statements are relevant 50 years ago, and they will be relevant 50 years from now.
These guys operate outside of the layers i said earlier because they chose to, they have no desire that I am aware of to move through these layers and instead of considering success money, they likely consider success creating art and because of that i believe institutions at some point will include them in whatever exhibits they produce over the years to document this period in history. a strong exhibit wont be complete without a revs piece and its possible that Blu will achieve this same status.
That all being said, neither of them are the next big thing.
Blu and Revs are HUGE things. And IMHO they are because getting their work is either hard or damn near impossible and they have chosen to exist outside the layers i mentioned, Revs entirely. Blu has solid shows, including participation in a Tate Modern show and a censored piece at MOCA.
Revs will be HUGE in hindsight because of this refusal to sell art because of his beliefs in what money does to art. Its a rare artist that can take this approach and holding to it till he dies will put him in the history books.
Interesting side story, I have a guy who works for me, an unassuming salt of the earth guy. He worked with me when we were building out the panels etc for the project we did with Logan Hicks and Joe Iurato for Mike Tysons gym. His name is Mike. He grew up with Revs. He'd have no way of knowing how cool that is. He's 50ish / late 40's and just piped up when we were talking, mentioning that in his old neighborhood he grew up with a graffiti guy, his name was Revlon.
Blu, pretty much the same story. Blu does thought provoking, powerful, strong images, that are relevant to their location and the socio political environment surrounding it. He has extremely limited output, a few editions, no shows in years and the quality matched with that limited output keeps him ever relevant. his work transcends street. he could produce these works on paper and some of the statements are relevant 50 years ago, and they will be relevant 50 years from now.
These guys operate outside of the layers i said earlier because they chose to, they have no desire that I am aware of to move through these layers and instead of considering success money, they likely consider success creating art and because of that i believe institutions at some point will include them in whatever exhibits they produce over the years to document this period in history. a strong exhibit wont be complete without a revs piece and its possible that Blu will achieve this same status.
That all being said, neither of them are the next big thing.
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 3:19:26 GMT 1, just because there is money involved doesnt mean this is about money. as i stated earlier ive included a number of people i dont collect. as ive said on multiple threads, i have sold 1 item out of my collection over the years and it was a print i had doubles of. this isnt about economics for me, i make my money in my businesses.
what i think does matter is the artists career over time, what this movement means to art as a whole and what artists get remembered when art continues to evolve. people are big things if they move through these layers and have long careers OR like we discussed above are like Revs and completely abandon this world or like Banksy and Kaws take a path that gets them to the level three without ever really going to level 2. they both were on level 1. they nearly totally abandoned the traditional gallery market till they already had institutional interest and were in the stratosphere. that is however the exception not the rule and there are few in my opinion who bring the artistry of presentation that those two do in order to achieve it.
just because there is money involved doesnt mean this is about money. as i stated earlier ive included a number of people i dont collect. as ive said on multiple threads, i have sold 1 item out of my collection over the years and it was a print i had doubles of. this isnt about economics for me, i make my money in my businesses.
what i think does matter is the artists career over time, what this movement means to art as a whole and what artists get remembered when art continues to evolve. people are big things if they move through these layers and have long careers OR like we discussed above are like Revs and completely abandon this world or like Banksy and Kaws take a path that gets them to the level three without ever really going to level 2. they both were on level 1. they nearly totally abandoned the traditional gallery market till they already had institutional interest and were in the stratosphere. that is however the exception not the rule and there are few in my opinion who bring the artistry of presentation that those two do in order to achieve it.
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Lunch Special
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October 2010
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Who is the next big thing?, by Lunch Special on Mar 31, 2014 3:41:35 GMT 1, There use to be a huge RUVLON on the D(now the B & Q line) line between Courtelyou Rd and Newkirk when I was going to HS back in 88...
you might still be able to buy the only printed image he ever did
There use to be a huge RUVLON on the D(now the B & Q line) line between Courtelyou Rd and Newkirk when I was going to HS back in 88... you might still be able to buy the only printed image he ever did
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sin
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 4:38:09 GMT 1, thanks for the heads up. i was unaware of this prior.
thanks for the heads up. i was unaware of this prior.
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dazarino
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 17:45:35 GMT 1, If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs
And his oil canvases are only ยฃ1600
Not that it means much but thought id share lol
If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs And his oil canvases are only ยฃ1600 Not that it means much but thought id share lol
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Who is the next big thing?, by Happy Shopper on Mar 31, 2014 17:54:48 GMT 1, If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs And his oil canvases are only ยฃ1600 Not that it means much but thought id share lol I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good!
Not that I've even seen it, mind you!
If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs And his oil canvases are only ยฃ1600 Not that it means much but thought id share lol I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good! Not that I've even seen it, mind you!
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dazarino
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 18:14:13 GMT 1, If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs And his oil canvases are only ยฃ1600 Not that it means much but thought id share lol I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good! Not that I've even seen it, mind you!
your right but actually his art is quite brilliant. Ryca was raving about him a few years ago when he first started. Liam from beuatiful crime is curating the show.he organised herakuts first show among a few more.he has a great eye for talent so who knows
If we are talking new artists then chris moons new show was really successful. Ed sheeren, michael Fassbender, gemma arteton and other actors were at his show last week buying up the pieces. He is getting a big following with the celebs And his oil canvases are only ยฃ1600 Not that it means much but thought id share lol I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good! Not that I've even seen it, mind you! your right but actually his art is quite brilliant. Ryca was raving about him a few years ago when he first started. Liam from beuatiful crime is curating the show.he organised herakuts first show among a few more.he has a great eye for talent so who knows
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claret
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November 2011
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Who is the next big thing?, by claret on Mar 31, 2014 19:02:23 GMT 1, I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good! Not that I've even seen it, mind you! your right but actually his art is quite brilliant. Ryca was raving about him a few years ago when he first started. Liam from beuatiful crime is curating the show.he organised herakuts first show among a few more.he has a great eye for talent so who knows Chris moon is a talented guy.. not been to his new show (got the PDF) but reverie his last show was excellent. Shepard fairey commissioned a large piece after looking round the show I believe.
I thought the same, with all those celebrities... and then it dawned on me that just because he or the gallery has celebrity mates, it doesn't make his art good! Not that I've even seen it, mind you! your right but actually his art is quite brilliant. Ryca was raving about him a few years ago when he first started. Liam from beuatiful crime is curating the show.he organised herakuts first show among a few more.he has a great eye for talent so who knows Chris moon is a talented guy.. not been to his new show (got the PDF) but reverie his last show was excellent. Shepard fairey commissioned a large piece after looking round the show I believe.
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Gard
Junior Member
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June 2012
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Who is the next big thing?, by Gard on Mar 31, 2014 19:11:45 GMT 1, Is it this guy you're talking about? www.chrismoonart.com
If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people.
Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now.
I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery.
Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery.
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dazarino
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 19:26:47 GMT 1, Well gard I think he is more bacon than anyone else and if you want something totally new then you might have wait on your hands matey Most artists get their inspiration from somewhere.he has accessed a world alot different to our scene. When you get full page articles in the top high brow fashion magazine, hang out with influential celebrities and have paul macartney as a fan you must be doing something right in your chosen field. Thats the difference in getting to the next level. Lots of people can sing better than robbie williams (ok not best example lol) but may not have the charm and charizma. If you guys think that does not make a difference then well, we all have a opinion
I know its not always right but thats just the mtv world we live in
Well gard I think he is more bacon than anyone else and if you want something totally new then you might have wait on your hands matey Most artists get their inspiration from somewhere.he has accessed a world alot different to our scene. When you get full page articles in the top high brow fashion magazine, hang out with influential celebrities and have paul macartney as a fan you must be doing something right in your chosen field. Thats the difference in getting to the next level. Lots of people can sing better than robbie williams (ok not best example lol) but may not have the charm and charizma. If you guys think that does not make a difference then well, we all have a opinion I know its not always right but thats just the mtv world we live in
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Gard
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June 2012
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Who is the next big thing?, by Gard on Mar 31, 2014 19:37:03 GMT 1, I'm not saying it's not good, I'm just saying that you can pay a pr company to get all that coverage. I like his stuff, and would probably consider getting a piece if I was at the exhibition.
I'm not saying it's not good, I'm just saying that you can pay a pr company to get all that coverage. I like his stuff, and would probably consider getting a piece if I was at the exhibition.
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djbys89
New Member
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March 2014
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Who is the next big thing?, by djbys89 on Mar 31, 2014 19:46:51 GMT 1, What do you guys think about Naturel?
What do you guys think about Naturel?
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dazarino
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 19:49:47 GMT 1, Your right gard, maybe a sad fact might be a good pr is as important than anything else
Your right gard, maybe a sad fact might be a good pr is as important than anything else
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dazarino
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 19:52:56 GMT 1, What do you guys think about Naturel?
Really cool stuff. Very dave white with the sneaker art
What do you guys think about Naturel? Really cool stuff. Very dave white with the sneaker art
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Deleted
Posts โข 0
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 19:53:09 GMT 1, Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits.
Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits.
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djbys89
New Member
Posts โข 281
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March 2014
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Who is the next big thing?, by djbys89 on Mar 31, 2014 19:56:07 GMT 1, What do you guys think about Naturel? Really cool stuff. Very dave white with the sneaker art Yeah a bit. His stuff has a great audience at the moment
What do you guys think about Naturel? Really cool stuff. Very dave white with the sneaker art Yeah a bit. His stuff has a great audience at the moment
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Gard
Junior Member
Posts โข 1,604
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June 2012
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Who is the next big thing?, by Gard on Mar 31, 2014 19:59:53 GMT 1, In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge.
In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge.
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 20:03:16 GMT 1, Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. 1. I completely agree with your critique of Chris Moon though I would also include Craig โSkibsโ Barker in that list of borrowing.
2. Totally agree about the point of who the remembered artists, movements, will be in 50 years. I equate it to remembering the music one listened to 20 years ago. History remembered a handful, while we all listened to dozens of bands in that time. Who continues on, keeps creating or did such powerful work that its iconic and stands the test of time since its timeless.
3. I'll follow you to the level 4 thing. Who will sell for 6 figures and what it takes to do that. Which you and I agree is 1. institutional backing 2. good contemporary gallery representation, and outside of that the only possible way in the door to that coveted space is fucking a big art mavens daughter ala Lucien Smith
Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. 1. I completely agree with your critique of Chris Moon though I would also include Craig โSkibsโ Barker in that list of borrowing. 2. Totally agree about the point of who the remembered artists, movements, will be in 50 years. I equate it to remembering the music one listened to 20 years ago. History remembered a handful, while we all listened to dozens of bands in that time. Who continues on, keeps creating or did such powerful work that its iconic and stands the test of time since its timeless. 3. I'll follow you to the level 4 thing. Who will sell for 6 figures and what it takes to do that. Which you and I agree is 1. institutional backing 2. good contemporary gallery representation, and outside of that the only possible way in the door to that coveted space is fucking a big art mavens daughter ala Lucien Smith
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Deleted
Posts โข 0
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 20:05:30 GMT 1, In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. The street. The Internet. Instagram. Facebook. Whatever. HowNosm at Pace ? how long after the street is that then ? 10 years ? 15 ? You think Pace legitimise HowNosm or it's the other way around now maybe ? That Os Gemeos are relevant because of their institution shows ? You have it all upside down. The power started to shift long ago. Large commercial galleries and auction houses are feeding on the carrion of a culture that moves far too quickly for them to retain any influence. They're selling expensive decoration to people who really don't give a shit about the art. No one in academia or involved in the actual production of art and exhibitions gives it a second look. Blogs, forums, Hi Fructose and the likes of Hyperallergic are leagues ahead of what's sold and traded commercially. Auction Houses ? do me a favour..Rich people robbing even richer people. Irrelevant to art.
In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. The street. The Internet. Instagram. Facebook. Whatever. HowNosm at Pace ? how long after the street is that then ? 10 years ? 15 ? You think Pace legitimise HowNosm or it's the other way around now maybe ? That Os Gemeos are relevant because of their institution shows ? You have it all upside down. The power started to shift long ago. Large commercial galleries and auction houses are feeding on the carrion of a culture that moves far too quickly for them to retain any influence. They're selling expensive decoration to people who really don't give a shit about the art. No one in academia or involved in the actual production of art and exhibitions gives it a second look. Blogs, forums, Hi Fructose and the likes of Hyperallergic are leagues ahead of what's sold and traded commercially. Auction Houses ? do me a favour..Rich people robbing even richer people. Irrelevant to art.
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 20:09:09 GMT 1, Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. There is some credence to the statement above in that there is a paradigm shift. Will something step up that takes the place of institutions as the scholarly source of what is meaningful to the historical arc? There are always cases like Khalo who's art market climbed long after her death, supported by a film about here, etc that may have put her in greater prominence without the prior institutional love affair.
If someone doesnt seek to document it, invest in it and have it there 50 years from now, its not likely that it will remain meaningful. Museums serve that role. If that role changes then it democratizes the situation entirely because if you can achieve the same sort of archiving effect and relevance without the tens of millions of dollars... wow.
Is it this guy you're talking about? www.chrismoonart.com If so he borrows his style from Brett Armory, Ed Ruscha and David Hockney and probably some other people. Those who will become big enough to be remembered for all eternity are those who start something new. Brings something new to the scene or does something much better than before. Donald Judd introduced minimalism and is today remembered as the father of the minimalism movement and has found his place in art history. What this thread is about except for the money is guessing who these people will be in 50 years from now. I really enjoy reading your comments sin, but I believe what we are talking about here is moving up to a fourth level. You're talking about steadily selling your works above the 10k mark and there's many artists doing that already, and you don't need to be in a contemporary gallery to do so. What's interesting is who will be the few to take the next step and sell steadily at 100k+. I believe 80% of the artist mentioned in this thread will reach the the 10k price point but only one or two will go into the 100k's, to reach these levels it's important with institutional backing and a good contemporary gallery. In terms of looking at who will enter "art history", I'd say the large gallery, institution, auction house model is an archaic pre-internet irrelevance. No one looks to these anymore and haven't for quite sometime. These are for selling large semi abstract decorative canvasses to wealthy people with slightly less taste than those that sell them. 100k and institutional/financial backing as a benchmark of historical relevance or success ? wow. Come on Gard. I know internationally famous artists who have never sold a work for close to that. It has absolutely zero bearing on where an artist sits. There is some credence to the statement above in that there is a paradigm shift. Will something step up that takes the place of institutions as the scholarly source of what is meaningful to the historical arc? There are always cases like Khalo who's art market climbed long after her death, supported by a film about here, etc that may have put her in greater prominence without the prior institutional love affair. If someone doesnt seek to document it, invest in it and have it there 50 years from now, its not likely that it will remain meaningful. Museums serve that role. If that role changes then it democratizes the situation entirely because if you can achieve the same sort of archiving effect and relevance without the tens of millions of dollars... wow.
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sin
New Member
Posts โข 614
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February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 20:14:09 GMT 1, Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. street art festivals ;-) This quote is crack wrapped in fairy dust.
In 20 years 99.999% of the walls done will have something else on them, if they are there are all.
The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution.
Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. street art festivals ;-) This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution.
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dazarino
New Member
Posts โข 854
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October 2012
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Who is the next big thing?, by dazarino on Mar 31, 2014 20:53:05 GMT 1, This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. ย Right now that relevance is defined largely by institutions and scholars. ย Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. ย
I love nu art and definatly going again this year but sin is spot on here.
This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. ย Right now that relevance is defined largely by institutions and scholars. ย Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. ย I love nu art and definatly going again this year but sin is spot on here.
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