jamesreeve5
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September 2012
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AMs work hanging..., by jamesreeve5 on Jul 29, 2008 19:39:26 GMT 1, So far in this thread people have not touched on the second place at the BP portrait award at National Portrait gallery in 2000. People have not discussed his invitation to represent the new contemporaries at the royal academy of arts in London this November. People have overlooked his invitation from curwen to put a print out at their show at the tate to represent them as the present at the 50th anniversary of the studios. People have also overlooked his invite from the British museum to showcase his work on a world tour. So if the tate, Royal Academy and British Museum all want to be associated with him and the national portrait gallery recognise his talent, I would say he is not a speculative bet. These may seem expensive now, but if the RA continue to build their association and offer him a Royal Academician position in his lifetime, they'll be peanuts.
Even including the "upcoming" projects that AM has in the pipeline it doesn't compare to Matthew Barney's resume. With very few museum shows under his belt, and no real significant international museum solo shows, yes, Micallef is still a speculative bet.
It is the "they'll be peanuts" mentality that is dangerous thinking. But this isn't the root of the problem that people like Mose and I are getting at. What we are trying to say is that the majority of the fanbase on this forum expresses little or no interest in contemporary art outside of the street art genre, and I think it is because a lot of non-street contemporary art requires more than a simple "gut" reaction of liking it. What we are trying to say is that by educating ourselves about the larger trends in the contemporary art market we will 1. enrich dialogue within the forum, 2. protect ourselves from poor buying habits (whether this is due to the quality of the work, or the price the gallery is charging for it), and 3. gain a better personal understanding of art itself.
Here's Barney's resume (pulled frome the Gladstone Gallery webpage) and keep in mind you could buy 2 of his originals for the price of 1 of AM's:
Education/Prizes
1989 B.A. Yale University, New Haven, Connecticut
1993 "Europa 2000" Prize, Aperto '93, XLV Venice Biennale
1996 Hugo Boss Award, Guggenheim Museum, New York
1999 James D. Phelan Art Award in Video, Bay Area Video Coalition, San Francisco Foundation
2001 Glen Dimplex Award, Irish Museum of Modern Art, Dublin
Solo Exhibitions
2007 "Matthew Barney," Serpentine Gallery, London
2006 โThe Occidental Guest,โ Gladstone Gallery, New York
โMatthew Barney: Drawing Restraint 9 Storyboards,โ John McWhinnie @ Glenn Horowitz Bookseller, New York
2005 โMatthew Barney: Drawing Restraint,โ 21 st Century Museum of Contemporary Art, Kanazawa, Japan
Kanazawa , Japan; traveled to Leeum, Samsung Museum of Art, Seoul; San Francisco Museum of Modern Art (2006)
2003 โMatthew Barney in the Living Art Museum,โ Living Art Museum, Reykjavik
Boise Art Museum, Boise, Idaho
โMatthew Barney โ Cremasters,โ Astrup Fearnley Museet for Moderne Kunst, Oslo
2002 โMatthew Barney: The CREMASTER Cycle,โ organized by the Solomon R. Guggenheim Museum, New York; travelled to Museum Ludwig, Cologne and Musรฉe dโArt Moderne de la Ville de Paris, Artangel, London
1999 โCREMASTER 2: The Dronesโ Exposition,โ Walker Art Center, Minneapolis; travelled to San Francisco Museum of Modern Art.
1998 โMarch with the Anal Sadistic Warrior,โ KunstKanaal, Amsterdam
โCREMASTER 5,โ Fundaciรณ La Caixa, Barcelona, Spain
โCREMASTER 5,โ Regen Projects, Los Angeles
โCREMASTER 1,โ รffentliche Kunstsammlung Basel, Kunstmuseum
1997 โCREMASTER 5," Portikus, Frankfurt
โCREMASTER 5,โ Barbara Gladstone Gallery, New York
โCREMASTER 1,โ Kunsthalle Wien
1996 "Transexualis and REPRESSIA"; "CREMASTER 1 and CREMASTER 4," San Francisco Museum of Modern Art
1994 "Portraits from CREMASTER 4," Regen Projects, Los Angeles
1991 Barbara Gladstone Gallery , New York
Stuart Regen Gallery, Los Angeles
"Matthew Barney: New Work," San Francisco Museum of Modern Art
1989 "Field Dressing," Payne Whitney Athletic Complex, Yale University, New Haven
โScab Action," Video exhibition for the New York City Rainforest Alliance, Open Center, New York
1988 โScab Action," Video exhibition for the New York City Rainforest Alliance, Open Center, New York
Selected Group Exhibitions
2006 "all in the present must be transformed: Matthew Barney and Joseph Beuys," Deutsche Guggenheim, Berlin
"Defamation of Character," PS 1 MoMA, New York
โThe Eighth Square,โ Museum Ludwig, Koln, Germany
โThe Guggenheim Collection,โ KAH, Bonn, Germany
โNew York, New York: Fifty Years of Art, Architecture, Film, Music and Video,โ Grimaldi Forum, Monaco
โHuman Game,โ Stazione Leopolda, Florence, Italy
"Surprise, Surprise," ICA, London
โInto Me/ Out of Me,โ P.S.1, New York; traveling to Kunstwerke Berlin
Astrup Fearnley Museum of Modern Art, Oslo
"Having New Eyes," Aspen Art Museum, Aspen, CO
โWhat Makes You and I Different,โ Tramway 2/ Project Room, Glasgow, Scotland
โFigures in the Field: Figurative Sculpture and Abstract Painting from Chicago Collections,โ Museum of Contemporary Art, Chicago
โThank You for the Music,โ Galerie Spruth Magers, Munich
โDark Places,โ Santa Monica Museum of Art, Santa Monica
2005 "11th BIM_Biennial of Moving Images," Centre pour l'Image contemporaine, Paris
โBidibidobidiboo: Works from the Sandretto Re Rebaudengo Collection,โ Torino, Italy
โ(My Private) Heroes,โ MARTa, Herford, Germany
โWork Time/Material Time/Life Timeโ Akureyi Art Museum, Iceland
โQuartet: Barney, Gober, Levine, Walker,โ Walker Art Center, Minneapolis
2004 โKlรผtterkammer: An Exhibition by John Bock,โ Institute of Contemporary Art, London
โWorking Editions,โ Fine Art in Space, Long Island City, New York
โIl Bello e le bestie,โ Museum dโArte Moderna e Contemporanea di Trento e Rovereto
"Love/Hate From Magritte to Cattelan: Masterpieces from the Museum of Contemporary Art, Chicago," Villa Manin Center of Contemporary Art, Passariano, Udine, Italy, May 30 - November 7
โTouch and Temperature: Art in the Age of Cybernetic Totalism,โ Bitforms, New York
โWorking Editions: An Exploration of Art and Function,โ Fine Art in Space, Long Island City, New York
โThe Encounters in the 21st Century: Polyphony- Emerging Resonances,โ 21st Century Museum of Contemporary Art, Kanazawa
2003 โ Perfect Innocence: The Debra and Dennis Scholl Collection," Contemporary Museum, Baltimore and Palm Beach Institute of Contemporary Art
โPicturing the Artist: Photography from the MCA Collection," โJust Love Me: Post-Feminist Art of the 1990s from the Goetz Collection," Bergen Art Museum, Bergen; travels to Fries Museum, Leeuwarden
"Fast Forward: Media Art / Sammlung Goetz," ZKM, Center for Arts and Media, Karlsruhe, Germany
โSilver," Art Gallery of Greater Victoria, Victoria
โStorytelling," Wexner Center for the Arts, Columbus
โDreams and Conflicts: The Dictatorship of the Viewer,โ La Biennale di Venezia, Venice
2002 โPenetration.โ Friedrich Petzel/ Marianne Boesky Galleries, New York
โ Shortcuts: Works from The Dakis Joannou Collection," Nicosia Municipal Arts Centre, Nicosia, Cyprus
โArte Contemporรกneo Internacional,โ Museo de Arte Moderno, Mรฉxico
"Hautnah: The Goetz Collection,โ Museum Villa Stuck, Munich
โVisions from America: Photographs from the Whitney Museum of American Art," Whitney Museum of American Art, New York
โMoving Pictures," Solomon R. Guggenheim Museum, New York; Solomon R. Guggenheim Bilbao
โTempo," MoMA Queens, Long Island City, New York
โSand in der Vaseline: Kรผnstlerbรผcher II: 1980 - 2000," Kaiser Wilhelm Museum, Krefeld
โLife Death Love Hate Pleasure Pain,โ MCA Chicago
2001 โTen Photographers,โ Galleri K, Oslo, Norway
โAmerican Art from the Goetz Collection,โ Galerie Rudolfinum, Prague
โUniform: Order and Disorder,โ P.S.1 Contemporary Art Center, Long Island City, New York
โParkett, Collaborations and Editions since 1984,โ Museum of Modern Art, New York
โThe Glen Dimplex Artists Award Exhibition 2001,โ Irish Museum of Modern Art, Dublin
โAffecting Invention,โ Carrie Secrist Gallery, Chicago, IL
โPublic Offerings,โ Los Angeles Museum of Contemporary Art
โHeads and Hands,โ Decatur House, Washington D.C.
โHypermental: Rampant Reality 1950-2000 From Dali to Koons,โ Kunsthaus Zurich,โArte Contemporaneo Internacional," Museo de Arte Moderno, Mexico City
2000 "Matthew Barney, Jennifer Pastor, Charles Ray," Barbara Gladstone Gallery, New York
โStaged, Constructions in Contemporary Photography,โ Bonakdar Jancou Gallery, New York
โRecent Aqusitions,โ Kunstwerke, Berlin
โMUSEUM,โ Astrup-Fearnley Museet for Moderne Kunst, Oslo
โAge of Influence: Reflections in the Mirror of American Culture,โ Museum of Contemporary Art, Chicago
โmedia_city seoul 2000โ, Contemporary Art and Technology Biennial, Seoul, Korea
โVoil ร : Le monde dans la tรชte โ, Musรฉe dโart Moderne de la Ville de Paris
โWhatโs New: Recent Acquisitions in Photographyโ, Whitney Museum of American Art, New York
โOutbound: Passages from the 90โs," Contemporary Arts Museum, Houston
1999 Carnegie International, Carnegie Museum of Art, Pittsburgh โRegarding Beauty,โ Hirshhorn Museum and Sculpture Garden, Washington, D.C.
โThe Promise of Photography: Selected Works from the DG Bank Collectionโ, PS1 Contemporary Art Center, New York
1998 โWounds: Between Democracy and Redemption in Contemporary Art,โ Moderna Museet, Stockholm
โScratches on the Surface of Things,โ Museum Boymans van Beuningen, Rotterdam
โDie Rache der Veronika,โ Fotosammlung Lambert, Deichtorhallen, Hamburg
โEmotion: Young British and American art from the Goetz collection,โ Deichtorhallen , Hamburg, Germany
โ+Zone,โ Palazzo ReRebaudengo, Guarene dโAlba
โGlobal Vision, New Art from the 90โs - with new acquisitions from the Dakis Joannou Collection,โ Deste Foundation, Athens
โExtensions: Aspects of the Figure," The Joseloff Gallery, Hartford Art School, Connecticut
1997 โDe-Genderism,โ Setagaya Art Museum, Tokyo โ
A Rrose is a Rrose is a Rrose: Gender Performance in Photography," Solomon R Guggenheim Museum, New York; travelled to the Andy WarholMuseum, Pittsburgh
โSous le Manteau,โ Gallery Thaddaeus Ropac, Paris
โLoco-Motion,โ Cinema Accademia Dorsoduro, Venice Biennale de Lyon, Lyon, France
1996 โHugo Boss Prize Exhibition,โ Guggenheim SoHo, New York Tenth Biennale of Sydney, Sydney Australia
"Matthew Barney, Tony Oursler and Jeff Wall," Sammlung Goetz, Munich
"Foreign Body," Museum fur Gegenwartskunst, Basel
"Hybrids," De Appel, Amsterdam
"Defining the Nineties: Consensus-making in New York, Miami and Los Angeles," Museum of Contemporary Art, Miami
"Picasso: a Contempoary Dialogue,โ Galerie Thaddeaus Ropac, Salzberg, Austria.
"Passions Privees," Musรฉe d'Art Moderne de la Ville de Paris
"Faustrecht der Freiheit," Neues Museum Weserberg, Bremen
โArt at Home, Ideal Standard Life,โ The Spiral Garden, Tokyo
1995 "Drawing on Chance: Selections from the Collection," Museum of Modern Art, New York
"DASAMERICAS II,โ Museu de Arte de Sao Paulo, Brasil
"Ripple Across the Water 95,โ WATARI-UM Museum of Tokyo
Biennial Exhibition, Whitney Museum of American Art, New York
"ARS '95," Museum of Contemporary Art, Helsinki, Finland
"The Masculine Masquerade," MIT List Visual Center, Cambridge, MA
"Altered States: American Art in The 90's," Forum For Contemporary Art, St. Louis
1994 "Hors Limites," Centre Georges Pompidou, Paris
"Of the Human Condition: Hope and Despair at the End of the Century," Spiral Gallery, Tokyo
"Acting Out: The Body in Video, Then and Now," Royal College of Art, London
"Sammlung Volkmann," Berlin
"The Ossuary," Luhring Augustine, New York
"Drawing on Sculpture," Cohen Gallery, New York
1993 Barbara Gladstone Gallery , New York
"Exhibition to Benefit the Mapplethorpe Laboratory for AIDS Research," Barbara Gladstone Gallery, New York
"Aperto '93," 45th Venice Biennale, Venice
Biennial Exhibition, Whitney Museum of American Art, New York
"Don't Ask, Don't Tell, Don't Pursue," Fairfield University, Fairfield, Connecticut
"Action/Performance and the Photograph,โ Turner-Krull Galleries, Los Angeles
"Works on Paper," Paula Cooper Gallery, New York
1992 Documenta IX, Kassel, Germany
"Pรฉrils et Colรจres," capC Musรฉe, Bordeaux, France
"Post Human," FAE Musรฉe d'Art Contemporain, Pully/Lausanne, Switzerland, Catalogue Travelled to Castello di Rivoli; Dete Foundation, Athens; and Deichtorhallen, Hamburg
"Matthew Barney, Sam Reveles, and Nancy Rubins," SteinGladstone Gallery, New York
Spielhรถlle," U-Bahn Station, Frankfurt am Main, Germany
1991 Barbara Gladstone Gallery , New York
Regen Projects, Los Angeles
Paula Cooper Gallery, New York, "ACT-UP Benefit Art Sale"
1990 "Viral Infection: The Body and its Discontents," Hallwalls Contemporary Arts Center,Buffalo
So far in this thread people have not touched on the second place at the BP portrait award at National Portrait gallery in 2000. People have not discussed his invitation to represent the new contemporaries at the royal academy of arts in London this November. People have overlooked his invitation from curwen to put a print out at their show at the tate to represent them as the present at the 50th anniversary of the studios. People have also overlooked his invite from the British museum to showcase his work on a world tour. So if the tate, Royal Academy and British Museum all want to be associated with him and the national portrait gallery recognise his talent, I would say he is not a speculative bet. These may seem expensive now, but if the RA continue to build their association and offer him a Royal Academician position in his lifetime, they'll be peanuts. Even including the "upcoming" projects that AM has in the pipeline it doesn't compare to Matthew Barney's resume. With very few museum shows under his belt, and no real significant international museum solo shows, yes, Micallef is still a speculative bet. It is the "they'll be peanuts" mentality that is dangerous thinking. But this isn't the root of the problem that people like Mose and I are getting at. What we are trying to say is that the majority of the fanbase on this forum expresses little or no interest in contemporary art outside of the street art genre, and I think it is because a lot of non-street contemporary art requires more than a simple "gut" reaction of liking it. What we are trying to say is that by educating ourselves about the larger trends in the contemporary art market we will 1. enrich dialogue within the forum, 2. protect ourselves from poor buying habits (whether this is due to the quality of the work, or the price the gallery is charging for it), and 3. gain a better personal understanding of art itself. Here's Barney's resume (pulled frome the Gladstone Gallery webpage) and keep in mind you could buy 2 of his originals for the price of 1 of AM's: Education/Prizes 1989 B.A. Yale University, New Haven, Connecticut 1993 "Europa 2000" Prize, Aperto '93, XLV Venice Biennale 1996 Hugo Boss Award, Guggenheim Museum, New York 1999 James D. Phelan Art Award in Video, Bay Area Video Coalition, San Francisco Foundation 2001 Glen Dimplex Award, Irish Museum of Modern Art, Dublin Solo Exhibitions 2007 "Matthew Barney," Serpentine Gallery, London 2006 โThe Occidental Guest,โ Gladstone Gallery, New York โMatthew Barney: Drawing Restraint 9 Storyboards,โ John McWhinnie @ Glenn Horowitz Bookseller, New York 2005 โMatthew Barney: Drawing Restraint,โ 21 st Century Museum of Contemporary Art, Kanazawa, Japan Kanazawa , Japan; traveled to Leeum, Samsung Museum of Art, Seoul; San Francisco Museum of Modern Art (2006) 2003 โMatthew Barney in the Living Art Museum,โ Living Art Museum, Reykjavik Boise Art Museum, Boise, Idaho โMatthew Barney โ Cremasters,โ Astrup Fearnley Museet for Moderne Kunst, Oslo 2002 โMatthew Barney: The CREMASTER Cycle,โ organized by the Solomon R. Guggenheim Museum, New York; travelled to Museum Ludwig, Cologne and Musรฉe dโArt Moderne de la Ville de Paris, Artangel, London 1999 โCREMASTER 2: The Dronesโ Exposition,โ Walker Art Center, Minneapolis; travelled to San Francisco Museum of Modern Art. 1998 โMarch with the Anal Sadistic Warrior,โ KunstKanaal, Amsterdam โCREMASTER 5,โ Fundaciรณ La Caixa, Barcelona, Spain โCREMASTER 5,โ Regen Projects, Los Angeles โCREMASTER 1,โ รffentliche Kunstsammlung Basel, Kunstmuseum 1997 โCREMASTER 5," Portikus, Frankfurt โCREMASTER 5,โ Barbara Gladstone Gallery, New York โCREMASTER 1,โ Kunsthalle Wien 1996 "Transexualis and REPRESSIA"; "CREMASTER 1 and CREMASTER 4," San Francisco Museum of Modern Art 1994 "Portraits from CREMASTER 4," Regen Projects, Los Angeles 1991 Barbara Gladstone Gallery , New York Stuart Regen Gallery, Los Angeles "Matthew Barney: New Work," San Francisco Museum of Modern Art 1989 "Field Dressing," Payne Whitney Athletic Complex, Yale University, New Haven โScab Action," Video exhibition for the New York City Rainforest Alliance, Open Center, New York 1988 โScab Action," Video exhibition for the New York City Rainforest Alliance, Open Center, New York Selected Group Exhibitions 2006 "all in the present must be transformed: Matthew Barney and Joseph Beuys," Deutsche Guggenheim, Berlin "Defamation of Character," PS 1 MoMA, New York โThe Eighth Square,โ Museum Ludwig, Koln, Germany โThe Guggenheim Collection,โ KAH, Bonn, Germany โNew York, New York: Fifty Years of Art, Architecture, Film, Music and Video,โ Grimaldi Forum, Monaco โHuman Game,โ Stazione Leopolda, Florence, Italy "Surprise, Surprise," ICA, London โInto Me/ Out of Me,โ P.S.1, New York; traveling to Kunstwerke Berlin Astrup Fearnley Museum of Modern Art, Oslo "Having New Eyes," Aspen Art Museum, Aspen, CO โWhat Makes You and I Different,โ Tramway 2/ Project Room, Glasgow, Scotland โFigures in the Field: Figurative Sculpture and Abstract Painting from Chicago Collections,โ Museum of Contemporary Art, Chicago โThank You for the Music,โ Galerie Spruth Magers, Munich โDark Places,โ Santa Monica Museum of Art, Santa Monica 2005 "11th BIM_Biennial of Moving Images," Centre pour l'Image contemporaine, Paris โBidibidobidiboo: Works from the Sandretto Re Rebaudengo Collection,โ Torino, Italy โ(My Private) Heroes,โ MARTa, Herford, Germany โWork Time/Material Time/Life Timeโ Akureyi Art Museum, Iceland โQuartet: Barney, Gober, Levine, Walker,โ Walker Art Center, Minneapolis 2004 โKlรผtterkammer: An Exhibition by John Bock,โ Institute of Contemporary Art, London โWorking Editions,โ Fine Art in Space, Long Island City, New York โIl Bello e le bestie,โ Museum dโArte Moderna e Contemporanea di Trento e Rovereto "Love/Hate From Magritte to Cattelan: Masterpieces from the Museum of Contemporary Art, Chicago," Villa Manin Center of Contemporary Art, Passariano, Udine, Italy, May 30 - November 7 โTouch and Temperature: Art in the Age of Cybernetic Totalism,โ Bitforms, New York โWorking Editions: An Exploration of Art and Function,โ Fine Art in Space, Long Island City, New York โThe Encounters in the 21st Century: Polyphony- Emerging Resonances,โ 21st Century Museum of Contemporary Art, Kanazawa 2003 โ Perfect Innocence: The Debra and Dennis Scholl Collection," Contemporary Museum, Baltimore and Palm Beach Institute of Contemporary Art โPicturing the Artist: Photography from the MCA Collection," โJust Love Me: Post-Feminist Art of the 1990s from the Goetz Collection," Bergen Art Museum, Bergen; travels to Fries Museum, Leeuwarden "Fast Forward: Media Art / Sammlung Goetz," ZKM, Center for Arts and Media, Karlsruhe, Germany โSilver," Art Gallery of Greater Victoria, Victoria โStorytelling," Wexner Center for the Arts, Columbus โDreams and Conflicts: The Dictatorship of the Viewer,โ La Biennale di Venezia, Venice 2002 โPenetration.โ Friedrich Petzel/ Marianne Boesky Galleries, New York โ Shortcuts: Works from The Dakis Joannou Collection," Nicosia Municipal Arts Centre, Nicosia, Cyprus โArte Contemporรกneo Internacional,โ Museo de Arte Moderno, Mรฉxico "Hautnah: The Goetz Collection,โ Museum Villa Stuck, Munich โVisions from America: Photographs from the Whitney Museum of American Art," Whitney Museum of American Art, New York โMoving Pictures," Solomon R. Guggenheim Museum, New York; Solomon R. Guggenheim Bilbao โTempo," MoMA Queens, Long Island City, New York โSand in der Vaseline: Kรผnstlerbรผcher II: 1980 - 2000," Kaiser Wilhelm Museum, Krefeld โLife Death Love Hate Pleasure Pain,โ MCA Chicago 2001 โTen Photographers,โ Galleri K, Oslo, Norway โAmerican Art from the Goetz Collection,โ Galerie Rudolfinum, Prague โUniform: Order and Disorder,โ P.S.1 Contemporary Art Center, Long Island City, New York โParkett, Collaborations and Editions since 1984,โ Museum of Modern Art, New York โThe Glen Dimplex Artists Award Exhibition 2001,โ Irish Museum of Modern Art, Dublin โAffecting Invention,โ Carrie Secrist Gallery, Chicago, IL โPublic Offerings,โ Los Angeles Museum of Contemporary Art โHeads and Hands,โ Decatur House, Washington D.C. โHypermental: Rampant Reality 1950-2000 From Dali to Koons,โ Kunsthaus Zurich,โArte Contemporaneo Internacional," Museo de Arte Moderno, Mexico City 2000 "Matthew Barney, Jennifer Pastor, Charles Ray," Barbara Gladstone Gallery, New York โStaged, Constructions in Contemporary Photography,โ Bonakdar Jancou Gallery, New York โRecent Aqusitions,โ Kunstwerke, Berlin โMUSEUM,โ Astrup-Fearnley Museet for Moderne Kunst, Oslo โAge of Influence: Reflections in the Mirror of American Culture,โ Museum of Contemporary Art, Chicago โmedia_city seoul 2000โ, Contemporary Art and Technology Biennial, Seoul, Korea โVoil ร : Le monde dans la tรชte โ, Musรฉe dโart Moderne de la Ville de Paris โWhatโs New: Recent Acquisitions in Photographyโ, Whitney Museum of American Art, New York โOutbound: Passages from the 90โs," Contemporary Arts Museum, Houston 1999 Carnegie International, Carnegie Museum of Art, Pittsburgh โRegarding Beauty,โ Hirshhorn Museum and Sculpture Garden, Washington, D.C. โThe Promise of Photography: Selected Works from the DG Bank Collectionโ, PS1 Contemporary Art Center, New York 1998 โWounds: Between Democracy and Redemption in Contemporary Art,โ Moderna Museet, Stockholm โScratches on the Surface of Things,โ Museum Boymans van Beuningen, Rotterdam โDie Rache der Veronika,โ Fotosammlung Lambert, Deichtorhallen, Hamburg โEmotion: Young British and American art from the Goetz collection,โ Deichtorhallen , Hamburg, Germany โ+Zone,โ Palazzo ReRebaudengo, Guarene dโAlba โGlobal Vision, New Art from the 90โs - with new acquisitions from the Dakis Joannou Collection,โ Deste Foundation, Athens โExtensions: Aspects of the Figure," The Joseloff Gallery, Hartford Art School, Connecticut 1997 โDe-Genderism,โ Setagaya Art Museum, Tokyo โ A Rrose is a Rrose is a Rrose: Gender Performance in Photography," Solomon R Guggenheim Museum, New York; travelled to the Andy WarholMuseum, Pittsburgh โSous le Manteau,โ Gallery Thaddaeus Ropac, Paris โLoco-Motion,โ Cinema Accademia Dorsoduro, Venice Biennale de Lyon, Lyon, France 1996 โHugo Boss Prize Exhibition,โ Guggenheim SoHo, New York Tenth Biennale of Sydney, Sydney Australia "Matthew Barney, Tony Oursler and Jeff Wall," Sammlung Goetz, Munich "Foreign Body," Museum fur Gegenwartskunst, Basel "Hybrids," De Appel, Amsterdam "Defining the Nineties: Consensus-making in New York, Miami and Los Angeles," Museum of Contemporary Art, Miami "Picasso: a Contempoary Dialogue,โ Galerie Thaddeaus Ropac, Salzberg, Austria. "Passions Privees," Musรฉe d'Art Moderne de la Ville de Paris "Faustrecht der Freiheit," Neues Museum Weserberg, Bremen โArt at Home, Ideal Standard Life,โ The Spiral Garden, Tokyo 1995 "Drawing on Chance: Selections from the Collection," Museum of Modern Art, New York "DASAMERICAS II,โ Museu de Arte de Sao Paulo, Brasil "Ripple Across the Water 95,โ WATARI-UM Museum of Tokyo Biennial Exhibition, Whitney Museum of American Art, New York "ARS '95," Museum of Contemporary Art, Helsinki, Finland "The Masculine Masquerade," MIT List Visual Center, Cambridge, MA "Altered States: American Art in The 90's," Forum For Contemporary Art, St. Louis 1994 "Hors Limites," Centre Georges Pompidou, Paris "Of the Human Condition: Hope and Despair at the End of the Century," Spiral Gallery, Tokyo "Acting Out: The Body in Video, Then and Now," Royal College of Art, London "Sammlung Volkmann," Berlin "The Ossuary," Luhring Augustine, New York "Drawing on Sculpture," Cohen Gallery, New York 1993 Barbara Gladstone Gallery , New York "Exhibition to Benefit the Mapplethorpe Laboratory for AIDS Research," Barbara Gladstone Gallery, New York "Aperto '93," 45th Venice Biennale, Venice Biennial Exhibition, Whitney Museum of American Art, New York "Don't Ask, Don't Tell, Don't Pursue," Fairfield University, Fairfield, Connecticut "Action/Performance and the Photograph,โ Turner-Krull Galleries, Los Angeles "Works on Paper," Paula Cooper Gallery, New York 1992 Documenta IX, Kassel, Germany "Pรฉrils et Colรจres," capC Musรฉe, Bordeaux, France "Post Human," FAE Musรฉe d'Art Contemporain, Pully/Lausanne, Switzerland, Catalogue Travelled to Castello di Rivoli; Dete Foundation, Athens; and Deichtorhallen, Hamburg "Matthew Barney, Sam Reveles, and Nancy Rubins," SteinGladstone Gallery, New York Spielhรถlle," U-Bahn Station, Frankfurt am Main, Germany 1991 Barbara Gladstone Gallery , New York Regen Projects, Los Angeles Paula Cooper Gallery, New York, "ACT-UP Benefit Art Sale" 1990 "Viral Infection: The Body and its Discontents," Hallwalls Contemporary Arts Center,Buffalo |
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AMs work hanging..., by mose on Jul 29, 2008 20:47:27 GMT 1, I'm sorry mose, but I am beginninng to find your posts very patronising, and there is one thing in life that I detest above all else ,and that is when somebody talks down to me, which I feel you are now doing. You seem to have totally lost the point as regards the urban/graff genre, and by the sounds of it all other genre's as well, art is to be enjoyed, you do not have to particularly understand something to gain pleasure from it, what you are talking about is turning everybody on here into proffesional art critics, you say read books etc ,to be able to understand the art you buy,what nonsense. I remember meeting an artist years ago by the name of Mackenzie Thorpe, he was shunned by the art world, critics gave him nothing but a hard time, saying how naive his work was and he would never succeed, he is now living in America as a multimillionaire, the ,as you put it, "average joes", saw his work liked it, and bought it. so much for learned folk!! I along with lots of others on here ARE NOT proffessional collectors, I dont intend to make a fortune buying and selling art, I just want to enjoy it for what it is, there again I am just an uneducated builder, and dont know any better.
Patronising? Because I am encouraging others to read and learn more about art? Because I want more of us to look beyond the narrow confines of whatever constitutes this genre? Because I feel the more we know, the more perspective we will have, the more we will grow, experience, and, yes, protect ourselves and our hard-earned money?
I feel that we could most definitely use more patronising of that form, instead of the patronising of "Wow, what a great print by new printhouse xyz, everyone should buy it!" Especially when it is, at times, coming from duplicate accounts, or friends of the print houses/artists, or people not disclosing their unique interests in the particular print/artist/print house.
You are correct, you do not have to understand something to gain pleasure from it. But you know what? There is so much more pleasure to be gained from the art world if you put work in to educating yourself, developing your understanding, and gaining greater insight. There is so much more depth that can be obtained, so much more joy experience, so much more passion engendered.
I can slug back shots of rot-gut and enjoy getting rightly hammered. And some times that is fine. But there is so much more that can be experienced by developing the palate and learning about good whisky.
"I just want to enjoy it for what it is" is an unfortunate view in my opinion, especially when you can enjoy it for what it is, what it means, where it comes from, where it is going, its role in the progression of art, its influences, its technique, its statement, its artist, its place in its artist's career, its part in the current zeitgeist, etc., etc., etc.
But if it suits you, that is very much your right. I personally am espousing more than that. I am saying that this genre and its collectors can aspire to more than being deluged with 'average' and less. That there is much more out there for us than what we are being served lately. That just as we sometimes criticize artists for doing the same old, lamenting that they don't step-up a little more, explore, push the boat out a little more, we as the fans/collectors of the genre deserve some of the same criticism. Many of us are such insular residents of the little island called urban art, when there is a whole art world out there.
And how do people expect this genre to surpass the fad stage, be taken seriously out in the art world, when we, its primary proponents, do not even really take our time to explore and educate ourselves about that art world? So is it any real shock that some higher-end galleries tend to treat many of us like unwashed, ignorant savages, even when our money spends just the same.
As an aside, there are always exceptions to the rules. Everyone wants to find the next Van Gogh, shunned by the intelligentsia. But those are very few and very, very far between. Their existence does not disqualify the role of the critic, or the art-world establishment, or the scholars, and so on. In comparison, there are plenty who have made millions of dollars without high school educations and without having been exposed to teachers grading their work, curriculums of study, being vetted by the most learned, taking exams and proving their merit, etc. But in reality, the ones that have gone through the academic wringer have far, far better odds at much greater success and staying power.
I'm sorry mose, but I am beginninng to find your posts very patronising, and there is one thing in life that I detest above all else ,and that is when somebody talks down to me, which I feel you are now doing. You seem to have totally lost the point as regards the urban/graff genre, and by the sounds of it all other genre's as well, art is to be enjoyed, you do not have to particularly understand something to gain pleasure from it, what you are talking about is turning everybody on here into proffesional art critics, you say read books etc ,to be able to understand the art you buy,what nonsense. I remember meeting an artist years ago by the name of Mackenzie Thorpe, he was shunned by the art world, critics gave him nothing but a hard time, saying how naive his work was and he would never succeed, he is now living in America as a multimillionaire, the ,as you put it, "average joes", saw his work liked it, and bought it. so much for learned folk!! I along with lots of others on here ARE NOT proffessional collectors, I dont intend to make a fortune buying and selling art, I just want to enjoy it for what it is, there again I am just an uneducated builder, and dont know any better. Patronising? Because I am encouraging others to read and learn more about art? Because I want more of us to look beyond the narrow confines of whatever constitutes this genre? Because I feel the more we know, the more perspective we will have, the more we will grow, experience, and, yes, protect ourselves and our hard-earned money? I feel that we could most definitely use more patronising of that form, instead of the patronising of "Wow, what a great print by new printhouse xyz, everyone should buy it!" Especially when it is, at times, coming from duplicate accounts, or friends of the print houses/artists, or people not disclosing their unique interests in the particular print/artist/print house. You are correct, you do not have to understand something to gain pleasure from it. But you know what? There is so much more pleasure to be gained from the art world if you put work in to educating yourself, developing your understanding, and gaining greater insight. There is so much more depth that can be obtained, so much more joy experience, so much more passion engendered. I can slug back shots of rot-gut and enjoy getting rightly hammered. And some times that is fine. But there is so much more that can be experienced by developing the palate and learning about good whisky. "I just want to enjoy it for what it is" is an unfortunate view in my opinion, especially when you can enjoy it for what it is, what it means, where it comes from, where it is going, its role in the progression of art, its influences, its technique, its statement, its artist, its place in its artist's career, its part in the current zeitgeist, etc., etc., etc. But if it suits you, that is very much your right. I personally am espousing more than that. I am saying that this genre and its collectors can aspire to more than being deluged with 'average' and less. That there is much more out there for us than what we are being served lately. That just as we sometimes criticize artists for doing the same old, lamenting that they don't step-up a little more, explore, push the boat out a little more, we as the fans/collectors of the genre deserve some of the same criticism. Many of us are such insular residents of the little island called urban art, when there is a whole art world out there. And how do people expect this genre to surpass the fad stage, be taken seriously out in the art world, when we, its primary proponents, do not even really take our time to explore and educate ourselves about that art world? So is it any real shock that some higher-end galleries tend to treat many of us like unwashed, ignorant savages, even when our money spends just the same. As an aside, there are always exceptions to the rules. Everyone wants to find the next Van Gogh, shunned by the intelligentsia. But those are very few and very, very far between. Their existence does not disqualify the role of the critic, or the art-world establishment, or the scholars, and so on. In comparison, there are plenty who have made millions of dollars without high school educations and without having been exposed to teachers grading their work, curriculums of study, being vetted by the most learned, taking exams and proving their merit, etc. But in reality, the ones that have gone through the academic wringer have far, far better odds at much greater success and staying power. |
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