Despite the floundering economy, the unemployment rate's continuous rise, and lack of leadership from DC on how to get out of this deep, dark 2012-is-almost-upon-us hole, it's refreshing to know that money is still being spent on important things: Art. Both Sotheby's and Christie's recent auctions raked in millions for the usual bread-and-butter artists including Picasso, Cezanne, and of course, Warhol. While the two auctions houses report record sales during their Post-Impressionist and Modernism auctions recently, it's sad to watch Museums and galleries floundering for funds. As member of the MoMA, I know it isn't cheap, but it's the least I can do to keep New York's art scene thriving. I think there is a direct correlation between the price of art rising (and being bought by eager bidders) and the diversity of creativity in the art world. Like many, I long for the golden ages of art movements such as Impressionism and Cubism and the Renaissance. Many art critics, such as those who attended the latest Art Basil show in Miami, felt the art work was lacking a sense of originality. As if each work was built out of a kernel of nostalgia for an artist's work. Sounds a bit Inception-y to me, but I believe it's true. Although I am not a
huge fan of modern art, I think it's refreshing to be confronted with something unique and different. Which is why I must recommend
"Francis Alÿs: A Story of Deception" at the MoMA. His unique sense of perception is quite uncanny - watching him kick around a large block of ice on the streets of Mexico until it melts into a puddle...well, it's almost frustrating. As in, what's the point? As you move through the exhibit, viewing similar projects, you suddenly hear this massive WHOOSH. And that's when you find Francis video taping himself running into mini tornadoes in the desert. And that's about the time I started to enjoy his odd sense of art. Then again, if you prefer the old art, scoot right out and fall into the vibrant and depressing German Expressionism show.
Despite the floundering economy, the unemployment rate's continuous rise, and lack of leadership from DC on how to get out of this deep, dark 2012-is-almost-upon-us hole, it's refreshing to know that money is still being spent on important things: Art. Both Sotheby's and Christie's recent auctions raked in millions for the usual bread-and-butter artists including Picasso, Cezanne, and of course, Warhol. While the two auctions houses report record sales during their Post-Impressionist and Modernism auctions recently, it's sad to watch Museums and galleries floundering for funds. As member of the MoMA, I know it isn't cheap, but it's the least I can do to keep New York's art scene thriving. I think there is a direct correlation between the price of art rising (and being bought by eager bidders) and the diversity of creativity in the art world. Like many, I long for the golden ages of art movements such as Impressionism and Cubism and the Renaissance. Many art critics, such as those who attended the latest Art Basil show in Miami, felt the art work was lacking a sense of originality. As if each work was built out of a kernel of nostalgia for an artist's work. Sounds a bit Inception-y to me, but I believe it's true. Although I am not a
huge fan of modern art, I think it's refreshing to be confronted with something unique and different. Which is why I must recommend "Francis Alÿs: A Story of Deception" at the MoMA. His unique sense of perception is quite uncanny - watching him kick around a large block of ice on the streets of Mexico until it melts into a puddle...well, it's almost frustrating. As in, what's the point? As you move through the exhibit, viewing similar projects, you suddenly hear this massive WHOOSH. And that's when you find Francis video taping himself running into mini tornadoes in the desert. And that's about the time I started to enjoy his odd sense of art. Then again, if you prefer the old art, scoot right out and fall into the vibrant and depressing German Expressionism show.
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