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Post by The Gorgon on May 6, 2011 8:47:04 GMT -8
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Post by danbarry on May 12, 2011 9:08:13 GMT -8
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Post by The Gorgon on Jun 2, 2011 17:20:03 GMT -8
I'm not oppose to artist assistants, but an army if assistants painting for you and not getting credit --a la Koons & Hirst. Doesn't seem right. Read the WSJ article here: t.co/1Kz25qN
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Post by commandax on Jun 3, 2011 7:00:18 GMT -8
I'm not oppose to artist assistants, but an army if assistants painting for you and not getting credit --a la Koons & Hirst. Doesn't seem right. Read the WSJ article here: t.co/1Kz25qNAnd if you don't even know how to paint, don't call yourself a painter. I don't mind if an artist has someone helping them prep panels, or even doing underpainting and detail work in the background. But if your hand isn't in it, you're not an artist, you're a gimmick.
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djsp
Full Member
Posts: 134
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Post by djsp on Jun 3, 2011 7:57:13 GMT -8
I'm not oppose to artist assistants, but an army if assistants painting for you and not getting credit --a la Koons & Hirst. Doesn't seem right. Read the WSJ article here: t.co/1Kz25qNIt is one thing to create art and then have assistants help you when you grow beyond your means to finish your pieces. But as Commandax said, it is wholly another thing to never be a painter, and claim to be when you tell others what to paint. Ridiculous. I am sorry I just can't see past that personally.
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Post by svenman on Jun 3, 2011 8:45:52 GMT -8
I'm not oppose to artist assistants, but an army if assistants painting for you and not getting credit --a la Koons & Hirst. Doesn't seem right. Read the WSJ article here: t.co/1Kz25qNAnd if you don't even know how to paint, don't call yourself a painter. I don't mind if an artist has someone helping them prep panels, or even doing underpainting and detail work in the background. But if your hand isn't in it, you're not an artist, you're a gimmick. being a painter and being an artist are completely different things though don't you think?
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Post by commandax on Jun 3, 2011 9:18:44 GMT -8
And if you don't even know how to paint, don't call yourself a painter. I don't mind if an artist has someone helping them prep panels, or even doing underpainting and detail work in the background. But if your hand isn't in it, you're not an artist, you're a gimmick. being a painter and being an artist are completely different things though don't you think? Unless you're making huge structures or highly technical objects that would be impossible for a single person to execute, or are physically incapable of rendering your ideas in some fashion (e.g., you are blind or paraplegic), I think you should be doing the work yourself, or at the very least closely supervising it and putting your "hand" upon the work. I don't think you should call yourself an artist if you're hiring sweatshop workers in another country to churn out representations of your "ideas." Perhaps you could call yourself a designer of products. At the very most, you're a conceptual artist toying with the concept of conspicuous consumption. You're certainly not a painter, and shouldn't represent yourself as one.
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Post by svenman on Jun 3, 2011 10:03:17 GMT -8
I take your point, but myself I think that the artistry is in the concept. It's a rather misaligned analogy, but consider the filmmaker as artist for example...
I believe that most artists who use paint as their medium start out as the person solely responsible for their output, however, as they gain momentum, success and demand they need to use assistants to help output the work.
Being an assistant to a recognised artist is also valuable experience and exposure for up and coming artists - quite a lot of artists from this micosm of a scene we discuss here work or have worked for 'name' artists as assistants. A regular paying gig in the art world is quite a sought after one.
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Post by rhythmgtr5 on Jun 9, 2011 20:05:22 GMT -8
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Post by The Gorgon on Jun 21, 2011 20:36:11 GMT -8
Interesting article about the "underground art economy" in Forbes magazine.
The Underground Art Economy
Ask a billionaire art collector whether he buys art as an investment, and you’re more than likely to hear, “No, certainly not.” Most will claim a strong aesthetic and emotional connection to a work of art, not a profit motive. Yet as the 42nd annual Art Basel came to a close on Sunday, the numbers of sales the fair stirred up have been creating more buzz than most of the artwork itself.
I detailed some of the reported sales figures after Tuesday’s VIP preview. They ranged from $30,000 for Louise Lawler’s Light and Dark, a cibachrome (a photograph to you and me) mounted to plexi on a museum box, to $5.5 million for a Mark Rothko untitled abstract painting in oil. Altogether, the works at the fair are thought to have a retail value of $1.75 billion.
Galleries usually don’t report sales figures to protect the privacy of their buyers. You’d be hard-pressed to find price tags on walls. The artists themselves poo-poo questions about price. Because of the fair’s commercial nature, the artists I spoke with said that up to a couple of years ago they’d be embarrassed to be seen showing up.
Talking about money, especially when it came to art, was once so gauche. These days, not so much. Still, many prefer to do it on the sly.
Over the last decade a large number of investment advisories and funds have emerged specifically to buy and hold art, just as they do other assets. “No one puts $1 million into art if it isn’t an investment — it’s not a consumption item,” says Jim Hedges, president of Montage Finance, a financial advisor that specializes in art as an investment. “Anyone who says it isn’t an investment is being disingenuous.”
Hedges, previously president of an alternative investment advisory firm, began investing in art as a hobby in 1989 and eventually decided there was “lots” of money to be made in the art market. He began lending funds to dealers and collectors and by 2004 he sold his money management company and turned his focus to art. He spent his days at Art Basel last week going from booth to booth inquiring about sales, meeting with dealers, collectors and prospects.
Philip Hoffman, CEO of The Fine Art Fund Group, a London-based art investment house with $100 million in assets, says that while buyers seemed to be closing deals on a whim, this year’s fair wasn’t quite the debauchery of 2007 when collectors spent blindly on artwork they didn’t know. “I remember one hedge fund manager telling me he’d just bought $100,000 of art,” says Hoffman. “When I asked him who was the artist he said he couldn’t remember. That was at the heyday of 2007 at Miami Basel — there was a very different approach this time around.”
While collectors are still making “passion buys,” they are paying attention to the fine print that makes quality art a good investment. Some of the common questions they may ask themselves, or more likely, an advisor, include: Where does the piece come from? When was it done? Is it from a desirable time from the artist? What condition is it in?
Many collectors traveled to Basel with their advisors in hand or sent them to check out the wares. During downturns and periods of currency volatility, says Hoffman, quality high-end art is another way to hedge a portfolio. He recommends about 5% of an investment portfolio be dedicated to art — through a fund or a collection.
Hedges calls art “the last great frontier in terms of asset class.” His group’s latest significant investment was on a collection of hundreds of pieces of art for which they paid $20 million. The idea, he says, is to send the collection on tour in museums for a couple of years and make it better known, especially in places like Brazil and China, which are producing a growing number of enthusiastic art buyers. Hedges expects the rate of return for the entire collection to be three times over the entire holding period.
Sitting outside Art Basel’s entrance hall, Hedges marveled at the scene. “It’s a dance that’s amusing to watch — there’s a lot of fawning and silliness that goes on,” he said. “But there’s a lot going on with advisors and people sent to represent big collectors that you don’t see.”
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Post by lowpro on Jun 21, 2011 23:01:44 GMT -8
Here's a somewhat related piece also from Forbes, with some insight into specific sales. Art Basel Update: How Much Is The Art Selling For? blogs.forbes.com/kerenblankfeld/2011/06/15/art-basel-update-how-much-is-the-art-selling-for/Billionaire and celebrity VIPs got a running start during yesterday’s Art Basel preview in Basel, Switzerland (see my rundown of yesterday’s stampede into the fair here). Among the VIPs were model Naomi Campbell, actor Will Ferrell, entrepreneur Peter Brant and restaurateur Michael Chow (aka Mr. Chow). Of course, Art Basel wouldn’t be Art Basel without its billionaire staples shopping for additions to their collections, including philanthropist Eli Broad, Miami car dealer Norman Braman and jewelery mogul Laurence Graff. The art shown has been estimated to be worth more than $1.75 billion. Following’s the growing list of what’s been sold — check back as I add to it: * Mark Rothko abstract for $5.5 million. * Paul McCarthy’s White Snow DWARF 7 sold out 3 editions for $2.75 million each. * Sterling Ruby’s SP166 spray paint on canvass sold for $145,000 to a European collector. * Mark Bradford’s He Barked Just Like A Watchdog sold for $400,000 to a European museum. * Cerith Wyn Evans In Girium Imus Nocte Et Consumimur Iggni sold for GBP 75,000. * A large Hernan Bas sold to a Hong Kong collector for more than $150,000. * A large Erwin Wurm sculpture sold to a Latin American collector for more than 120,000 Euros. * Mickalene Thomas’ Three Graces: Les Trois Femmes Noires sold to the American Museum for more than $110,000. * Three editions of Tracey Emin in Aqua sold to two New York collectors and one European collector for more than £55,000 each. * Jason Rhoades’ installation at Art Unlimited was sold for close to $1 million. * Fred Sandback’s piece displayed at Art Unlimited was sold for just under $500,000. * A piece by Donald Judd was sold to a European collector for $700,000. * Adel Abdessemed sold a large-scale metal map to a European collector for $200,000. * George Condo’s Delineated Forms for $450,000 to a European collector. * John Baldessari’s Marilyn Monroe sold for $250,000 to an American collector. * Two versions of Louise Lawler’s Light and Dark sold to American collectors. One sold for $30,000, the other for $150,000. * Ron Mueck’s Youth sold for GBP 450,000 to a European collector.
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Post by lowpro on Jun 21, 2011 23:04:19 GMT -8
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Post by dotdot on Jun 22, 2011 5:03:25 GMT -8
nice to see Ron Mueck making an appearance somewhere. His work is untouched by nothers in his field. ( too real is an understatement) the work mentioned earlier is one I've not seen until now... here's what it was..
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Post by gildoinc on Jun 22, 2011 8:48:49 GMT -8
Good morning artchival. CNN and Artinfo are both saying that Ai Weiwei was released on bail.
Here is the article from CNN
China has released dissident artist Ai Weiwei on bail, the state-run Xinhua news agency reported Wednesday.
Ai, one of China's most successful and renowned artists, was on his way to Hong Kong in April when he was taken into custody amid a crackdown on dissidents, activists and religious groups across China.
Ai's Beijing studio was raided, and his wife and eight assistants were taken into custody for questioning.
Though Ai is widely regarded as a political prisoner, Beijing police told Xinhua last month — more than a month after taking him into custody - that Ai evaded a "huge amount" of taxes and that his company intentionally destroyed accounting documents.
Most famous for designing the Bird's Nest stadium for the 2008 Beijing Olympics, he later called for a boycott of the games because he said China was using them as propaganda.
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Post by gildoinc on Jun 22, 2011 8:48:50 GMT -8
Good morning artchival. CNN and Artinfo are both saying that Ai Weiwei was released on bail.
Here is the article from CNN
China has released dissident artist Ai Weiwei on bail, the state-run Xinhua news agency reported Wednesday.
Ai, one of China's most successful and renowned artists, was on his way to Hong Kong in April when he was taken into custody amid a crackdown on dissidents, activists and religious groups across China.
Ai's Beijing studio was raided, and his wife and eight assistants were taken into custody for questioning.
Though Ai is widely regarded as a political prisoner, Beijing police told Xinhua last month — more than a month after taking him into custody - that Ai evaded a "huge amount" of taxes and that his company intentionally destroyed accounting documents.
Most famous for designing the Bird's Nest stadium for the 2008 Beijing Olympics, he later called for a boycott of the games because he said China was using them as propaganda.
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Post by The Gorgon on Jun 23, 2011 14:58:42 GMT -8
This is a MUST read. "How to Sell Art in Hard Times" by Mark Kostabi. If we had one of these in the US, I would be so all over it.
I know, I know...I sound very stupid and naive right now. The article dissects the art of the deal, yet I still fall for the smoke and mirror show. What can I say, sounds like a good time.
SELLING ART IN HARD TIMES
by Mark Kostabi
“Anyone who can sell a painting today deserves a gold medal.” Those were the words I heard this morning from Giuseppe Orler, my biggest client, a dealer based near Venice. With his brothers, Giuseppe owns four galleries and ordinarily sells vast quantities of art via television infomercials with call-in numbers. But Galleria Spagnoli, headquartered in Florence, to which Orler consigns art, deserves hundreds of these medals. How so? How does Spagnoli prosper in today’s art market? Listen closely, because I’m about to tell you a tale unlike anything you’ve heard before. It all went down last week at the Hotel Baia di Conte, a vacation resort in Alghero, Sardinia.
Renzo Spagnoli is a seasoned Italian art dealer who invented what you could call the “resort system” of selling art. He has six galleries in vacation resorts throughout Italy, and anyone who buys art from them gets invited to one of his all-expenses-paid one-week resort vacations. Skiing in the winter, beach in the summer.
During the week, which is called “Settimana dell’Arte” (“Week of Art”), in addition to offering free hotel rooms, free meals and free vacation activities, Spagnoli puts on art shows, lectures by visiting art critics (like Vittorio Sgarbi and Luca Beatrice, who have both curated the Italian Pavilion in the Venice Biennale) and auctions.
Guests aren’t obligated to buy art during the free vacation, but if they enjoy two consecutive free vacations in a row without buying anything, they won’t get invited back (unless they are normally very big spenders, in which case they may get a third free pass).
Renzo Spagnoli, via his daughter Beatrice, an athletic beauty with short hair and three tattoos (one on her neck, one on her ankle and one that I have only heard about), had been imploring me to attend their latest “Week of Art.” She claimed that if I failed to attend, the gallery would still have success selling my paintings -- but if I did attend, sales would definitely double.
Since I don’t sell directly to Spagnoli (he gets my work on consignment from Orler and other dealers), I felt no obligation to go. After many calls, however, I finally said yes when the company agreed to pay me a special cash fee upon arrival on Wednesday. Once I showed up, I only had to remind them one time about the cash-filled envelope and it appeared as well. I prefer to get the envelopes at the airport after baggage claim, or if it’s an especially fat one, after check-in at the hotel, so it can go straight into the safe in the room.
After I got the envelope the fun began. Actually, there was no work for me the first day. Just a private dinner away from the resort. They said I had to be unseen, kept away from the eager clients, until the perfectly timed, dramatic “moments of privilege.”
The first “moment of privilege” came at 2 pm on Thursday, after the gallery clients had been sufficiently spoiled with a free lunch. Four of my paintings were displayed on easels on a set with two armchairs, where an art salesperson, Veronica De Blasi, interviewed me for a one-hour “talk show” in front of about 200 attendees, all qualified art collectors.
At the end of the talk, the host and I invited the audience into the “Sala Kostabi” (Kostabi Room), where about 40 of my paintings were on display, salon style. In the Sala Kostabi I discussed several works, the ones I felt most confident analyzing.
At the end of my remarks, many of the guests wanted to talk with me and be photographed with me, which I would have been happy to do -- but I was whisked away to rest in my room, which created further demand. It was announced that “Maestro Kostabi will be available for photos and to dedicate purchased paintings on Friday at 12 noon.”
The second “moment of privilege” was scheduled for 10 pm Thursday evening. After the clients had again been sufficiently wined and dined, they were herded to an outdoor amphitheater. The show began with a video projected on two large screens flanking the stage. Galleria Spagnoli itself had produced the video last year, for a previous “Week of Art” (which I could not attend) in Tunisia.
The video was a portrait of me, primarily giving a tour of my Rome apartment and underlining key tabloid points of my career, like my designing album covers for Guns n’ Roses, having 60 solo shows in New York, being collected by major museums and directing Kostabi World, my New York studio known for its numerous painting assistants. The video also showed me playing my concert grand Hamburg Steinway, since many art dealers like to add the information that I’m also a composer. It’s all part of the “Renaissance Man” marketing angle.
After the eight-minute-long video ended, curtains majestically parted while music from my latest CD, The Spectre of Modernism, enveloped the amphitheater. Dazzling colored lights moved across the stage amid billowing smoke while a large white cut-out of one of my signature angels slowly rose upwards towards the heavens. (They don’t do this stuff at Chelsea gallery shows).
I watched the spectacle from the front row of the darkened audience. Suddenly, Beatrice, the tattooed hard-body, clutched my hand and ushered me backstage. I was told to emerge as soon as I heard my name, MARK KOSTABI, dramatically announced by Veronica De Blasi (who is, by the way, another hard-body). They told me not to trip on the cables.
After Veronica prefaced my impending emergence with an epic tabloid preamble, I heard my name, MARK KOSTABI, thundering into the packed amphitheater. Two handlers gave me a little nudge. I was careful not to trip on the cables and, feeling like it was my first David Letterman TV appearance, smilingly sauntered onstage, waved to the masses (all but invisible to me behind blinding stage lights), double-kissed Veronica, who wore a bright red dress, and slid into my armchair for interview number two of the day.
This interview had to be only 10 minutes long, however, not an hour like the 2 pm talk show, because the real event was the auction that was to follow. I focused and gave the best interview I could, especially since it was handsomely paid for and I wanted more of the love.
Whatever I said must have worked, because the audience applauded several times during the session. Suddenly it was over and I was quickly delivered to a dinner for two (me and another salesperson, who was supposed to bond with me in order to ensure his future sales credibility) at a restaurant far from the resort. The organizers didn’t want the artist -- me -- to witness the details of the actual, possibly bloody, auction.
The third “moment of privilege” occurred the next day, the moment of truth, Friday at 12 noon, as promised. I showed up five minutes early to the Sala Kostabi, which was empty of people though two stacks of about 20 of my paintings, in gold Baroque frames and tagged with Post-It notes, were leaning on the walls.
“Wow! They sold all these last night?” I unspooled my China Marker to prepare to write the personal dedications on the backs of the canvases. Suddenly the room filled with the clients who had bought the works, appearing like angels. I patiently dedicated each painting to each collector, explained the ideas behind the works, posed for the photos you’re seeing alongside this Artnet Magazine article and asked each collector where he or she lived. Torino, Torino, Milano, Palermo, Roma, Roma, Roma, Roma, Roma, etc. I live in Rome and show in Rome but most of my Roman collectors buy my work from other places.
This story illustrates a basic truth about selling art in a shrunken economic climate: It’s all about events and preparation. That’s why you still hear about success at art auctions and art fairs, which involve theatrical selling, while the picture for regular gallery sales (and in Italy even TV sales) is bleak.
What’s more, events are not enough. To sell art now, you need high quality work. (Sorry for using this cliché. Everyone says that quality is the key to success in tough times, and while it’s not the only necessary ingredient, it is important.)
For anyone who thinks my success is primarily due to hype and theater, I wish it were that easy. Most people agree that the quality of my work ranges from genius to slightly less than genius (except for Donald Kuspit, who has said it’s all worse than bad).
The collectors at the resort in Sardinia were very careful to choose the best paintings, the ones that could be sold in flush times in a matter of seconds by anyone. They enjoyed the party, had an art experience they can remember all their lives, got a good deal, and are now enjoying the new paintings in their collections.
MARK KOSTABI is an artist and composer who lives in Rome and New York. He produces and stars in The Kostabi Show, a television game show. Please send responses and questions to askmarkkostabi@yahoo.com
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Post by grotesqueanimal on Jun 24, 2011 4:28:58 GMT -8
Funny read but boy, is this guy's work ugly. I do not want to post pictures of his pieces as I am afraid it could cause severe eye damage. Just google them on your own risk. I cannot believe that he sells up to 1,000 paintings a year. All he does is sign them, he has "ideas persons", then a few painters, and to find titles for the paintings he hosts his own TV show. Pretty genius. All information from here: www.telegraph.co.uk/culture/3667956/Mark-Kostabi-Andy-Warhol-had-nothing-on-this-guy.html
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Post by oldfartatplay on Jun 24, 2011 6:45:02 GMT -8
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Post by thirteen on Jun 24, 2011 8:05:25 GMT -8
This is a MUST read. "How to Sell Art in Hard Times" by Mark Kostabi. If we had one of these in the US, I would be so all over it. Disgusting. But a great read.
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Post by virtu on Jun 24, 2011 9:01:45 GMT -8
About twenty years ago Kostabi was one of the top selling Pop Artist. (it was a sad time in the art world) His serigraphs were $1200 release price, only the 1st two releases sold out, the rest just piled up. I remember he did a show at the Martin-Lawrence Gallery - Fashion Island years back, he went a few doors down to the Thomas Kinkade Gallery and purchased something like 6 framed Kinkade canvas pieces then took them back to his show and over-painted each, put them in the window and sold them all. The Thomas Kinkade Gallery people were buzzing around like a bunch of angry bee's. (what fun) He was famous for insulting collectors to their faces when they purchased his work at shows. Collectors bored of him quickly Thank God. When he stopped painting his own work altogether and bragged about it to the world his publisher dumped him and he pretty much disappeared until he figured out he could sell directly to retarded collectors on Ebay and Cruise Ship Auctions. He is a real piece of work but a survivor to the end.
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Post by LeBasse Projects on Jun 25, 2011 14:21:53 GMT -8
Kostabi was the youngest artist to ever be purchased for MOMA's permanent collection. He was a really interesting guy actually.
He wrote a great essay about having to sneak into MOMA's re-launch as he was one of the only artists NOT invited to the gala...even though he had several works in the permanent collection. I need to find his write-up of the ordeal...it was hilarious.
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Post by The Gorgon on Jun 26, 2011 23:55:54 GMT -8
Funny read but boy, is this guy's work ugly. I do not want to post pictures of his pieces as I am afraid it could cause severe eye damage. Just google them on your own risk. I cannot believe that he sells up to 1,000 paintings a year. All he does is sign them, he has "ideas persons", then a few painters, and to find titles for the paintings he hosts his own TV show. Pretty genius. Thanks for sharing Katrin. When I read that he paints 1000 paintings per year, in the original article that I posted, I was a little stunned. How fast does this guy paint? Then he mentioned that he had artist assistants. I wondered what he used them for. Now I know. Great read.
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Post by The Gorgon on Jun 27, 2011 0:05:42 GMT -8
About twenty years ago Kostabi was one of the top selling Pop Artist. (it was a sad time in the art world) His serigraphs were $1200 release price, only the 1st two releases sold out, the rest just piled up. I remember he did a show at the Martin-Lawrence Gallery - Fashion Island years back, he went a few doors down to the Thomas Kinkade Gallery and purchased something like 6 framed Kinkade canvas pieces then took them back to his show and over-painted each, put them in the window and sold them all. The Thomas Kinkade Gallery people were buzzing around like a bunch of angry bee's. (what fun) He was famous for insulting collectors to their faces when they purchased his work at shows. Collectors bored of him quickly Thank God. When he stopped painting his own work altogether and bragged about it to the world his publisher dumped him and he pretty much disappeared until he figured out he could sell directly to retarded collectors on Ebay and Cruise Ship Auctions. He is a real piece of work but a survivor to the end. That is freakin' hilarious! Buying Kingcades, then painting over them. Genius! One of the gallerist on the board (ie: Andrew, Jan, or Virtue) should buy Kingcades and have lowbrow artists paint over them. I would soooo buy that. The show title should be, "Kingcade: The Masturbator of Light". A few years back when I was still in grad school, too poor to buy art, and just started getting exposed to lowbrow, a buddy of mine and I actually stepped inside a Kingcade gallery and pretended to be super excited with the sales person about Kingcade's paintings. We couldn't hold our cover very long and had to step out of the gallery before the sales rep was insulted.
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Post by The Gorgon on Jun 27, 2011 0:07:58 GMT -8
About twenty years ago Kostabi was one of the top selling Pop Artist. (it was a sad time in the art world) His serigraphs were $1200 release price, only the 1st two releases sold out, the rest just piled up. I remember he did a show at the Martin-Lawrence Gallery - Fashion Island years back, he went a few doors down to the Thomas Kinkade Gallery and purchased something like 6 framed Kinkade canvas pieces then took them back to his show and over-painted each, put them in the window and sold them all. The Thomas Kinkade Gallery people were buzzing around like a bunch of angry bee's. (what fun) He was famous for insulting collectors to their faces when they purchased his work at shows. Collectors bored of him quickly Thank God. When he stopped painting his own work altogether and bragged about it to the world his publisher dumped him and he pretty much disappeared until he figured out he could sell directly to retarded collectors on Ebay and Cruise Ship Auctions. He is a real piece of work but a survivor to the end. That is freakin' hilarious! Buying Kingcades, then painting over them. Genius! One of the gallerist on the board (ie: Andrew, Jan, or Virtue) should buy Kingcades and have lowbrow artists paint over them. I would soooo buy that. The show title should be, "Kingcade: The Masturbator of Light". A few years back when I was still in grad school, too poor to buy art, and just started getting exposed to lowbrow, a buddy of mine and I actually stepped inside a Kingcade gallery and pretended to be super excited with the sales person about Kingcade's paintings. We couldn't hold our cover very long and had to step out of the gallery before the sales rep was insulted.
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Post by The Gorgon on Jun 27, 2011 0:10:47 GMT -8
Kostabi was the youngest artist to ever be purchased for MOMA's permanent collection. He was a really interesting guy actually. He wrote a great essay about having to sneak into MOMA's re-launch as he was one of the only artists NOT invited to the gala...even though he had several works in the permanent collection. I need to find his write-up of the ordeal...it was hilarious. When I read that his work is part of several museums' permanent collection, I was a bit shocked. I asked myself is I was missing something, because I didn't see the appeal in this work.
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