Post by sin on Jan 7, 2013 11:30:01 GMT -8
Curious to hear other peoples thoughts on this topic and have some questions of my own as I try to pull together a cohesive feel for our collection.
When I started collecting I had little if any real direction.
My first few pieces of art were pieces I purchased from old friends, were given by family or picked up on my travels. These pieces have some sentimental value to me but dont as a rule fit into my larger collection.
IMAG0264 by customcourage, on Flickr
This is a piece by Vicotor Manuel Ochoa Baez who is an artist in the Dominican Republic. I found his shop while my driver was shooting down some side streets. His studio was about as large as a master bathroom and he had these captivating floating eyes above his door. A lot of the art in the DR is for tourists, Vicotor stuck out as being real and authentic amoung the piles of disposible work.
IMAG0267 by customcourage, on Flickr
Jennifer Roberty Kokay (aka Jenn Sandwich) Jenn and I grew up in together. I left home at 15-16 and spent a lot of my time sleeping on Jenn's floor in a commune she lived at. I chose to sell out and start a career, Jenn took the harder road and focused on her art. This is a transitional piece of hers, I bought it just to have a piece of her work and I estetically liked it. I have some later works by her that are in line with her current direction which I love and fit the collection quite well.
IMAG0277 by customcourage, on Flickr
Excuse the crappy pictures.
These were given to me, through my grandparent, from my great uncle. My great uncle traveled a lot and was my hero as a young boy. These are rubbings that were done off indian wall carvings. I have a few more. I suppose in fairness they are street art if you paint that term with a wide enough brush.
Then, I have the core of the collection which is post graffiti which includes works by
Elbow Toe
How&Nosm
Peeta
El Mac
KMNDZ
Moneyless
Ekundayo
Mars-1
Swoon
Craola
Joe Iurato
Stinkfish
Revok
Andrew Hem
There are some outliers that were early acuqistions that are low brow / new brow that done exactly fit there but are close enough by
Josh Taylor
Brendan Tierney
Then there are works that are completely outside my core focus. N. Solis David
Joshua Krause
Reinier Gamboa
Juan Travieso
David Olivera
Leonardo Castaneda
Guy Mckinnley
Gregory Euclide
Tiffany Bozic
My issue here is that there is no real cohesive statement in this part of the collection, other than the 4 Flager Art Space artists.
I started this off shoot with Reinier Gamboa piece under the premise that this group would include artists that were emerging / late emerging and were highly skilled in multiple mediums.
In the case of Reinier he works in a number of mediums
Charcoal
IMG_0786 by customcourage, on Flickr
Oil
102 by customcourage, on Flickr
Some of the artists in this group fit that mold, some dont.
So as I continue to acquire work I thinks its important to know where I am and where I am going.
As a few of you know I have been working on putting together a foundation to be there and protect the collection when I am no longer here to do so. I also have been trying to get the collection shown in local and regional museums as a way to share these works with the public. To be effective in both these regards I feel like the collection needs to have some direction and I when dealing with the 3rd section I am not sure where to take it based on what already is in that section.
Does anyone else go through this identity crisis type of thinking? if so, do you have any guidence on how you handled bringing cohesion to your collection?
Thanks and excuese the poor spelling etc, spell check has ruined me as a person.
When I started collecting I had little if any real direction.
My first few pieces of art were pieces I purchased from old friends, were given by family or picked up on my travels. These pieces have some sentimental value to me but dont as a rule fit into my larger collection.
IMAG0264 by customcourage, on Flickr
This is a piece by Vicotor Manuel Ochoa Baez who is an artist in the Dominican Republic. I found his shop while my driver was shooting down some side streets. His studio was about as large as a master bathroom and he had these captivating floating eyes above his door. A lot of the art in the DR is for tourists, Vicotor stuck out as being real and authentic amoung the piles of disposible work.
IMAG0267 by customcourage, on Flickr
Jennifer Roberty Kokay (aka Jenn Sandwich) Jenn and I grew up in together. I left home at 15-16 and spent a lot of my time sleeping on Jenn's floor in a commune she lived at. I chose to sell out and start a career, Jenn took the harder road and focused on her art. This is a transitional piece of hers, I bought it just to have a piece of her work and I estetically liked it. I have some later works by her that are in line with her current direction which I love and fit the collection quite well.
IMAG0277 by customcourage, on Flickr
Excuse the crappy pictures.
These were given to me, through my grandparent, from my great uncle. My great uncle traveled a lot and was my hero as a young boy. These are rubbings that were done off indian wall carvings. I have a few more. I suppose in fairness they are street art if you paint that term with a wide enough brush.
Then, I have the core of the collection which is post graffiti which includes works by
Elbow Toe
How&Nosm
Peeta
El Mac
KMNDZ
Moneyless
Ekundayo
Mars-1
Swoon
Craola
Joe Iurato
Stinkfish
Revok
Andrew Hem
There are some outliers that were early acuqistions that are low brow / new brow that done exactly fit there but are close enough by
Josh Taylor
Brendan Tierney
Then there are works that are completely outside my core focus. N. Solis David
Joshua Krause
Reinier Gamboa
Juan Travieso
David Olivera
Leonardo Castaneda
Guy Mckinnley
Gregory Euclide
Tiffany Bozic
My issue here is that there is no real cohesive statement in this part of the collection, other than the 4 Flager Art Space artists.
I started this off shoot with Reinier Gamboa piece under the premise that this group would include artists that were emerging / late emerging and were highly skilled in multiple mediums.
In the case of Reinier he works in a number of mediums
Charcoal
IMG_0786 by customcourage, on Flickr
Oil
102 by customcourage, on Flickr
Some of the artists in this group fit that mold, some dont.
So as I continue to acquire work I thinks its important to know where I am and where I am going.
As a few of you know I have been working on putting together a foundation to be there and protect the collection when I am no longer here to do so. I also have been trying to get the collection shown in local and regional museums as a way to share these works with the public. To be effective in both these regards I feel like the collection needs to have some direction and I when dealing with the 3rd section I am not sure where to take it based on what already is in that section.
Does anyone else go through this identity crisis type of thinking? if so, do you have any guidence on how you handled bringing cohesion to your collection?
Thanks and excuese the poor spelling etc, spell check has ruined me as a person.