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The Andrew Au and Andrew Krieger solo shows at H&F Fine Art look fantastic. Fortunately, the shows will remain up until January 19 so you still have time to catch it in 2008. Perhaps that should be one of your New Year's resolutions!
Here are some images from the shows:
I'm working on some other posts that are quite time consuming. Maybe the New Year's holiday will give me time to complete them. In the meantime, here are some more photos... these were taken during a trip into the Reston woods on Christmas Eve.
I'm hoping this tides you over until more substantial posts make an appearance. These were all taken recently in the small field that sits to the left of the Target in Reston, VA.
Merry Christmas Eve!
Here are some photos I captured while in Miami. Hopefully they give you some warm thoughts while it's cold outside.
Although I do have two more posts on Miami yet to come, I thought it would be fun to share some of my recent photographs with you over the holidays. As I mentioned before, I've sort of jumped into this photography thing pretty seriously. I have Robert Adams to thank for that inspiration. It's been really interesting to see what kind of things are catching my eye. Here are some nature shots from wooded areas in Reston, VA. These were all found within a half mile of my house. All are currently printed at 11x14 but may go bigger (16x20). We'll see.
Thanks for looking!
My apologies for taking so long to post part 4 of the Miami recap. You see, day 4 of the Miami experience was the worst of the 5. We visited INK, Red Dot and Art Now. Paddy Johnson at AFC felt that INK was the best non Basel fair on Miami Beach (I keep referring to AFC because of the exhaustive coverage there). Unfortunately, I completely disagree. I found it to be a weak, awkward fair. The hotel (of course a hotel) in which the fair was held was not optimal for viewers. About half of the "booths" were on the ground level. The rest were on the second level. Not bad, right? Wrong. You had to walk up a flight up stairs to see one or two rooms and then back down. Then you had to go up a different set of stairs to see one or two more. Repeat about 10 times. In bright, warm sun, this was not fun. If the booths were worth it, that would be one thing. These were not.
I found the work at INK to be stale and wildly overpriced. I felt confident that I would be able to pick up a print or two at a good price. When I found a medium-sized print by a recently emerged artist priced at $1,800 in an edition of 30 (I think), I knew things were inflated. That makes the print a $54,000 piece of art (30 x $1800). I know you can't really look at it that way, but when an original painting that same size goes for about $8,000, something is wrong. I think so at least. And that sentiment carried throughout the show.
I can't really remember much from the Red Dot Fair. All that I can recall is that I thought it sucked pretty hard. That's very academic criticism if you didn't recognize it. The one story I can remember from this fair is that Stacey tried to ask the price of a photograph and the gallerist ignored her. Apparently this gallery had so many sales they didn't need our money.
The last stop of the day was the Art Now Fair. This was easily the worst fair of them all (that I attended). The galleries showed work that I would typically expect to find in Starbucks. Not that anything is wrong with that, but just not on par with what I expected in Miami. I imagine many artists saw this work and questioned why the heck they weren't showing in Miami. We intended to see everything in Miami. But the first floor at Art Now was so bad we didn't even attempt the second.
After Art Now we went to get a bite to eat at Joe's Stone Crab. While there, I had one of the greatest sandwiches of my life... the Grilled Lobster Reuben. I imagine you either want to vomit in your mouth or your mouth is watering. It was delicious... I can still taste it. In a good way. Yum.
We wrapped up the day by visiting other sideshow fairs. At this point I've already forgotten their names. Oh, we went to Zones. It was not good. We also went to Fountain. Not good.
Finally, we went back to Aqua Wynwood where we had seen some lovely Amy Ross watercolors. The gallerist told us on Wednesday that everything Amy makes sells. I had somehow forgotten the real price and instead thought it was 25% cheaper than reality. When we went back to the booth, all 4 pieces were still there (as were all Amy Ross' in Miami... I hate sales pitches). When I saw the actual price again, I turned around and went back out. I guessed that the gallery wouldn't know about 35% off the price.
And that sums up Saturday in Miami... a day of disappointments. Sunday was a bit better though and I'll cover that next.
“It’s a hobby,” Mr. [Steven A.] Cohen said of his collection, which he began with the purchase of a Fauvist landscape. “You have to start somewhere,” he added, although, having bought de Kooning’s “Woman III” from David Geffen for $137.5 million and having spent $45.9 million at a recent auction for Francis Bacon’s “Second Version of Study for Bullfight No. 1,” there is no reason to imagine Mr. Cohen has any plans to stop.
A hobby?! What happens when these guys get bored with their current hobby?
[via AFC]
Anybody out there know a fair amount about video art and more specifically, animation? What about the tech side of things... monitors, media players, etc?
Please email me if you don't mind answering a couple of questions.
Thanks!
The more I read about Amy Lin's work, the more I feel compelled to write about it. I am happy that Amy has had so much success recently, but I believe the reaction to her work is verging on going overboard. While some pieces demonstrate some complexity, others fall short and amount to mere decoration. Not that there's anything wrong with that.
Based on the progression of work that I've seen (I have not seen the current Heineman-Myers show), it seems that the work is on course to become more complex and grand. Perhaps she will introduce colored backgrounds. Perhaps the density of dots will increase. If so, will we go from this:
Amy Lin
Coupled
29" x 29"
Colored Pencil
2007
... to this:
Barbara Takenaga
White Trail
Acrylic on wood panel
12" x 10"
2007
This image is from Barbara's current solo exhibition at McKenzie Fine Art in Chelsea. Granted, the two works are quite different, but it seems to me that Amy is headed down the Takenaga path. Perhaps not. Perhaps the similarities I see are superficial only.
Lastly, I'm glad that Ms. Rousseau wrote this:
Couple that with a widespread fascination with the artist’s technique — hundreds of small circles of varying sizes hand-drawn in curving strings with little tail-like ends — discussions of Lin’s work tend to be on the level of a ‘‘temple of toothpicks” rather than the kind of analytical response usually accorded abstract compositions. What passes for commentary on her work has tended to focus on the amazing number of dots, the sort of thing that could be done with a computer in short order, but which Lin tediously, obsessively, draws with colored pencils. But does this emphasis on the ‘‘wow” effect do it justice? If there were no more interest here than the dazzlingly meticulous way they are made, would they really be worth looking at?
This is the question that needs to be asked.
My point of this post is for someone, anyone, to just stop for a second and take a deep breath. I agree with Lenny... if you want work that will appreciate in value, Amy's certainly will.
Buy Amy Lin now!
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