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September 20, 2005
The MacArthur Foundation does it's thing ...
I’ve already read two posts on Saltz's Babylon and four on this year's Genius Grant recipients and it's only 8am! Do I have anything new to add? Not really, except that I love Julie Mehretu and I think it's cool that she now has big bags of money coming her way and can concentrate on making things like these:

“Excerpt (Riot),” 2003, ink and acrylic on canvas, 32 x 54”

"Renegade Delirium", 2002
and this:

"Entropia (review)", 32-color lithograph and screenprint on Arches 88 paper, 33.5 x 44"
and when she gets worn out from making giant paintings she can create more of these:

"Untitled", 2001, ink, colored pencil, cut paper on mylar and paper, 18"X24"
In June when I was in NYC I saw her work at The Whitney right after seeing the Fenton show at the Met. Then I dreamt about curating a show of 19th century photographs paired with twenty-first century works on paper. One day...
Posted by lk at September 20, 2005 08:36 AM
Comments
dauphine - how exactly does the Euro system work? I don't really understand how artists and cultural institutions get their stuff paid for "over there".
Posted by: lk at September 23, 2005 10:13 AM
I hope this discussion continues on such a broad scale so that everyone comes to the joint conclusion that we're all screwed unless the government would adopt a European outlook and just Financiall Support the arts!! That would easily solve the gallery question, artists would breathe easier and we can all be free to create and not worry about being considered a cheap commercial commodity.
Why are the Europeans always right?
;)
Posted by: la.dauphine at September 22, 2005 08:34 PM
I thought the Saltz piece was really interesting too. One complication with the whole discussion is that often the people who claim to be outside the shadow of commerce only got there because of a healthy trust fund. Does this really afford them a fresh perspective or does it just allow them the luxury of indulging their personal preferences? Many alternative spaces seemingly resistant to commodification often exist because of well established connections with art world power brokers whether they are critics, artists or institutions. Is this really "alternative?" Artists and gallerists who pay the rent by selling art are assumed corrupted by capitalism whether or not the work itself is compromised. I’m just not so sure it is as clear cut as he suggests.
Posted by: buttergun at September 22, 2005 12:38 PM
la dauphine, I also agree with most of what Saltz is saying. The gallery system seems almost hopeless because of the $-thing.
I recently had a heart-to-heart with a friend and realized that I need to put my money where my mouth is - so I will be looking into ways to actually DO something big in this field instead of just burbling about it on the blog... Thanks for the comments, and btw I like your blog.
Posted by: lk at September 22, 2005 08:38 AM
btw - I have to say that I 90% agree with Saltz's take on the art world and that gallerists need to fear turning into shopkeepers. The sad thing though is that unless you have someone seriously underwriting you, it's a struggle to survive as a small, young gallery in NYC. Yes, there are gallerists with 'Attitude' that want to push for artists whose work they believe in, but the truth is even those that have artistic integrity can also be the ones to not give artists a cent when the work sells. Maybe it's because their scumballs and maybe it's because their so far in the hole they don't see another way out. That's the sad reality.
Posted by: la.dauphine at September 21, 2005 04:43 PM
There are lots of curatorial grants out there. And your creative writing skills will certainly come in handy...
I love Mehretu's work too but second that I haven't seen them in person (being in ATL it's a bit tricky).
Posted by: la.dauphine at September 21, 2005 04:29 PM
I have never seen them in person. They look amazing.
Posted by: buttergun at September 21, 2005 03:00 PM