Wednesday, September 5, 2018

I JUST DON"T GET IT




Lawrence Weiner
An Accumulation of Information from Here to There, 1969


Let me disabuse you of the notion that art is elitist because nothing could be further from the truth.  Yes, there are periods, like Conceptualism that can be challenging to the uninitiated, especially if you are looking at text-based works with banal or repetitive language that look suspiciously like an assignment from Mrs. Ward’s typing I class, but in time, you will understand and even appreciate it, or not.  It's just not the kind of contemplative piece you have come to expect, the kind that allows you to drift into the image, but it is still art.  You just need to  build your cultural literacy, so you can understand how the story of art evolved.  Did you start reading with Ulysses?   Start with digestible pieces and build so you can establish some foundation, which will eventually lead to drawing connections to the unfamiliar.   
But how do you begin? First, go to a museum because the work is organized  based on its art historical or its philiosophical connection, which can transcend periods.  Some have permanent collections that change from time to time as pieces are rotated out of storage, others have no permanent collection, hence no added expense of storage, and rotate shows that are linked by a period, location or philosophical connection.  I love shows that present a dialogue with past and present because it makes all the pieces relevant.  Sure, due to decreased public support for art museums, some charge sizable entrance fees, but they usually have free days or discounts for seniors, students, etc., so plan accordingly.  If you have a family, you need to include them, so they do not fall into the trap of only seeing art on vacation:  it needs to part of their regular diet.  If you find institutions you like, you can become a member and take advantage of all the activities that it offers.  This will encourage you to attend openings and make art viewing a habit.  Museums serve the public, and we need to support them with our attendance.
Once in the museum, take advantage of docent tours.  They are free, and you can have a knowledgeable guide, often an art history graduate student or curator, who will walk you through and explain the context and background of the work.  They are knowledgeable, know the collection and are accustomed to guiding people who may know very little about art.  You should also consider an audio guide, which may be available for free on your smartphone or available for rental. These are great when the museum is crowded and you can’t get close enough to read the explanation on the wall.   With big shows, you can find rooms with chairs and copies of the catalogues, so you can sit, read  and further digest a bit of what you are seeing, which is nice when you need to escape the crowds.  The point is there is a lot of information to help you  unpack what you are seeing.
I would also limit your visit.  Marathon trips can overwhelm you, especially when you are with your family.  I get museum fatigue if I exceed two hours, so you might want to go when there is a show of interest and see the rest another time.   Also, going with someone else is helpful because it is fun to bounce ideas off of one another as it heightens the experience.  Its a great conversation starter if you are on a date, with an uncommunicative teen or someone you want to know better.  Great art opens doors, encourages conversation with the work and also with those who experience it.  You just need to open them.
Another great way to see art is with auction house previews.  Although you may not realize it, they are all open to the public and require no fee, so pop into Christie’s when you are walking around midtown Manhattan.  The pieces are displayed for auction previews but are not presented with explanatory texts other than artist, title, date and medium, but there is always a catalogue there for view, which may have more information about the pieces for sale.  Don’t be intimidated: just cruise in, ask what is on preview and wander around.  You will see auction estimates and usually one piece that is the star of the sale and can fetch tens of millions of dollars, depending on what kind of auction preview it is.  That way, when you see an article about how a record was set, you can impress your friends by saying your saw it in person.  Often these works disappear from public view once purchaseed, so visiting a sale preview is the best way to see them up close.
Go to galleries.  They usually change shows once a month, and the openings offer a chance to view and meet the artist.  When there, sign up for the mailing list if you like the gallery, that way you will be updated on events.  Then, pick up the artist’s CV and essay about the show that is on the desk next to the sign up sheet, so you can grasp how the work is related.  There are also price lists, which is an interesting way to see how art is valued. Openings are usually on Thursday and Friday evenings, so you can easily stop off after work.  You may even get a glass of wine if you are lucky, which is why they become a draw for young professionals and a place to socialize.  Also, there are “must see” shows listed on the multitude of art websites ( www.artnet.com, www.artsy.com, www.artslant.com, or www.timeout.com) that publish lists of shows they recommend, so you might want to start there.
You can also consult on-line resources.  Museums, galleries and auction houses all have websites that become great resources for information.  If you are really engaged, save images of and information about work you like and save it in folders.  I’d also include an artist’s biography.  In time,  you’ll be able to identify period, artist, medium and even recognize an artist’s progression. I have discovered a number of artists doing this, and with time, you may discover you gravitate toward a particular artist, idea, style or historical period.  Whether you realize it or not, you’re actually curating.  Additionally, you can go to youtube.  I have found some really good videos of exhibitions I couldn’t see, interviews with artists, curators and theorists that cost nothing.  Soon with this exposure, you will discover that you are developing cultural literacy and becoming a much more aware and interesting person as art can touch us intellectually, sensorally and even emotionally.
And, of course, I would be remiss if I did not mention the explosion of art fairs.  You will discover there is a hierarchy among them, which accounts for the breadth of quality.  The larger ones, like the Art Basel franchise, has a more difficult vetting process, so you need to have a consistent and established brand or represent the new wave of artists to be included.  The fair draws international galleries, but the entrance fee is expensive.  That being said, you can see the commerce of art in action.
 I remember going to Art Basel in Switzerland (there are others in Miami and Hong Kong) and seeing amazing pieces that I had studied as a student.  It is eye-opening., but also fun to see prices who buys.  Generally, the sales are made prior to opening or on the opening night, known in the artworld as the vernissage.  You will soon realize that wannabes walking around decked in Chanel are not necessarily the ones that actually buy, so if you go, do not be intimidated with the old guy with a young wife whose collagen-pumped lips remind you of something you saw at Macy’s Thanksgiving day parade.  They may just be there to be seen and  probably know less than you do.  In fact, take the opportunity to test your new found knowledge by engaging with people staffing the booths.  If you see something that interests you, ask if they have a CV for the artist.  This will tell you where and with whom the artist studied and which collections (private and public) contant his work—these help determine value.  Already, those skills you honed at museums, auction houses and galleries openings are beginning to pay off.  Comment on something you recognize:  “The theatricality and lighting of the photograph reminds me of the Baroque….”  They will know you are not some neophyte, and the more questions and interesting comments you make will identify you as knowledgeable and also be perceived as a “live one.”
Another issue about fairs is because exhibitors are paying what amounts to your child’s college tuition to participate, some opt for what I like to call the bazaar approach, that is, a collection of the best pieces that are sure to sell.  Consequently, there is not always a curatorial eye toward the booths.  To find that, visit the special projects or areas where galleries feature solo artists, which focus on contemporary art and offer a more coherent presentation.  Yes, some buck the trend, but art fairs are ephemeral, so there is intense pressure to make back what they spent on shipping, staffing and renting the booth.  Always keep in mind that the work, like in a gallery or auction house, is for sale, so price is sometimes unrelated to quality or an evolved voice.  It is a business and relies on supply and demand.  Certain artists become hot stimulating a buying trend and driving up prices.  It doesn’t mean the others aren’t as good; they might just be less popular, which could mean they offer better value.
Smaller, satellite fairs abound around the larger ones.  Often, you can sign up for their mailing list and sometimes request VIP passes that will give you continual access for free.  The smaller fairs can feature younger galleries and emerging, unestablished, artists.  The quality is not always consistent, but prices will be lower and if you want to jump start your collection, you may find something.  Some of my favorite pieces came from satellite fairs, and I did not spend a lot of money.  Plus, know that you are helping these smaller gallerists keep the lights on for another month and  the artists in ramen.  Don’t be afraid to take a chance as it may not be a huge investment and those sales mean a whole lot more to artists struggling to make it.  Remember, those blue chip galleries at the larger fairs also had humble beginnings.
Lastly, aside from the public and private insitutions for learning about art, there is always the library.  You can find art books to borrow or just flip through.  My library sells donated books and I have found auction catalogues, exhibition catalogues, artists’ monographs, and books focused on particular periods, movements, etc.  I would recommend investing in a general art history text: it is like owning an encyclopedia and an excellent reference.  Though art books are expensive, I would go through the used bookstores attached to the library, ebay and amazon.  I seldom buy new books and have found some out of print books consulting these sources..  Also, museums sell old exhibition catalogues at big discounts and can also be a good place to find books on art that appeals to you.  

All these things—visitng museums, galleries, auction houses, art fairs, using the internet, and library offer a variety of ways to expose yourself to art.  And if you want to own something, but you are on a student’s budget or saving for college tuition, there are always exhibition posters, which provide excellent examples of quality art, postcards and art gallery announcements that are great to frame.  Furthermore, if you have young children, they can only benefit from looking at the Rembrandt magnet on your fridge.  I would rather be surrounded by reproductions of iconic art than forced to stare at some art on which you overspent on the recommendation of a decorator.  In the end, it all works to build your art literacy, which only enriches your life.

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