Bigindicator

tagged: collector's catalogue
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How Do Artists Find Gallery Representation? We Asked Galleries and This Is What We Learned

by James Loks
How and why an artist comes to be represented by a gallery is a seemingly mysterious process, one of many parts of the industry that exist behind a veil of secrecy. Yet for an artist who has committed to making a living from their art, it is naturally a topic of some interest, one we wanted to look into a bit further. While our exploration hardly threw the entire process open—if anything it highlighted what an individual and idiosyncratic process establishing gallery representation is—we did... [more]
Posted by James Loks on 4/1/16
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Kusama in the Morning, Prince Before Bed: Susan Hancock on Collecting and Living with Art

by Nathaly Charria
Art collectors strike a delicate balance between patron and artist. Though emerging creatives view collectors as a golden ticket to success, stardom, or just their next meal, mid-career artists view their relationship more as a shared dialogue constantly shifting the scope and focus of their endeavors. A shroud of mystery often pervades collectors, radiating with the air of inherited privilege and market control.  Susan Hancock, the owner of the former Royal/T Gallery in LA’s Culver City, is a... [more]
Posted by Nathaly Charria on 4/1/16
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Aukje Dekker Makes Patrons Decide When Her Paintings Are Finished—And It Could Cost Them

by Edo Dijksterhuis
I’m not a gambling man by nature, never quite understood the allure of the blackjack table or roulette wheel. But when Aukje Dekker invited me to a game of I couldn’t resist. The game starts at 150 euro. Dekker’s ante is an empty canvas. When she adds something to the painting my deposit increases by 50 euro. At every stage she asks me whether I’ll “stick”—in other words, buy the work as is—or “twist,” and go for another round. It’s like playing chicken in an artist’s studio: the painting is... [more]
Posted by Edo Dijksterhuis on 4/1/16
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Artists' Desks

by Char Jansen
What goes on behind the closed doors of the artists' studio has always fascinated the layperson. What do they do in there? Creative spaces appeal to our aesthetic imagination—they're often laden with eclectic objects, designed to benefit the artist's productivity. Psychologically, the interior architecture of the studio is perhaps assumed to be a reflection of the artist's thinking. But in the post-industrial economy, the spaces artists work in have had to change and adapt to a more migratory... [more]
Posted by Char Jansen on 11/4/15
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Want to Invest Culturally? Buy Museum Bonds

by Edo Dijksterhuis
Weapons manufacturers and tobacco industry are an obvious no-no. Most banks are iffy taking into account the financial sector’s ethical track record. The same is true for the fraudulent likes of Volkswagen. Times are tough for investors with a conscience. Where can you deposit your money and be sure it won’t have negative effects? Well, you could invest in a museum. The Cobra Museum in Amstelveen offers bonds to help finance its shows. Last year’s served as a pilot project. At the start of the... [more]
Posted by Edo Dijksterhuis on 11/5/15
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Inside the Private Collection: Sydney L. Moss' Japanese Netsuke

by The Artslant Team
Private collections are often born of a profound personal interest—a genuine passion devoted to a very specific subject or object that extends beyond financial return. In their devotional breadth and depth, private collections sometimes inadvertently become talismanic, unearthing artwork that might have otherwise remained distant. Perhaps it's that magical fascination that inspires public explorations and attracts new audiences. One such unusual and influential collection is that of Sydney L.... [more]
Posted by The Artslant Team on 11/5/15
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Knock-Off Art and Tales of Artistic Production in Advanced Capitalism

by Joel Kuennen
I was recently at an art fair where one gallery—that shall remain nameless—presented the work of a young artist in a solo booth. The work, while distinct in some ways, was at the very least derivative of Anish Kapoor’s wall mounted discs. Enameled aluminum panels in sweeping gradients, they were perfectly suited to the market of the fair: take it home, put it on a wall. They were robust, large works that shouted “wealth.” Sold for $800-$2000 apiece. By the third day of the fair, the gallery was... [more]
Posted by Joel Kuennen on 8/27/15
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Artists' Desks

by Char Jansen
In today's mode of techno-voyeurism, we're constantly peeking into the factory to see how the sausage is made. The artist's studio has always had an allure, the inchoate site of creativity, the setting for private practice—like an escort's boudoir, the biggest mystery is, what do they do when they're alone in there? We zoom in closer to see what artists keep on their most personal work space: their desk. What does it reveal about them, or about their art? We invite artists from very different... [more]
Posted by Char Jansen on 8/27/15
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The Broad Collection: Inside LA's New Free Art Museum with Director Joanne Heyler

by Lauren McQuade
The Broad Museum’s September 20 opening in downtown Los Angeles is just under a month away. “You had to remind me of that,” Joanne Heyler laughs—her humility doesn’t quite feel nervous, more pragmatic. If there is anyone capable of executing the huge task ahead, it’s her. “ I’m living that,” says Heyler, describing her long-standing career with the Broads. Heyler began working at The Broad Art Foundation back in 1989, and is currently its Director and Chief Curator. Under her direction, the... [more]
Posted by Lauren McQuade on 8/26/15
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Kamiar Maleki Turns a Passion for Collecting into an Exhibition—with an #InstagramTwist

by Natalie Hegert
They say that for an art collection to have impact it must have a strong focus, a direction. For London-based collector and patron Kamiar Maleki, son of mega collectors Fatima and Eskander Maleki, that direction is found in the works of emerging artists, primarily young abstract painters. He’s looking for works that, in some way, speak to our time. And since digital media and social networking primarily characterize our time, for Maleki’s inaugural exhibition as curator he has put together a... [more]
Posted by Natalie Hegert on 7/22/15