Jeffrey Deitch is the Jeff Koons of art dealers. Not because he's the biggest best or the richest of his kind. But because in some ways he's the weirdest (which is saying a lot when you're talking about the wonderful wicked lovable and annoying creatures known as art dealers).
When museums are built these days architects directors and trustees seem most concerned about social space: places to have parties eat dinner wine-and-dine donors. Sure these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.
I love art dealers. In some ways they're my favorite people in the art world. Really. I love that they put their money where their taste is create their own aesthetic universes support artists employ people and do all of this while letting us see art for free. Many are visionaries.
I don't know much about auctions. I sometimes go to previews and see art sardined into ugly rooms. I've gawked at the gaudy prices and gaped at well-clad crowds of happy white people conspicuously spending hundreds of millions of dollars.
A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.
I often find myself privately stewing about much British art thinking that except for their tremendous gardens that the English are not primarily visual artists and are in nearly unsurpassable ways literary.
Art is for anyone. It just isn't for everyone. Still over the past decade its audience has hugely grown and that's irked those outside the art world who get irritated at things like incomprehensibility or money.
If the Frieze Art Fair catches on I imagine at least two great things happening. First we will once again have a huge art fair in town that isn't too annoying to go to. More importantly Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
Artschwager's art always involves looking closely at surfaces questions what an object is wants to make you forget the name of the thing you're looking at so that it might mushroom in your mind into something that triggers unexpected infinities.
Kinkade's paintings are worthless schmaltz and the lamestream media that love him are wrong. However I'd love to see a museum mount a small show of Kinkade's work. I would like the art world and the wider world to argue about him in public out in the open.
The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter surface color composition touch scale form or skill is remotely original. They're all cliche and already told.
Those who love him love that he sells the most art they take it as a point of faith that this proves Kinkade is the best. But his fans don't only rely on this supply-and-demand justification. They go back to values.
'Summer of Love: Art of the Psychedelic Era ' the Whitney Museum's 40th-anniversary trip down counterculture memory lane provides moments of buzzy fun but it'll leave you only comfortably numb. For starters it may be the whitest straightest most conservative show seen in a New York museum since psychedelia was new.