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Vive La France
Nov-29-2008 12:00 AM
ARTNews recently reported on a retrospective exhibition of Jeff Koons at Versailles. I found myself exasperating out loud as the mockery of a Koons rabbit juxtaposed against the majesty of Versailles threatened to dissolve any faith in the art world I had left. The real stink of it is that several of the pieces were on loan from a collector clearly attempting to boost the value of his acquisitions. This exhibition has only served to cement the trend of brand recognition and the pissing contest the wealthy have engaged in efforts to score the premier status piece validating their position as King. I've exerted some effort to procure New York representation. I have walked the streets of Chelsea on gallery opening night considering into which gallery my work might make sense. I was surprised to find a wonderful show of new work by Jasper Johns. It did my heart good to see he hadn't continued to rely on Targets but had moved onto some interesting abstracts. Despite the obvious stink eye leveled at my group upon entry to this gallery, where we were evaluated as too poor to exist, I held onto the belief that art was for the sake of itself. Artists make art to lend a new perspective to the world. Artists will communicate what is happening socially before the public is even aware of any developments. These authentic editorials are generated from a ground's eye view. Sure, what artist wouldn't love to sell, say, a stuffed shark for $12 million? What happens to the artist's perspective after that? Is it possible to continue to offer a genuine view of the world after you become a brand? Do you care? I'm no shock artist. I make a solid picture. I've gotten better over the years. As I mature, so does the work. If I never become a brand, which is likely, is it like the tree that falls in the forest and no one is around to see it? So be it. It's more important to me to stay true to the work; make a good picture. I wouldn't mind some recognition for that.
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