Pablo and the Ladies of Avignon

Damn Pablo Picasso. In the words of famous comedian Chris Rock, he is like "the uncle that molested you as a child yet paid for your college tuition." After some recent studies in African art and culture, this is how I feel every time someone mentions "Les Demoiselles D'Avignon." It is a curious work for me that keeps growing in significance the more and more I study art history. In that reason I find the genius of Picasso, in that 100 years after the creation of the work, we are still talking about it and trying to get in the mind of the artist. It is considered the pioneering work of the cubist movement, the style of spontaneous compulsive painting, yet to me it is very contemplative conceptually. It also makes me ponder the question- why incorporate prominent works of great social significance in African society in a painting so repulsive in subject matter to western society that the painting stayed shelved for 17 years after it's initial exhibition? What does that say about Western thought of the African people in 1907? That they are primitive in nature and no better than the the age old profession of prostitution? That they are second rate citizens of the world on a global scale to their western counterparts?  These are questions that should not be dismissed lightly when we look at the painting below:

Picasso has denied incorporating African society masks into his painting. Why would he give prominence to a primitive society like that? Keep in mind we are not too far removed from Darwin's theory of social evolution when this painting is created. But in looking at the work, there is no denying he saw ancient Chowke masks, a society from the modern Democratic Republic of the Congo and Angola. The figure on the far right incorporates similar imagery to masks found in that society(below):

But while I may condemn Picasso for his racial overtones, I cannot openly call him a racist. I do not know what was on his mind when he incorporated the masks into his paintings. Was he attacking the ignorance of the French Avant Garde concerning the underlying beauty of a culture being ravaged by colonialism? Was his painting an attack on the atrocities being committed on the African continent for the pleasure and benefit of the rich back home, similar to what was happening in brothels in Paris? One will never know.  And what if he had never incorporated the masks in his painting? Would we be talking about the Chowke society as a comparison? Definitely not. Call it what you will, but this painting put African art and cultural artifacts on the map. I truly believe that many works of Africa would remain  lost art if not for one of the most influential painters of our  generation validating it's significance. So in summary, it is through exploitation that an art from Africa has gained significance. But, is that really any different than any pioneering work by an artist? Would there have ever been a Michael Jackson, for example, if there had not been a Sammy Davis Jr. or James Brown? So thank you Pablo, even though it is my opinion the African inclusion was meant to be exploitative, it has opened a new intrigue toward works on the continent and continues to build on their prominence, which in my eyes seems pretty ironic. Until next time -

The Fascination with Aelita Andre- Prodigy or Passing Fad?

As we all know, the world of contemporary art is a fickle thing. There are always trends and movements of the unexplainable in the art market, and the newest sensation causing a stir is four year old Aelita Andre. Yes, I did say 4 year old. She is an Aussie child that is making such a stir in contemporary circles that her work has been called groundbreaking, powerful, and contemplative. Aelita's main media is acrylic on canvas, however she is know to incorporate various fragments of identifiable prompts such as paper butterflies, yarn, paintbrushes( the kind you would find in a cheap set of children's watercolor paint sets). The art is colorful and passionate, and the young artist shows much promise. Below are two of her works:

The one on the left is entitled "Butterfly Islands". The one above is entitled "Butterfly Nebula". Both already show Aelita has a grasp of spaciality, color consciousness, and structure to her works. The art takes up the entire canvas, and the dark tonalities are "cut" or stroked with lighter tones of brushwork, and the media other than paint is "placed" proportionate to the subject mater( the butterflies appear to be on an "Island" isolated from the remainder of the canvas on the Butterfly Islands, for example). These feats alone are fascinating for a 3 year old(her age at the time these were created), and that may be the reason for the art world to be in awe of her art. I, on the other hand, weigh the works in terms of what purpose they serve or will serve the contemporary art world? This question asks if the works are pure aesthetic pieces, or pure commercial art? From a collector's perspective, would you buy this art, and why? For the chance to possible procure a work from the next Picasso at the ground level and gain the prestige of ownership, which to me suggests commercial ramifications, or to own it simple because the art moves you or appeals to your liking? I believe once that question gains a majority answer one way or the other is what will determine the art's significance and purpose. For now, I am going to sit back watch the frenzy. Aelita is currently having her 1st solo exhibition at the Agora Gallery in New York City. Her paintings are expected to fetch anywhere upwards from the mid four figure range. Not too shabby for a toddler!
Well, only 3 days to go until the 54th annual Allentown Art Festival here in Buffalo, NY. I hope to have a new piece in the collection when it's over by the weekend. Until next time _

And A Collection Begins

I must say I had a pretty exciting weekend over the long Memorial day holiday. I had a chance to spend some time with the family, catch up on some reading( the old fashion way, as my computer was infected with a virus which I have seemed to have beaten for the moment, knock on wood!), and broker my very first art deal. And what a piece I have started my collection with, an original limited edition Giclee from prominent African American artist Kathleen Atkins Wilson. I acquired the piece through a family member who had bought it from a friend at a "discount" price, and she thus turned around and sold it to me in hopes that I would properly frame it and give it a good home. So just like that, I am no longer an aspiring art collector. I have graduated to amateur art collector, and I must say I really, really enjoy the sensation and feeling I get from an acquisition! But enough about me, let's talk about the work of art I have chosen to begin my collection with, a piece entitled "The Promise." I have attached a picture of the work below:

So for the modest price of $75, I have garnished a $1500 work of art. Not bad for my first acquisition! I will be looking for a proper frame to do the work justice this week and next, and hope to have the work on display in my home by mid June( in time for my birthday).
Considered one of the pioneers of restoring the Lithograph to contemporary art, Kathleen Atkins Wilson continues to make beautiful limited edition works and  sculptures for clients. Her silhouette style speaks of the African Diaspora, and reminds us of the displaced who may have lost their culture but not the spirit and essence of who they are. The Promise is a biblical reference of God's promise to Noah he would not destroy the earth, and depicts three generations of men whose duty it is to preserve and respect the planet we live on. It is vibrant with color, which is expressive of hope and illicit an inspiring response to the viewer. I look forward to having the piece in my collection for a good while to use as a reference of inspiration when times get difficult in my life.
That's all for now. I am really getting excited about the 54th annual Allentown Art Festival in two weeks. I will definitely be looking for my next acquisition there. Until next time....

The Business of Art: Why Larry Gagosian is My Hero

I can recall a while back when I informed my father I wanted to study art and become an international art dealer and shun the world of computer science, he gave me a look of disgust and said directly to me "boy, there is no money in art. Stick to computers, they are the future. Messin' with art will leave you broke and waste your potential." I can truly say with great pleasure that my dad was dead wrong, and Larry Gagosian is living proof that there is money to be made in art, SERIOUS money. How much, you might say? Well, according to the April 1st article in the Wall Street Journal entitled "The Gagosian Effect",  $1 Billion in sales annually. And with 11 galleries and over 75 world renowned artist as "clients", Larry is showing no signs of slowing down.
And what an eclectic collection he has amounted in over 30 years of buying and selling art-  works from Picasso, Basquiat, Gorsky, De Kooning, Polluck, Sherman, it's like a who's who of contemporary art. And he keeps a business like approach to his Empire of galleries, assigning portfolio managers to his perspective artists and estates of artists. He insists that his managers have a background in banking or financial sales to help maximize the earning potential while at the same time curb the risk of his artists. Like a Wall Street tycoon managing a hedge fund, Larry watches for trends in the art world and pounces when he sees opportunity. He has an uncanny ability to spot talent and get maximum leverage and compensation for that talent, and it is this approach that attracts many artists to his fold, and keeps his potential clients interested in what he deems the next great thing. He has become the E.F. Hutton of the contemporary art world, and when he talks, people listen.

                                                       Larry Gagosian, image from the Wall Street Journal

It is rumored Larry is heavily courting contemporary Chinese artists Ai Weiwei and Zeng Fanzhi, and has been seen talking with Jasper Johns. Very strategic in my opinion, as the aforementioned Chinese artists will bring fresh new works to his Hong Kong Gallery, and Jasper Johns will keep the N.Y. scene chopping at the bit to see lost works from the 80 year old pioneer abstract expressionist. While I in no way imagine I will have the commercial success Mr. Gagosian has amassed in the years, he is an inspiration to me in laying down the foundation and groundwork to establish a successful career buying and selling art.
Until next time-

Fall Into The Gap- Don & Doris Fisher And Their Wonderful Collection

It would be pretty hard to find  more significant collectors and contributors to contemporary modern art in America than Donald and Doris Fisher. The couple, founders of the iconographic Gap clothing company, have been meticulously building one of the best art collections in the world over the past thirty five plus years. Their collection includes some of the most influential artist of the 20th century, including 21 works by Andy Warhol, over a dozen pieces from Roy Lichtenstein, and contributions from Robert Rauschenburg, Agnes Martin, Alexander Calder, Chuck Close, and sculptor Richard Serra, just to name a few. Their collection is unique in that it consists of a wide range of works by a particular artist whose style they admired, making for a collection of over 1,100 works of art which encompass a wide range of stylistic development in some the artists over their careers. For an example, I have included two works of art below by famed pop artist Andy Warhol....

The "Triple Elvis" silkscreen print dates circa 1963, while the "Nine Multicolored Marylins dates circa 1976-1986, which encompasses more than 20 years of artist development by 1 artist. I could go on for pages to discuss the stylist differences between the two, but I will return my focus back to their patrons.
The fact that the Fishers have their own gallery, the Gap Gallery in San Francisco, begins my fascination with money and  the collection of fine art. It is no secret the Gap has a valuation of roughly $3.3 billion dollars, which allows plenty of available cash for funding and patronizing the arts. This however, I believe begins the discussion of the ripple effect a powerful art collector can have on the modern art world. The notion that the Fishers were willing to pay top dollar collecting certain artists they appreciated probably has inflated the auction prices of those same artists because they have become "sought after" by prestigious collectors with large pockets. To add to the exclusivity of the collection, it is only viewable to Gap employees, art historians of merit, and the "who's who" in art curating and brokering. The Gap gallery is accessible only by swipe card, which suggests a sense of prominence and importance to not only the collected, but to the people who have access to the gallery. IT is a VIP collection suited for viewing by VIP clientele. An interesting concept on art, viewer, and patron in the 21st century.
That's all for now..... Until next time.

- S.Marty McLaughlin

Still A Man's World in Modern Art

I find it amazing and disturbing the disparity between what modern art created by men garnishes on the open market opposed to what women working in similar genres collects in the same market. The monetary gap is so disparate it makes me ponder what it says about modern society and a woman's place in that society. Let us not forget the struggle and plight women have had to endure in America alone with the suffrage movement. Male chauvinistic attitudes appear to be prevalent in terms of art collecting as well, and the notion of women as being contemplative, talented and diverse as their male counterparts I believe is still widely unacceptable to some men in Western thought. If you don't want to take my word for it, let's take a look at the numbers. I will do a simple comparison and background of similar artist both male and female, and let you decide for yourself.
First up is Irene Zevon, 1918-2006, an American born painter from Ukrainian decent who was heavily influenced by the works of the Cubist Movement and in particular, Fernand Leger, who work with her mentor in the genre in the early 20th Century. Zevon went on to become a famous established artist, mastering mixed media to to work within an abstract figurative style which can be found on display at the Dallas and San Francisco Museums of Fine Art. A look at her "Centrifugal Composition" from 1958 below, shows her mastery of the acrylic medium to create a semi large canvas of vibrant color that plays with lighting and shadows in it's interpreted meaning to the viewer.

Zevon's panting is currently available for purchase at The Benjamin Gallery in Buffalo, NY. The anticipated acquisition price is somewhere between $2,500 and $5,000. At most it will garnish double the maximum acquisition price if a collector is "zealous" about the artist and her work.
Now, let's look at Fernand Leger, 1881-1955, a French artist considered to be one of the pioneers of the cubism movement, who knew of Zevon and could be considered a mentor to her. Leger was more concerned with the rise of industrialism and it's effects on society. His abstract style was symbolic of the everyday busy nature of mass production, and attempted to reference this through abstract depictions of symbols of industrialism such as railroads, trains, buildings, skyscrapers, etc. His "Les Usines" of 1918, shown below, was completed the same year Zevon was born. The piece is beautifully constructed in the traditional medium oil on canvas,  and gives a sense of fragmented industrialism through mastery of color and light . The shiny metallic looking flutes, the robotic hand imagery, all place the viewer in the mindset of a factory, which is the loose translation of Les Usines( the factories; interconnected factories,like a stamping and assembly plant in the auto industry, for instance).

The aforementioned Leger painting sold at auction at Sotheby's last year to a private collector for $14,320,000 USD. It opened at a modest bid of $5,000,000 USD. Amazing! A master artist and a master understudy, and the understudy garnishes a sale price less than 1% of the master's commission. If you do not feel there is a large disparity in the art world due to sex you are sadly mistaken. I feel it will take years of established women artists such as Cindy Sherman opening doors for their female counterparts to change the habits and perceptions of a woman's worth in the art world. Until next time-

S. Marty McLaughlin

Jacob Lawrence and the Obama Effect

As I have mentioned, this blog exists to explore the significance of art in terms of artist and perspective collector. With that being said, I would venture to say no African American artist has benefited more from the Obama presidency then Jacob Lawrence. Although world renowned and respected prior to anyone ever hearing the name Barrack Obama, it wasn't until a 2007 purchase by the White House of a 1947 painting entitled "Builders" did his collection status elevate to elite. Prior to the sale, the largest auction bid for a Lawrence painting was around the mid to high 800 thousand range, according to a source at Christie's auction house. The White House Acquisition Trust paid a cool $2.5MM for the piece, drastically overpricing the work and dramatically shifting the price of ownership of a Jacob Lawrence painting. So I would venture to say becoming an elite artist is not only about what is said about your work, but who appreciates your work. The painting now sits in the White House Green Room.

If you don't know anything about Lawrence's style and mission statement, the work is meant to be a testament to the unity and power of African Americans building, not necessarily a building or structure, but a cultural presence or identity. It is meant to be a celebration of collaboration and cooperation amongst a culture so diversified sharing a common goal- the task at hand of building. The depictions of abstract characters across a plain identify with a "I am every man" attitude of the scene, and the satisfaction and contempt of accomplishment through compromise of one's own self serving reservations and beliefs.

My only problem with this is that the Trust bought this piece in 2007, well before Obama ascended to the presidency. So, I am inclined to ask myself what a president like George W. Bush and the Historical Association was thinking when they signed off on the purchase? I find it odd two years removed from hurricane Katrina and the media frenzy created by African Americans that this work found it's place in the most significant house in America, at a highly exaggerated and publicized price of 300% over norm for a Lawrence painting. Interesting indeed.

In any event, the Obamas have petitioned to have more Lawrence works hanging in the White House walls..... and you can believe that now the word is out that the artist is an "American Icon", and the auction houses at Christie's and Sotherby's will address their opening bids accordingly.