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Author Topic: tessa farmer  (Read 16373 times)
naturalia
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« Reply #15 on: Aug 04, 2011, 18:05 »

She DEFECTED!!! (but yes, we are very lucky to have her back in the US) badger
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lindseycarr
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« Reply #16 on: Aug 05, 2011, 13:04 »

House of beasts show looks wonderful. Wish I wasn't several hundred miles away..... Noticed the artist Alastair Mackie who's got a piece there as well has a show on in Londinium called 'I was there, in Arcadia '. These looked particularly interesting:



A holographic image within the bell jar? No description of the process used to make these on the site....very curious. (NB: Apologies for diverging from the original thread!)
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Suzanne
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« Reply #17 on: Aug 05, 2011, 14:29 »

Ah, don't worry, I'm the Uncrowned Queen of Offtopicness!  wise old man

Yes, Alastair has indeed another show at All Visual Arts who I'm so intensely jealous of for having possibly the best roster of artists and most beautiful space ever without being criminals like Pertwee, Anderson & Gold who don't pay their artists.

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« Reply #18 on: Aug 05, 2011, 15:06 »

Uh, All Visual Arts, where have they been all my life!?! I am in love now
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Suzanne
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« Reply #19 on: Aug 05, 2011, 16:24 »

They've only been around as an actual place since November and launched after the incredible "Vanitas: The Transience of Earthly Pleasures" exhibition which they curated.
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Suzanne
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« Reply #20 on: Aug 05, 2011, 16:27 »

Oh, I think I understand their success a bit better now. Things tend to be relatively easy if you can buy anything. And anyone: http://www.thisislondon.co.uk/lifestyle/article-23816751-market-forces.do

Well, good for them, I s'pose.
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« Reply #21 on: Aug 05, 2011, 16:43 »

I may be the only remaining ideologist in the arts, but reading particularly the bottom half of this article has officially broken my heart. How can anyone talk about art like that. And considering it's the Evening Standard which is owned by Russian oligarchs who were probably trying to make them look good and charitable, the truth is probably even a lot worse. Ugh.

I agree with only one thing in the article:

"He's a hedge fund guy and they're the ones ruining the art world with their "buy today, sell tomorrow" philosophy.'"
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Suzanne
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« Reply #22 on: Aug 05, 2011, 16:59 »

Oh, and another strategically placed article/ad in the Guardian around the time they opened:

http://www.guardian.co.uk/artanddesign/2010/nov/28/patronage-british-artists-funding

The comments are particularly interesting and yes, indeed, I guess "reading the small print" is highly advised when "AVA refused to reveal the terms of the contracts when sales did not cover advances" when their advances are often quite astronomical. Hmmm.. I'm unsure.
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« Reply #23 on: Aug 05, 2011, 17:01 »

ANYWAYS, this is Tessa Farmer's thread. I'm sorry.  Spank
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lindseycarr
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« Reply #24 on: Aug 05, 2011, 18:01 »

Poor Tessa's thread! Here i'm going to continue defiling it. Wow, that was some reading. It's an interesting idea to put up the initial capital...Is it a loan though - or a genuine grant? It doesn't give much detail on how the 'deal' works. I always wondered how artists like McGwire or Morgan were doing the really big scale work...Presuming either they were putting their own funds into it, or getting loans? I suppose some artists use crowdfunding in the same way to fund more ambitious works.

It's great if McGwire et al can keep working and producing such exceptional and interesting pieces & it's working well for the artist - just wondering what the catch is, what the artist owes the dealer at the end of it - if anything? It'll be interesting to see how it pans out after the 3 years or whatever are up, did it work well in the long run etc? And you're right, there is something uncomfortable about the article - the calculating tone doesn't really sit right in the arts.




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« Reply #25 on: Aug 05, 2011, 18:05 »

Oh, just saw that guardian bit...Rigggght, so what if the art doesn't sell??.... Well - one can only hope that the artists involved are happy that the deal won't screw them. I can see how a large advance would be so tempting if you were scraping a living and unable to work on larger scales.
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Suzanne
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« Reply #26 on: Aug 05, 2011, 22:36 »

Yeah, that's what I thought was the very scary part too. It's great to be confident that the work will sell with a plus, but in the current state of things, even a hedge fund expert might be surprised by the absolute unpredictable weirdness of the arts market.

Yes, their roster is amazing and contrary to most commentators I believe of exquisite taste (cause it's my taste, heh!) and long-lasting success but STILL.

If something goes wrong, the artist would have to bear the burden, so it just doesn't seem like a fair deal at all and I remain highly suspicious. 
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