VICKY CRISTINA BARCELONA
Comments OffEvery blue moon, I’ll see a film that I think everyone should see. In this case, the film is Woody Allen’s “Vicky Cristina Barcelona.” It’s a MUST see … especially if you’re the creative type. More on that in a few seconds.
First off, NO ONE weaves a tale like Woody Allen. I cannot think of another director whose storytelling is so beautifully intricate and seamless, yet at the same time, you can almost see the wheels turning inside his head. I’m going to tell you about this film without actually telling you about it. Woody Allen is not in the film, nor is he the narrator, nor is it based in New York City, yet this is the quintessential Woody Allen film. Woody Allen in Barcelona.
Second, he uses narration to move the pace along pretty quickly and keep us attentive. It totally works. The film is a delightful basket full of wine, Spanish guitar,
laziness, craziness, profound purpose and sexual intrigue. The cast is like a musical ensemble featuring Scarlett Johansson, Javier Bardem, the fantastic Penelope Cruz, Rebecca Hall and Patricia Clarkson, among others.
Third, this is a film strictly for ADULTS. Thank God. How often do we see “thinking” films for adults? Nothing gets blown up and there aren’t any magical, animated characters that do Disney-esque things (nothing against them). What we have here are people who are dreaming of and seeking better lives. Doesn’t that describe us all?
Four, what really impressed me about this film was … drum roll please … ART. The way Allen uses art in this film is masterful. It’s not just about the painting, photography, music or writing, but also the way he captures the feelings and thoughts of the artists/characters. Every major character in the film takes a chance and gets creative with varying results. Every character struggles to be free. I guess you can’t put a price on creative freedom.
This film reminds us that when you bank on artistic vision, you’re on the track to happiness. That’s unless something not so great happens. Penelope Cruz’s character brings this home. As usual, Allen ties up the loose ends with great skill. It totally satisfies that childlike, “Tell me a story!” urge in you. One more quick thing … the film is roughly about an hour and a half long. Fantastic. I’m going back out now to run some errands.
In short, “Vicky Cristina Barcelona” is the perfect film for a lazy August day … or any day. It’s a matinee for creative, thinking adults, but I’m no film critic. Don’t take my word for it. See it for yourself.
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK IT OUT AT WWW.ARTMAESTROGALLERY.COM
Created by Michael Corbin On 09/03/08 At 06:24 PM
BLAME THE ECONOMY
Comments OffIt’s almost like slowing down to watch a car wreck … you MUST see what’s happening. This is the only way that I can describe my pseudo-fascination with the art market. Here’s how it happens …
I’m either flipping through the newspaper, watching television or surfing online and I come across something like … “ARE RECESSION FEARS COOLING THE ART MARKET?” or “THE ECONOMY AND ITS CHILLING EFFECTS ON COLLECTORS.” Suddenly, I slow myself down and settle in for closer examination. How can you NOT get caught up in the creative, editorial swirl?
It’s funny, because I wanted to try to go to Art DC this year, but then I read that it was cancelled. That’s a shame. This would’ve been only the second year for that fair. Why did organizers cancel it? They blamed the economy, of course.
Have you noticed that blaming the economy is the chic thing to do these days? Consumer confidence is way DOWN, inflation is way UP and what poor sap driving a pimped out S-U-V can explain gas prices? Many Americans have no real savings and we’re living paycheck to paycheck … that’s if we still have our jobs. It’s scary. Needless to say, blaming the economy for anything is pretty easy … if not somewhat gratifying. You can get away with a lot by blaming the economy. If everyone’s doing it, why not? Try these on for size:
“Why are you late again for work Bill?” “Oops, sorry boss! It’s the economy!”
“Where’s your homework assignment Sally?” “Sorry teacher! The economy ATE it!”
“Why were you speeding sir?” “Oh man! Sorry officer! The economy made me do it!”
Still, I must say that a couple of months ago, I was in the supermarket and I saw that tomatoes (organic) were like … $3.99. Are you kidding me? All I could think was, “Are they super tomatoes that give you x-ray vision or super-sonic hearing?” That’s why I planted my own. As of this writing, I have tomatoes growing out back. I’ll plant 25 tomato plants before I pay that price.
When I’m not ranting over tomato prices, I’m flipping through these art magazines like Art & Auction and the weekend arts section of Financial Times (the orange newspaper that looks like it has been dunked in tomato sauce) where I often see articles that report on the art market. For the most part, these articles talk about record, multi-million dollar sales at contemporary art auctions. This is happening while fairs like Art DC have seemingly gone belly up and many collectors are tightening their wallets. These articles are so seductive. Of course, I usually stop and scan like a harried commuter who complains about traffic backups but always slows down to gaze and gawk at the car wreck. We live in a visual world. Art and the twisted metal of a car wreck … same thing. Just ask artist John Chamberlin.
Anyway, after a few moments that I’ll never get back, something always occurs to me. “Dude, you are NOT a wealthy art collector! Why do you even care about the art market?” I always ask myself. Again, it’s like slowing down to see the car wreck. Why are you slowing down? Keep going. It doesn’t really involve YOU.
At this point, I remind myself that it’s the JOB of art publications to cover the art market because they are IN the art market. It’s their lifeblood. It’s in THEIR best interest to find silver linings in the worst of economic news. That’s just the way it is.
So, while Art DC is blaming the economy and mid-level art collectors are blaming the economy, high-end art sales continue to soar … thanks to wealthy collectors. They’re keeping art afloat … especially the Russian, Chinese and east Indian art markets. Wow. It must be tough being a rich bitch. In uncertain economic times, the world tugs HARD on your purse strings. Analysts depend on YOU to keep the whole economy afloat. If you don’t spend, who will?
Which brings me to my point. It seems to me that the best time to buy art is like … duh … NOW. Everyone is blaming the economy for their poor financial performance and everyone needs money to survive. Maybe you can get some good deals. In some areas of the economy, it’s a buyer’s market. If you’re an entry level or mid-range collector, perhaps you should shift your focus to include younger emerging artists. Perhaps you should focus on drawings on paper rather than canvas pieces. I don’t know. Figure it out! Many of the artists I know don’t even really follow the “art market” anyway. They’re struggling in both the best and worst of times so it doesn’t make much difference to them. We should NOT try to take advantage of them because they have to live just like everyone else. They should get the best possible prices for their hard work. However, perhaps you’ll find them more affordable. You won’t bust your budget, you’ll be supporting talented, deserving artists and you’ll keep money flowing in the economy. I’d like to keep doing this myself.
Okay, let’s see. With the money I’m saving by growing my own tomatoes, I can buy a couple of works on paper from artist Miguel Angel Avila Melendez. Hmm. Here’s my economic forecast. If the plants keep producing, I should be able to buy those drawings in 2019. Great!
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK IT OUT AT WWW.ARTMAESTROGALLERY.COM
Created by Michael Corbin On 08/18/08 At 09:31 AM
Robert Rauschenberg
Comments Off(May 13, 2008) - I was online earlier today and read that artist Robert Rauschenberg died yesterday of heart failure. He was 82. The New York Times called him a “Titan of American Art.”
First off, isn’t it funny how the legendary-sized compliments flow after you die? We need to get into the habit of complimenting people while they’re ALIVE. Praising me while I’m dead does me no good, but a nice comment while I’m alive might actually get me through another day.
Anyway, I feel the need to just sit here for a moment and talk about someone I did not know. I’m not an expert on Mr. Rauschenberg or his work, but I DO remember the times when I saw his work for myself in places like the Fisher Landau Center which has a great Rauschenberg collection or the Museum of Modern Art or even the Albright-Knox Art Gallery in Buffalo, New York.
(May 13, 2008) - I was online earlier today and read that artist Robert Rauschenberg died yesterday of heart failure. He was 82. The New York Times called him a “Titan of American Art.”
First off, isn’t it funny how the legendary-sized compliments flow after you die? We need to get into the habit of complimenting people while they’re ALIVE. Praising me while I’m dead does me no good, but a nice comment while I’m alive might actually get me through another day.
Anyway, I feel the need to just sit here for a moment and talk about someone I did not know. I’m not an expert on Mr. Rauschenberg or his work, but I DO remember the times when I saw his work for myself in places like the Fisher Landau Center which has a great Rauschenberg collection or the Museum of Modern Art or even the Albright-Knox Art Gallery in Buffalo, New York.
I’m smiling right now because when I think of Mr. Rauschenberg, I think about his GIANT, framed, pop, mixed-media pieces that always give me a sense of historical references, urban hipness and this feeling of rustic modernity. I have NOT read what anyone else has said about him. I’m just taking a moment to be
in the moment of my own memory of the man’s work which I’ve seen with my own eyes.
My somewhat cloudy memory is giving me images of soldiers, black birds, city streets and spliced-together, sepia-toned photographs of things … exactly what I cannot recall … however I’m continuing to smile because I’m feeling myself standing in the presence of his work inside these museums and the word that comes to mind is … communion. I feel that as an uneducated observer of art, I actually GOT what he was doing. For me, his splicing and dicing was about slicing life … making connections of wayward things and times, perhaps with the hope of making sense of it all … or maybe not.
Even though I never met Mr. Rauschenberg and will never own any of his work, I feel connected to him through my observations of what he leaves behind and the fact that he was a famous artist who was actually alive during my own lifetime. I wish that I could say something profound about him that would set the world ablaze, but all I can say is that I’m still smiling as I’m typing these words. He’s gone, but his spirit is in my smile. I can just feel it. Communion. A moment of silence.
From now on, whenever I happen upon a Rauschenberg during my art museum visits, I’ll say, “Hey Robert!” Then, I’ll stand there and bask in the presence of a titan … and as always, smile.
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK IT OUT AT
WWW.ARTMAESTROGALLERY.COM
Created by Michael Corbin On 05/14/08 At 10:14 AM
THE ART OF EVERYDAY JOE
Comments Off 
The title really gets to the heart of the matter. I am an “Everyday Joe,” I write for the “Everyday Joe” and art is FOR the “Everyday Joe.”
That’s why my new book is called, “The Art of Everyday Joe: A Collector’s Journal.” Before you think I’m some huckster JUST trying to hawk a book,
please hear me out.
Unfortunately, some people in the art world make things more complicated than they need to be. Don’t get me wrong, I’m NOT talking about “dumbing
down” art. Art is expressive, multidimensional and often quite profound, but shouldn’t people be free to see and feel whatever moves them? Shouldn’t we
be able to break down the most complex work to its most basic, essential concepts?
Not too long ago, an art dealer told me that many people in the art world like to keep art shrouded in mystery … held high on a mountaintop. Art is lofty and high-minded, but there’s a big difference between profundity and pretense. We’ve done the snobbery thing for so long. Aren’t we bored stiff with that?
Let’s make art TRULY accessible for people. If we do this, we’ll spark excitement and set off a renaissance. Let’s talk about it, let’s open our doors, let’s be nice to people who nothing about art. Every single person is an opportunity to expand the reach of contemporary art. If you really think about it, this is more than just “pie in the sky.” This is down to earth practicality. If the “Everyday Joe” thinks that art is actually available and affordable, they’ll buy it … and YOU get to eat tonight. Plain and simple. We don’t need to complicate this.
I wrote “The Art of Everyday Joe: A Collector’s Journal” because I own SO MANY illustrated art books, none of which really speak to the everyday person. They’re all academic, clinical examinations of art that seem to be written for a small circle of art historians and curators. I love these books because I love art, but I’ve come to realize that even art can be too, “Inside Baseball.” Pardon the sports metaphor.
People want art, they need art, they crave art, but I think many don’t even realize it. Art hasn’t been made available to them because some artists, curators, dealers, writers, professors and administrators believe that art should be kept on high. Therefore, people are intimidated by it. However, the reality is that art is EVERYWHERE. It’s all around us. We’re living here on earth, the greatest masterpiece of all (which we’re destroying unfortunately). As art people, it’s our privilege and responsibility to introduce people to the long lost love they never met. Art. Yes, art for the people.
While we talk politics, appeasing people and presidential campaigns, let’s get art on the agenda. Never has the art community had such an opportunity to put art
in the spotlight, but where are you people? Art is not a frill.
I wrote “The Art of Everyday Joe: A Collector’s Journal” because I’m an avid art collector who MUST write and talk about art. I MUST share my experiences. I want to bridge the gap between a person’s first experience with art and their first art purchase. Art is almost as broad as life itself. Because art is so far-reaching, I LOVE writing about art and applying it to the things of everyday life. Art is a slice of life … or is life a slice of art? I don’t know. What I do know is that if you give people art, you give them a shot at royalty. Suddenly, a hum-drum existence becomes enlightened and illuminated … black and white becomes technicolor and high-brow joins low-brow and creates dialogue rather than farts in your face. We can raise the dialogue but we can keep it real too.
Art is MUCH MORE than just a painting on a wall or a sculpture on a table. It’s an experience, a daily reality. It’s the real deal. That’s why I visit art museums and fairs and galleries. That’s why I love talking with and meeting artists and dealers and people throughout the art world … all over the world. Art is powerful. Art people are powerful. Unfortunately, I don’t think their true power has been realized. Let’s take art to the people … the masses. Let’s not be snobbish about this. We’ve done that to death.
Art is for the “Everyday Joe.” Yes, I do want to sell books. I don’t apologize for that, but more importantly, I want to help our struggling artists. I want people to know about the transforming power of art and the role that it plays in their lives and the world. I want people to catch this benevolent disease for the benefit of us all. It’s a win-win proposition. No, I’m not running for office, but if I were, you can bet your ass that the concerns of everyday people and art would be front and center.
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK OUT HIS WEBSITE AT www.artmaestrogallery.com
Created by Michael Corbin On 04/21/08 At 07:10 AM
THE ARMORY SHOW 2008
Comments OffIt was 11:53 a.m. on Saturday, March 29, 2008 and there I was grazing outside Pier 94 with the rest of the art cattle. It was yet another round-?em-up moment as we waited in line for the opening of The Armory Show 2008. It would be my very first Armory Show on what was a chilly spring day, but fortunately the sun was shining, reminding me that the tropics would soon get their way in Manhattan.
People in line! Please step aside so that these folks can get through!” yelled the security guard behind me.
“Those are the important people, I guess!” said the guy ahead of me in line. It turns out that guy is New Zealand born artist James Robinson. Robinson now lives in Williamsburg, Brooklyn which is the new hot spot for art in New York City. While we waited in line, we chatted briefly about the art world and why events like the Armory Show have become so commercial. Good guy, nice chat. If he?s willing, I may write something about him in the future.
Anyway, the wait wasn?t that long and upon entering Pier 94, I got out my pad and pen, checked my vision and hearing and got right to it.
Before I get to meat of the matter, would you like some “dish” on your art show menu? Hmm, I thought you might. Get off your high horse.
Early on, I spotted artist Chuck Close wandering the fair in his motorized wheelchair. I?d seen him at another fair in the past but left him to his privacy. Not this time. He looked friendly enough and I certainly wasn?t going to pass up this chance to meet him so I went for it.
“Mr. Close, I?m glad to see you here! My name is Mike,” I said, shaking his somewhat feeble hand. “Hello,” he said. I asked him if he had any works in the show to which he replied, “No, I hate to be in art fairs!” “Why?” I asked. “Does it feel like you?re in Wal-Mart or something?” For the record, an art dealer once told me that she thinks art fairs have become like Wal-Marts. Here, I thought, was a chance to test this theory on Close. “I just think they?re disrespectful of art!” he replied. With that, he politely took leave. Chuck Close seems to be a very nice man, but I must say that I disagree with him. More on that later, but first, a little more dish.
I also saw Calvin Klein and Bianca Jagger at the show. I was looking at a big painting then turned around and there they were about twelve feet away peering in my direction. She looks just as lovely in person. Both were wearing dark sunglasses and scarves around their necks (like me … hmm). I don?t know how they actually saw the art with those shades on. Perhaps they were really there to add some glitz. Surely they could?ve gotten a private preview. Anyway, she was wearing a white pantsuit with her long orange scarf. Mr. Klein was wearing grayish-blue jeans and a dark blazer topped off with the scarf. These are fashionable people so surely you knew I?d mention their appearance. After all, this WAS an art fair! Art fairs are visual affairs. Anyway, I must say that Calvin Klein is the thinnest guy I?ve ever seen in my life. I?m talking tall, stick figure. Not that there?s anything wrong with that ? I?m just saying. Funny, because right after I caught a glimpse of them, I turned and the woman next to me was also staring at them. Our eyes met and she had this puzzled look on her face. I said, “Yup, that?s them!” She replied by saying, “Oh my God! He?s so thin! And he looks SO old!” In Mr. Klein?s defense, he looks great for his age ? whatever that may be. In short, Jagger and Klein were definitely turning heads and they knew it.
Now ? let me give you a few quick observations about the Armory Show 2008 and then I?ll mention some of the art that grabbed me. First, the crowd wasn?t as culturally diverse as I thought it would be ? not as diverse as Art Basel Miami Beach, anyway. Perhaps the United Nations arrived after my departure. All I got was a three-hour snapshot. Also, it wasn?t as crowded as I thought it would be either, although the crowd did build during my time there. Another thing ? as I strolled through gallery after gallery, I kept wondering if I had seen some of these works before. Of course I did. That?s fine ? I?m just saying. In addition ? it really seemed like female artists were well represented. I saw so many great works by female artists. Rock on, ladies. Oh and another thing ? what?s the deal with skulls? It seems that SO many artists are using depictions of human skulls in their work these days. Perhaps Damien Hirst?s $100 million diamond-encrusted skull has something to do with it? I don?t know, but enough already.
Now, onto the cool art. In my book, there were two stars of the show ? the first was Thomas Hirschhorn?s “Tool Table 2007.” It was such an inventive sculptural piece ? two, long wooden plank-like tables that had dozens of mannequin arms standing on them with the hands holding tools like screwdrivers, wrenches and mallets. Many of the mannequin hands also held books, some open, some closed written by authors like Henry David Thoreau and Friedrich Nietzsche. Clever. Oh, the dealer told me the piece was priced at $180,000. I kicked myself for not bringing my checkbook. Would a $200.00 down payment suffice?
The other pieces that I loved were done by Jenny Holzer. They included “Bar 2008,” “Stave 2008″ and “Thorax 2008.” These are long, flashing, ticker-tape like LED signs mounted onto the corners of walls. Each installation carries different messages in various colors. I didn?t bother to ask the price. Your power bill alone to keep those things running would have to be fairly hefty.
There were so many great pieces to see. Mickalene Thomas? ghetto-fabulous, rhinestone-encrusted ladies are getting more and more play at these art fairs. Also, Norbert Bisky?s “glamour shot” boy paintings got plenty of exposure. I saw several Julian Opie pieces that I love. His traffic sign installations of chicks with swaying hips are so cool … and hot. By the way, Opie had several of those installations in my home city. A lady actually complained about them. She called them “suggestive.” My guess is her hips are as tight as lockjaw.
Describing the works that I see at art fairs is difficult because there?s just no way to do the art justice in writing. You just have to go and see for yourself. I always just save my pennies and GO.
Which brings me back to Mr. Close and his lukewarm feelings for art fairs. You know, I totally understand the disdain that so many artists have for them. We needn?t rehash all of the reasons, but let me just say that art fairs are really the only way that everyday people can see available art (if you?ve got $180,000 to burn). Needless to say, I don?t go to art fairs thinking that I?m going to buy something. That?s not the point. The point is that by going to art fairs you simply get to see what?s out there. Knowledge is power. Culture is enlightening. Even Mr. Close acknowledged that much to me. He?s not on such a high horse. Commercialization and artistic integrity don?t always co-exist, but they certainly can.
Yes, art fairs (large or small) are about commercialization and one-stop shopping, but isn?t everything these days?
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR?S JOURNAL.” CHECK IT OUT ON HIS NEW WEBSITE AT WWW.ARTMAESTROGALLERY.COM
Created by Michael Corbin On 03/31/08 At 07:33 AM
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