Monday, May 9, 2011
(Christopher Wool, 2005)
Whether it’s fear or reality, I’m concerned that working as an art consultant will negatively impact my drawing and efforts to exhibit as an artist.
People who like artists are artists, one-time artists or wanna-be-artists. The rest think we’re a bit volatile or that we want something from them. Maybe we’re going to invite them to our studio (where they’ll be forced to say something about stuff they don’t like or understand) or ask them to buy or show what we make. Then what? So even though an “artist’s eye” is a selling point, better not tell clients I’m an artist too. But if I don’t mention it, does it mean I still am?
Let’s say it does. If I am in fact an artist, why am I consulting? Why am I trying to move other people’s art? Shouldn’t I be in the studio working or planning my own exhibition? I’d be more devoted if I were starving. On the other hand, this may be my only shot to get my work in the mix.
I can do both I think. I always have. But my brain can’t hold too many ideas about a person – or myself - at once. Even though that’s precisely why I like Kippenberger. He’s so diverse: sculpture, paintings, books, kinetic contraptions, lithographs, posters, all on vast subjects made through diverse approaches. Yet it all comes from a same, palpable personality.