Getting caught up
Today I spent like an hour and a half while Myles was napping on the phone with my old friend Collette. Those of you who know me rather than just blog-know me at least know of my friend Collette in New York.
It was sooo good to talk to her. I miss her a lot. I spent a lot of time braggin up the little guy, of course.
We also talked a little about art and artists we know. Some of it was gossipy, like what artist is about to go to Mary Boone (not telling), some of it was have you heard from Peter? type of stuff, and then I asked her about Kahn/Selesnick. Had she seen the latest work?
Just the other day, I googled this pair of artists to see if they had any openings coming up. I was at the opening of their Transmissions from the Schottensumpfkunfpig (Scotlandfuturebog) series when they were at Beitzel Gallery. It was so cool. One of my favorite images from that series is this one, and while Collette doesn't like it as much, she did note that this one was really popular. I don't know; there was something so "Three Maids at the Wishing Pool "about the way they have it staged. And the clouds are cool, but they are in most of the series. Oh, and there is a book, too, now!!!
After that series their next major work was this City of Salt stuff. They broke from the sepia and grey tones of their earlier works for this rainbow-tinted fantasy stuff. I didn't get it. Collette told me today she couldn't get into it, either.
I guess a lot of people weren't into it because the newest work shown recently at Pepper in Boston and later this week at Hammer in Chicago are more familiar in pallette and presentation, but of course, fantastically different in theme. The Apollo Prophesies show a Lunar Mission that may or may not discover an Edwardian era colony on the moon.
The Hammer Gallery summary:
I don't know what I love more about their art, the images themselves or the coherent narrative behind each one (which isn't exactly necessary to appreciate the prints themselves).
So as Collette and I were talking about this series, she gave the most ringing endorsement she can give--she actually bought some pieces. Collette, by virtue of her job, her winning personality, and her close friendships, rarely has to pay for art. She is actually shelling out the dough for this one.
I guess I will just have to wait for this to come to Pittsburgh. Oh, stop laughing.
It was sooo good to talk to her. I miss her a lot. I spent a lot of time braggin up the little guy, of course.
We also talked a little about art and artists we know. Some of it was gossipy, like what artist is about to go to Mary Boone (not telling), some of it was have you heard from Peter? type of stuff, and then I asked her about Kahn/Selesnick. Had she seen the latest work?
Just the other day, I googled this pair of artists to see if they had any openings coming up. I was at the opening of their Transmissions from the Schottensumpfkunfpig (Scotlandfuturebog) series when they were at Beitzel Gallery. It was so cool. One of my favorite images from that series is this one, and while Collette doesn't like it as much, she did note that this one was really popular. I don't know; there was something so "Three Maids at the Wishing Pool "about the way they have it staged. And the clouds are cool, but they are in most of the series. Oh, and there is a book, too, now!!!
After that series their next major work was this City of Salt stuff. They broke from the sepia and grey tones of their earlier works for this rainbow-tinted fantasy stuff. I didn't get it. Collette told me today she couldn't get into it, either.
I guess a lot of people weren't into it because the newest work shown recently at Pepper in Boston and later this week at Hammer in Chicago are more familiar in pallette and presentation, but of course, fantastically different in theme. The Apollo Prophesies show a Lunar Mission that may or may not discover an Edwardian era colony on the moon.
The Hammer Gallery summary:The Apollo Prophecies documents a mystical ellipsis in the space-time continuum: mid-century American astronauts and a lost Edwardian-era lunar expedition have all journeyed to the moon using the various technologies available to them in their respective eras. Upon the bleak cratered landscape, they encounter one another. The Edwardians apprehend the arrival of the astronauts as gods fulfilling a long-awaited prophecy. Employing the narrative techniques of Italian early Renaissance religious fresco, Kahn/Selesnick depict the lunar explorers traveling to the moon, surveying the lay of the land, and
returning to Earth in a series of multiple sequential episodes all contained along the spectrum of one long, continuous black-and-white panoramic photograph ten inches high and forty-eight feet long
I don't know what I love more about their art, the images themselves or the coherent narrative behind each one (which isn't exactly necessary to appreciate the prints themselves).
So as Collette and I were talking about this series, she gave the most ringing endorsement she can give--she actually bought some pieces. Collette, by virtue of her job, her winning personality, and her close friendships, rarely has to pay for art. She is actually shelling out the dough for this one.
I guess I will just have to wait for this to come to Pittsburgh. Oh, stop laughing.
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