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OK. Henri has no excuses. Some of you have been asking for more, but truth is, I’ve got ABSOLUTELY  nothing to say. Returning to NYC from a much needed respite in my favorite place has left me cranky, lethargic and just plain ornery. I still haven’t fitted myself back into the rhythms and there’s no consolation at all – the heat is stifling, art is overbearing and the slick art world continues to live in some silly disconnected universe.

Case in point is this wonderfully mediated back and forth between Art Info and the New Museum. Art Info lays out the money trail and adds a bit of snark to the story. The NuMu gets offended. Art Info digs in a bit deeper. What is being discussed in this itchy-scratchy corporate speak is access – who’s got, who gets it and why – it’s all about the cash, the dosh, the green, the moola, and well, fill in your own euphemism. Money is piling into the place in one form or another and that money will continue to flow. Art is not only sexy – it’s economically viable these days. You gotta love it – Even with space at a premium here in NY the museum is probably looking to expand into a larger building just as they’ve begun to really market their Global Brand. (Who Knows – NuMu Abu Dhabi 2013?) They NEED cash. It’s the first Neo-Krensian institution of the 21st Century, and as such, has proved its allegiances time and time again. I have no interest, aesthetically or monetarily, in participating in yet another yard sale arranged for the benefit of the yachting elite. For all I care they can pack their walls with the market inflated collections of wealthy oligarchs until a Dollar Store opens on Monte Carlo’s Designer Row – I won’t waste another moment of my life inside their walls. And I’ll say it again – why do artists and critics give this rapacious institution any juice in our world? If we in the trenches ignored them they might just dry up and blow away….

For even SILLIER business go here:

Big works, however, are exactly what many of today’s alpha collectors want. With the growth of private museums, they have space to fill and the means to do so. They also want works with huge visual impact: contemporary art spaces, be they private or public, need to grip visitors, give them an “experience” and send them away thinking “wow!” Size is one of the ways of achieving this.”

I usually see copy like this in my spam box…

ON the plus side George Hofmann has posted some further thoughts on Fractured Space over at Paul Corio’s blog “No Hassle at the Castle”.

“I think the main thing about what has changed is the centrality of Cubism – the point of view of the artist, and ergo, the viewer – versus the diffusion and increasingly all-over, up and down, in and out quality of FS (Fractured Space).”

and this from the first part:

“The world is awash in visual information; unedited and torrential, pixellated, flickering, backlit, and instantaneous. This hasn’t necessarily resulted in greater pictorial literacy, but it probably has affected the way we look at art, and the making of art.”

And a heady series of posts (be sure to follow the links in the article) on Benton and Pollock and the structural connections between them by the Fabulous June Underwood. I am not a Benton fan – a bit too regional for my tastes. But June has given me a second thought about his influence as she dissects his compositional technique and how it relates to her work.

“…Benton composes in vertical swirls, with lines of energy that connect his visual elements, but retains the sense of space by thrusting his foreground figuration almost out of the lower “canvas” while pushing the middle and background back by stacking and sizing. His motion is circular but expands and contracts to pull in various different times and scenes.”

Painters looking for new spaces, new visual spaces in the most unlikely of places!

As for Henri we’ll have more on Romanticism and new vision soon – in the meantime we’ll be sweaty nude, blind angry and hugging our air conditioners. Not a pretty sight I assure you…