I was reading a Facebook post where a friend was complaining about a jury turning her away for a third time. I recalled the cry of the French artists in the 19th century French artists against the academy "No Juries No Prizes". I didn't comment since I've had my share of awful reactions to jury rejections. Indeed if possible I avoid juries because it does seem very capricious and reactionary as a means to discern quality or provide opportunities for artists.
In the mid 1980's when I started my portraits I thought I might make some money selling them. I did sell them some of them but it was hardly a living though the critical response was very positive. I felt like a band that got good reviews but couldn't sell many records. I understood of course that though the portraits were less intense than my other works they were still an outside the pail style and intensity wise here in the midwest. Indeed my considerable inventory of portraits is a reality of the lack of a market here for them.
I have a new painting nearly done (I'm supposing) thinking about a photo with tripod I have no sun right now crucial to my color even as photographs. I haven't been writing much in my blog lately, losing faith that their is anyone out there reading blogs. One of the best art writers I know says she doesn't read blogs, this was a few years ago but she's usually true to her positions on things. I don't read blogs much but I read it if it has my pictures in it! Reading is a huge thing for painters whose work tends to be labor-intensive like mine.
Fantasy life as antiquarian collector of the graphic works of a Mister Frank Gaard.
The photos of the Minnehaha Falls are copyright Robert Corbit/ Artpolice Journals jpg 1. Minnehaha Falls now jpg2. Falls 2 years ago
Recalling how Marcel Duchamp loved waterfalls. Blogs to follow .
Traded a small painting for cash and a book. The book written by Lane Relyea was read quickly over a few days. The title is Your Everyday Art World ..It's an inspired piece albeit Mr Relyea worships at different shrines than I do. But so does Philippe Vergne who loves Mike Kelley and Carl Andre. So the Relyea book which is very precise in it's arguements dare I say I bit like Guy Debord at times a spectacular critique of everything. Very technical at times new art histories written in passing.
The Speedboat Gallery was a storefront space and a very large basement . Paul Dickinson and Scott Dolan were in the space with several other people including Frightwig Hayes the lady in the band and of course Mike Mc Coy who had his little Datsun truck which brought Minneapolis art to St Paul . .. The concerts in the basement paid most expenses for the gallery later the coffee shop was paying for the gallery. Paul had a dream and for a while we enjoyed that dream together. Some extraordinary art shows and installations took place at Speedboat Gallery.
It all amounts to the same thing. Art speaks best as fresh season, as renewal. So she flew the coop from curator through foundation work then vanishing into life with her husband who wrote (though I knew him when he bought paintings for a corporation in area). He snagged a beauty too (see illo. above Walker Art Center Collection gift of MCAD Student Auction Sale ) which eventually devolved to the Walker through that MCAD auction. A gift a real fucking gem it was too.
When Love Turns To Poison was a title I gave a show with my friend and co-laborator Stu Mead. The show was criticised but the title is great and I suspect the show was very cool. In Berlin in 2004 (?) I maybe a curator but I'm not a historian. New pc still getting used to speed and complexity of this machine. Stu Mead and I made little magazines and books together. Some very disturbing but also brutally true thoughts and images regards the limits of aesthetic inquiry, when your crossing into the criminal area.
At some point between fiction and nonsense I thrive using Wittgenstein's cobwebs. Stu Mead met Toni Stoos in Vienna when Man Bag and Artpolice zines were exhibited in big language art show. Mead got a preview with Stoos who was curator there and of the show. Mead is so low key sometimes like a guy always distracted, - ALL DIE ALL VANISH was Caravaggio's motto or from my scant history as Caravaggio is repressented in Chicago Art Institute in a monster biblical realisimo. Project suspended til I get my facts fictioned!
So early on Siah Armajani tipped me off that Kathy Halbreich was a very major hombre. Which turned out to be true. I've been thinking about the big acquisition of the huge Sigmar Polke painting in 1994, Autumn and her Daughters . I wrote a short piece about it in Artpaper and Ms Halbreich dug it. Hence I had a friend at the Walker. Same sort of thing happened with a curator at Walker about the Hannah Hoch show (Peter Boswell).