LaBossiere's exploration of art as concept reveals disquieting implications. If art (not just extreme conceptual art, but all art) gains its value to some degree from the value of its creator, then one must wonder what sort of inequality exists in the valuation of art. Would, for example, a Big Al Carter piece sell for more if Big Al had not been black and unrepresented by a gallery? Or, would it sell for less? When artists become petit-celebrities of a sort, does their art increase in value? Should it, particularly if the quality (however measured) has not? And, perhaps more importantly, how do our cultural biases play into the determination of value for pieces of art labeled "tribal" or "folk" art?
critical and creative perspectives on the arts and society
Twenty-somethings, it's time. It's time to roll up that poster of Muhammad Ali and that silk screen canvas print of the Eiffel Tower. It's time to rest something lasting on those blank white apartment walls. It's time to buy original art.
When I think about music, I think of passion. When I think about passion, I think of emotion. When I think about emotion, I think of love, hate, fear, joy, sadness, resilience, and a great many others. But most of all, I think of universality. The best songs, in my opinion, tell a story. They take us on a journey of love, of hate, of hurt, of forgiveness. They remind us that we are not alone. The specificity of a story often breeds the universality of the emotions it conjures.
There is something inherently enduring about Sean Lotman’s work. Lotman is that nowadays-rare photographer who despite the trend toward digital photography still shoots using an old-school analog camera. His choice affects the look and feel of his work and it affects the way he approaches his work’s creation. Lotman does not hold on to analog photography for sentiment – or even aesthetics – alone; rather, he sees an analog camera as integral to his method. For Lotman, art-making is “risky,” it is something that requires skill as well as luck and a willingness to be in the moment. Analog enables such immediacy, such intimacy between the creator and the creation. “Art is the greatest clue to the self,” Lotman tells us, “It draws from talent, experience, and the subconscious.”
The Studio Museum in Harlem has several exciting exhibitions this spring.