Dennis Hollingsworth

I can attest to the truth in that statement. I have just turned my students (Grade 12 art IBers)on to your site. We all eagerly await the evolution of the canvases.

it'll all be good
don't make yourself crazy about it
forget the critics
take a walk
forget yourself
look inside
see infinity
paint again

who do you work for?

There's a list tacked on a wall where I paint of Diebenkorn's "notes to self before starting a painting". My poor memory sees these few of ten: "tolerate chaos", "do search,but only for other than what is searched for", and "keep thinking about Pollyanna". He also said "I want painting to be difficult to do. The more obstacles, obstructions, problems...the better."

But you already know this stuff, no?

I do like those scrapes though.

Sherie'

Are critics relevant? Does it matter in this day and age? I think making decisions based on the great critics of this time is really a wrong way to go. But, still, it’s like asking are artists relevant. Are they? I wouldn't hang around for the answer--it's uninteresting, somehow. And marabous. Anyway, Dennis, I too like the last scrape. But the point is you gotta like it.

Brent, I'm with you.
Our current period in art might be characterized as post-critical, as I see it.

Thanks, everyone for the infeild chatter.

And a BIG SHOUT OUT to Art IBer PARTY PEOPLE IN THE HOUSE!

The article is interesting enough in that it is spotlighting the effect of change going on within the artworld, changing in unexpected places perhaps. I believe in change by augmentation over change by eclipse, so I don't think critics today are irrelevent, it's just that they are relevant in a different way than before. It's all pretty interesting and I could go on and on. For example, its interesting that the art fairs are the major draw of collectors nowadays forcing galleries to strap on the workload to attend the art fairs. Museums are vying with galleries for collectors... and in museum shows like "Public Offerings", the only valid subject for the artworld is the artworld as a system itself. Or how a 11-12 month gallery show schedule is foregone conclusion, to the detriment of what is natural or what vision/statement a gallery is trying to convey.

Pretty heavy stuff.

Young kids aren't really flinched by this change. They travel light (not necessarily art-light) and when lucky enough have a group of people who travel that way too. The traditional gallerist becomes something different when they reduce their over-heads, and move out where the market is. I've also noticed teams or groups are back in vogue. These artist/writer/critic/organizer/hype-specialists are able to garner their own exposure and promotion, and to some degree, success or notoriety...
I speak to a number of people either face to face or via email where physical barriers really are not an issue. The issue is how to get art out without having to wait for that once golden opportunity—the first sellout show and rave review.
But still you need people working with you.
Art changes. How it changes hands changes: How it is exposed or augmented via letters words and sentences—earlier studied in white cubes, though the future may spell knock-downs spells change: as does the collector’s needs and desires for experience along with the speed for expected return to meet new experience changes. After all, it’s all change. Perhaps what also needs to change is the thought that all change is either for the better or the worse.
Change is one step in any direction. There is beauty to it.