Reflective Log: Artnet News Article and Artist Connections

Browsing Artnet News Online, I came across an article by Ben Davis, 2016, titled:

    "Do You Have to Be Rich to Make It as  an Artist? Art students are chasing a dream without understanding how the system works."  

Source: https://news.artnet.com/market/do-you-have-to-be-rich-to-succeed-as-an-artist-403166?utm_content=buffer0b1ee&utm_medium=social&utm_source=facebook.com&utm_campaign=socialmedia 

Key Points & Reflection:

• The article begins with an analysis of Rachel Rose's video work titled EVERYTHING AND MORE, 2016, which can be seen here http://whitney.org/Exhibitions/RachelRose), suggesting that production value of the video has a greater power over the work, causing it to be percieved as a greater artwork, "He agreed that Rose’s work was “entrancing, but wondered if "production value isn’t a significant part of the enchantment." Because Rachel Rose "hails from one of New York’s most powerful real estate fortunes" it gave her some advantage in the creative field.

Still from Rachel Rose EVERYTHING AND MORE, 2016

• The next point made is that; “more and more cultural space is being occupied by extremely wealthy cultural producers”, and I do agree with this point. I believe it is easier to be creative or to create art when you have the financial backing. 

• The article then goes on to list some examples of artists who have a wealthy background. For example, works by successful Iranian artist Monir Shahroudy Farmanfarmaian, suggesting her privileged upbringing and wealth enabled her to pursue art.  
• "In March, the Guggenheim showcased 91-year-old Iranian artist Monir Shahroudy Farmanfarmaian, whose intricate mirrored works have recently become much-celebrated. According to the Financial Times, Farmanfarmaian had “a privileged upbringing,” from a family of wealthy merchants. Her father was even elected to Iranian parliament. She has, the paper wrote, “enjoyed a life of glamour, exile, return, revelation, parties, and hard work”"

Monir Shahroudy Farmanfarmaian, Geometry of Hope (1976), on view at the Guggenheim from March 13 to June 3, 2015.

• Visually, Farmanfarmaian's work is appealing, and the mirrored detail is what attracted me to critique this piece for its aesthetic as an art piece as well as the wealth behind the artist who created it. 
• This piece above, Geometry of Hope, could be a mirror, if the viewer could clearly see themselves within it. The fact the mirrored pieces are so tiny and intricate, suggests the viewer wasn't really meant to see themselves within the piece, and the focus in on the details within the construction rather than the reflection. I think this brings more to the piece than if the viewer was to clearly see themselves within the mirrors, and brings a level of critique. 

Other key points the article makes:

• "Art is a self-starting, entrepreneurial activity, and what is true of entrepreneurs in general is perhaps true of artists."
• Also within the article it displays some images of artists who come from a more working class background, Alberto Burri, being one, and his piece Grande cretto nero (1977) caught my eye due to the striking detail and simplicity in the material. 

Overall Reflections and Further Research:

• This article has provided me with a critical insight into the art world and wealth behind artists / artworks. 
• The article has allowed me to research artist Monir Shahroudy Farmanfarmaian and explore her work which has a visual connection to my own work. It has also caught my attention to artist Alberto Burri and Further research will explore more of both these artists works. 

Artist Connection: Monir Shahroudy Farmanfarmaian

Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings, 1974–2014

Source: https://www.guggenheim.org/exhibition/monir 

Monir Shahroudy Farmanfarmaian is an iranian artist who creates mirror sculptures. 

With Farmanfarmaian's works there is a theme of infinity because of the mirror aspect. The way the reflections shine onto the walls of the exhibition above, creating unique and detailed patterns, is also something that intrigues me. 

All of her work is executed to such a high standard, perhaps due to her accessibility to be able to afford to, which is something I need to work on in my own work. 

Artist Connection: Alberto Burri

Alberto Burri, Grande cretto nero (1977) Acrylic and PVA on Celotex

Alberto Burri was an Italian painter and sculptor. 

What I like about Grande Cretto Nero is the simplicity of the cracks in the paint, and the details within the material. It's almost a sculpted painting. It resembles cracked earth from a satellite view, but  the material created is unique. Burri is even working within similar themes to my own - to consume the viewer with detail of the artwork. 

The video above is from the Guggenheim Museum, and Burri is an artist that really uses material to build a surface, for example using sacks, stitching, and plastics, and even burning on the canvas rather than using a paintbrush to leave a mark, 'never letting go of this blurring between painting and sculpture'. The textured surface of Burri's artwork is what creates this visual appeal for me.

Burri, White Cretto 1975, Acrovinyl on cellotex

This work has inspired me to experiment in a similar way, maybe creating something on a larger scale, using materials with intricate details within. The material Celotex could be one to experiment with, even his use of igniting plastics to create a texture is inspiring.