Wow what a brilliant artwork by R.H. Quaytman that brings to mind Hans Haacke’s take on Guggenheim trustees intertwined, incestuous commercial activities that the museum was less than keen to exhibit. Wonder how the subjects of Quaytmans work felt about it? Would make for an interesting follow-up piece... From the former website of specific object / David Platzker: Orchard Spreadsheet R.H. Quaytman According to the artist, the Orchard Spreadsheet is a conceptual drawing based on the idea of a financial spreadsheet. In it Quaytman shows a complete list of Orchards three years of programming from 2005 to 2008. Orchard was a collectively organized for profit exhibition and event space on New Yorks Lower East Side run by twelve partners - The spreadsheet outlines every exhibition, artist, artwork exhibited, title, date, media and price, followed by whether or not the individual work sold and if so, to who and finally, what percentage of the sale went towards Orchards operating expenses and how much commission was earned for the seller and the artist. The reading orientation is right to left, referencing Hebrew as is the Circumcision font used for the word Orchard. The Jewish roots of Orchards neighborhood and previous tenants of the Orchard space in Lower Manhattan is referenced by this layout and design. R.H. Quaytman worked closely with graphic designer Geoff Kaplan who also designed her book Allegorical Decoys. The work reflects both conceptual art histories and the artist own detail oriented job as director of Orchard. Additionally it includes how much monies in dues each of the founding members contributed. It is an historic documentation of a moment, the boom times in the art industry, a record of Orchards program, and the huge swings in market value from one artist to another, from conceptual art to painting, from film to photography and other mediums. In the end Orchards sales just barely covered the rent. Orchard Spreadsheet is a one-color inkjet print on 208 GRS Photorag Hahnemühle Acid Free Paper, measuring 82 x 51 inches [208 x 130 cm.]. It was published by MER. Paper Kunsthalle, Gent, in an edition of 10 signed and numbered copies, priced at $4,500 (plus shipping and sales tax). ha, in the end its all reducible to money specificobject/objects/info.cfm?object_id=13418&search=orchard%5Fspreadsheet#.VDpNrf3PbA4 specificobject/projects/2009_Award/Orchard-Spreadsheet.pdf *and here is an interesting take on today’s art world couched in an article about the bogeyman of the insta-martket, you know who, where i came across the quaytman work. thanks ss. Art history will be kept alive and connoisseurship will survive among experts and those who care for it- no worries about that. Nor are we becoming dumber and more superficial as various scaremongers want us to believe. Instead, we are facing transformations of the art system: the opposition between the elite and mass has turned out to be outmoded and no longer sufficient to explain what is going on, while the idea of collecting for ever has been defied by collecting for now. Measuring art value with money will not disappear, as money is the easiest way to speak about values in art for those who don’t have time or other skills to express themselves. Therefore stop fulminating against the moral corruption in art because of its relation to money, as it is useless. A much more interesting question is, what moral instruments can we develop to adjust the art system to new challenges of distribution, accessibility and newcomers, who don’t necessary enjoy traditional rules of collecting? martagnyp/articles/from-here-no-longer-to-eternity.php blog.art21.org/2010/04/30/some-alternatives-to-institutional-critique-2/#.VDpMDv3PbA4 Hans Haacke Solomon R. Guggenheim Museum Board of Trustees, 1974
Posted on: Sun, 12 Oct 2014 09:55:05 +0000
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