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Art Goes Virtual

Thursday, January 27th, 2011

“VIP” is a common expression in the world of luxury – but this week it has been given a totally new meaning.  Saturday, 23rd January was the inauguration of the VIP Art Fair, but here the famous letters stand for ‘Viewing in Private’, and describe the world’s first major online art fair.

The founders of this ground-breaking fair are James and Jane Cohan, art dealers in New York, who, for the past 3 years, have been dreaming of and planning the fair which finally launched last weekend, and is scheduled to close on 30th January. With more and more transactions happening online – for example some galleries sell in a similar fashion to amazon.com and major auction houses accept online bids – it seems that art collectors don’t necessarily have to view works in person before knowing they love and want it. And so begins the online art fair.

The circuit is already so crowded with fairs from Hong Kong, London, Miami, Basel, New York, Dubai to Paris, that the cost of travelling and shipping make it almost impossible for galleries or collectors to see them all – in this climate it makes sense to go virtual. Although galleries still have to pay for booths, ranging from $5,000 – $20,000, the expense saved from not having to transport works is significant.

The fair’s first major success was in convincing big hitters like Gagosian, White Cube, Hauser and Wirth and an interesting range of younger galleries to buy booths and set up a display of works. Beyond that the basic logistics of the site were successful – the lay out and interface were extremely user-friendly allowing visitors to search galleries and chat with their staff 24 hours a day.

So was it a success? I would say yes and no. The major failing has been that due to high user demand the website has been incredibly slow, to the point that they have had to disable the chat feature, suggesting visitors email or call the gallery instead.  The problem with this is that specific prices are not listed, and not a lot of details are provided about each work; while you can see the artist’s CV and biography there is no actual description provided, meaning some works’ significance and purpose can, unfortunately, be lost.

Having said that, I think the idea of the online art fair is a major step forward. This fair has more than 1900 works on view, and the whole reason the website has had problems is because of overwhelming interest and demand – there have been a staggering 3.3 million views on the site, from 130 countries and it’s still  only half way through the fair.

Whether sales have been high is still unknown, but it cannot be contested that even if people aren’t buying online, they are being made aware of different galleries and different artists to investigate in the future.

Technological glitches aside, the Cohans should be proud of what they’ve accomplished and hopefully will do it again next year with a bit more experience under their belts.

vipartfair.com


Turner Prize Review

Friday, November 12th, 2010

After having visited the Turner Prize this year, I left somewhat under-whelmed. The Prize, which has been taking place annually for over 25 years, organised and staged at Tate Britain, has always been considered controversial and cutting-edge. It’s often associated with conceptual art, and has become the most publicised art award in the UK. This year, however, it seemed to throw up things I’ve seen before (some of which I had seen before). So saying, there is little shock value this year. That, however, does not mean it wasn’t good or that there isn’t any value on offer.

The four artists nominated are Dexter Dalwood, The Otolith Group, Angela de la Cruz and Susan Philipsz – with the winner announced on 6th December, 2010. The idea behind the prize is to present the most ‘current’ visual art being produced by young British artists (they have to be under 50).

My favourite works by far are Dalwood’s canvases. His paintings are visions of vacant spaces – they create an emotion through something missing or absent. He makes paintings of monumental places, often that he has never seen himself. His works include stark political sentiments whilst often appearing to be simple landscapes. His painting The Death of David Kelly presents a tree in the moonlight, but the title suggests this could be the location where the body of British scientist David Kelly was tragically found. Visually, the paintings are extremely aesthetic but the underlining politics, stories, and mysticism add a quality which makes it difficult to look away.

Susan Philipsz work, Lowlands, also deserves a mention. The actual art work comes after anticipation and intrigue is built up; you walk from room to room, and the walls are lined with a grey felt. What you realize when you enter the last room is that these are to control the acoustics, as her work is completely sound based with nothing in the room but speakers, and a bench to rest on. She sings ‘Lament for a drowned love’, which is a 16th century Scottish song, resulting in a hauntingly beautiful exposition.

While the works in this year’s Turner Prize are generally strong, I think I was underwhelmed because it wasn’t dripping in controversy and shock. Instead, it presented a series of pieces that each in their own right deserve to be in the Tate. I do recommend seeing it for yourself, and then hearing about what you think.

Turner Prize on until 3rd January 2011, Tate Britain, Millbank, SW1P 4RG


THE MAN WITH A CHILD IN HIS EYES

Wednesday, July 28th, 2010

Sacha Jafri, the London based painter, is now considered one of the world’s leading young artists. His paintings investigate the human being, and the intrinsic relationships with surrounding environments. Quintessentially Art had the opportunity to meet with him, and discuss what makes him paint, his interests,
and his upcoming series ‘Universe of the Child’.

You’re known for your visually strong paintings. Why painting of all mediums?

Painting is what really inspires me. It is the most tangible of expressions for me in that I am very much a painter of the 70s or a purist painter. The thing now is that there is a lot of concentration on the finished product; my work is very much not about that. It’s sort of the antithesis of that, it’s about creation of the product and the best thing I can do is paint.

What do you mean by the theme of magic and a style of magical realism and how do you use these themes in your work?

It’s not really a theme of magic, it’s making your world, your reality that you know and recognise and awakening something that was maybe sleeping. It’s a bit like an electric shock to the senses. Magical realism is about the viewer being able to dip in and become part of it but it’s not material enough to one you know, you become part of that and you start competing the narrative.

What are the main themes that you have painted so far?

All of my paintings are about human beings, how we fit into our natural surroundings, how we relate to each other and to our surroundings both natural and man-made; how we converse with each other. Within that, there are different narratives told, within that there are different paths of subconscious. Some of it is very deep; its more about a journey or an investigation into the subconscious which becomes more about the dream world and some of it is more lucid and more about the world and what is around us when we are awake. It’s all about people, all about narratives and all about relationships.

You are now working on a series called ‘Universe of the Child’ – What is that about?

It started in Darfur. I realised that I didn’t want to paint about the darkness of humanity but about the strength of humanity, in what is amazing and inspiring. I found the only way to get to the truth in these countries, to get something different, poignant, and to find the truth, would be to work with children. They have a purity and they have a truth that is quite amazing. The idea is that it would be the essence of the country through the eyes, heart, mind, soul of a child you would find the essence of the country. It’s quite a big journey which is exciting.

To find out more about Sacha Jafri and his upcoming exhibition at the Saatchi Gallery, contact Diana.Graham@QuintessentiallyArt.com.


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