Until an artist version of Cribs is invented, the best way we can get inside an artist’s life and work is to get inside their studios. Photographs of artists in their studios are kind of like snapshots of an artistic career, a whole body of work compressed into a single room. A working and living space tells a lot about the person that inhabits it, and the spare objects and trashed drafts tossed around the room communicate eloquently about artists’ inner lives. I’ve collected some cool studio shots that all communicate something inexpressible about the artists they shelter.
At the Boston Museum of Fine Arts’ new Wing of the Americas, the story of American art is told over the course of four floors, ranging from colonial and indigenous art through modernism. Stopping before contemporary, the third floor above ground level is the home of American modernism. The opening gallery of the floor tells a story that’s neither comprehensive nor diverse, instead presenting a kind of multifaceted, unfocused face to greet the public. How does this hanging impact the works on view in the gallery, and museum-goers’ experience of the art?
There’s no point in giving you a “review” of the mothership of art fairs in Miami, Art Basel Miami Beach, so I thought a photo essay with some observations were more appropriate.
I admit that I got a little bored after three hours of wandering around. I found myself seeing the same thing and getting the same numbness I get during marathon holiday shopping trips or walks through ancient souks … there’s only so much merchandise you can see in one stop.
It was still refreshing to see some galleries display the prices of their wares freely, and examples of excellent abstraction by names mostly absent from the art history survey books, but I was most shocked to discover what must be the most awful Basquiat I have even seen in my life.