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The Importance of Not Needing a Crash Helmet

By caryn | September 16, 2008

I just completed my first review for LA-based “Beautiful Decay” magazine on Sinta Werner’s fantastic debut UK solo exhibition Grey Areas at Nettie Horn. If you haven’t seen it yet, you really do need to march over to Vyner Street before it closes on October 5. Probably the best show I’ve seen in London so far and perhaps the best installation I’ve seen anywhere in awhile. Also, don’t miss With: Withyou.co.uk show at Rokeby.

Closing my gallery was difficult and bittersweet but I’m relishing the newfound opportunities I’ve gained since. One of those opportunities is writing, which is actually what I wanted to be when I grew up (you know, back in the days when I could say such things). But now, the ability to write for publications now (both online and print) without any sense of a conflict-of-interest is not only terribly freeing but it confirms that I’ve made the right decision. In particular, I’m really looking forward to writing more about London for Beautiful Decay because I feel it allows me to retain my connection to Los Angeles. But yes, all these changes mean I’m fired up. And daunted. Owning the gallery was an intense labour of love but it was also an situation I’d liken to continuously beating one’s head against the wall. Chalk it up to experience but I’ve realized that the best things in life, personally and professionally, happen organically. No helmet required.

That said, school begins shortly and it has been a long…time…coming. Enrollment is next week, class meet up the following, then lectures finally start October 6. I’m so curious to see what adventures are ahead, sink my teeth into new projects, and finally embarking on this new avenue in the art world that I’ve decided to explore. Yikes.

Topics: Editoral | No Comments »

Recession, what recession? Hirst Kills It

By caryn | September 15, 2008

Sure the Down Jones plummeted today, Lehman Bros. Holdings Inc. went bankrupt, and Bank of America now owns Merrill Lynch but that didn’t seem to stop the first night of the Hirst Sotheby’s sale to fetch 70,545,100 GBP. It’s astounding. Concept/content aside, it’s such an over-the-top display of wealth on the same day that people are fearing for the financial future that there is actually a re-structuring of the market taking place that it’s complete lunacy. Second half is tomorrow night. Wow.

Auction results here.

Topics: Editoral | No Comments »

Beautiful Inside My Head Forever

By caryn | September 12, 2008

I’m going to preface this post by stating that I actually do like Damien Hirst. Aesthetically I like the objects that he makes with the notable exception of the spinning paintings (ouch). The first time I saw one of his encased dead animal pieces, even as a staunch vegetarian, I was in awe of its strangeness, mortality, and ballsiness. Most importantly, I’ve always been attracted to people who disrupt the system and, whether you like or not and whether he’s intended this or not, he gets people talking. He gets people angry and combative…about art! These days, my friends, that is a rare gift.

And so this week I wound up unexpectedly at the Sotheby’s auction house in London to preview Hirst’s Beautiful Inside My Head Forever. This “not a show but not a secondary market auction” display (that’s what I’ll call it, a display) features around TWO HUNDRED new works created by Hirst within the last year or so that essentially reguritate what he’s done in the past decade - skulls, butterfly paintings, sharks in formaldehyde, cabinets, etc. All done to be sold directly to the market, sans dealer, via auction. We’ve all seen it before and now here’s your chance to own it. Well…not quite. I have some problems with this display and I’m going to solely focus on this particular auction not the Hirst’s entire oevure.

1. He’s eliminating the role of the dealer. I have a huge problem with that. While I am aware that his arrangements with galleries are approached differently than those of most artists but, still, working with such esteemed dealers as Larry Gagosian and Jay Jopling can hardly be an entirely non-beneficial experience for Hirst. In the ideal situation the relationship between artists and dealer or, as I prefer gallerist, is symbiotic. One is in existence for the other. And while clearly and obviously, artists do not need representation to create work, I feel this approach truly sends out a negative image of the dealer as unnecessary middleman. What is interesting to note is that he still clearly needs a system in some ways, hence using Sotheby’s. Messing with the system can be a good thing but is this the part of the system we want to challenge and, if it is, perhaps the reasons why could be clearer.

1a. Side note: I’d bet some arrangement was made with his galleries to appease them in some way - they get select new work, a secured upcoming show, etc. It is a business for them too after all.

2. Perhaps I’m reading too far into it thinking there’s a conceptual component. I mean, this display features 200 works that were created simply for the purpose of selling/making money. This removes art from being art and more into the realm of widgets and products.

3. My art writer friend and I were discussing that if this event has been done under the guise of being democratic, it inherently isn’t. In the first place, it’s only because of who he is that this can occur. Secondly, the idea of an auction means that anyone theoretically anyone can purchase a piece. Meaning that anyone who’s been shut out of the gallery system or who has been denied the ability to purchase a Hirst now has the open-market option. The flaw in that thinking is that I can probably count on my one hand the amount of people who have enough income to afford his work haven’t been able to get it through his galleries.

4. I’m all about critiquing the market but, at some point, art has to have something behind it more than monetary value…it needs to have substance. By placing his art in this context does the market then over-shadow the work and, therefore, reduce its substance? To be blunt: shouldn’t we/I be discussing the work instead of the selling? Is that my fault or his or the art world in general?

5. All this said, this is an auction after all and the art is worth what someone is willing to pay for it. So we’ll see who does…and at what price. To be continued after the Tuesday, September 16, auction…

Topics: Editoral, Reviews | No Comments »

As the Market Turns

By caryn | September 11, 2008

The art market and the art world seem to be more intertwined than ever these days. One seemingly doesn’t seem to exist without the other and whether the market is declared good or bad its influencing powers over art is evident, though not always in the way that we might want it. Even the fact that I’m even writing this post about the “market” shows its infiltration.

After all of my years in the commercial gallery business, I would be extremely naive to think that art, artists, and the rest of the art world could survive without the ability to make a profit off of what we do. We all need to eat, I understand that and most of us work extremely hard and deserve some just rewards. But what we’ve seen in the past couple of years with the success of the art market (which sometimes I believe was nothing more than a marketing tool) is a general dumbing down of work - rather than taking risks, people are making objects to sell. I’ve seen first hand how ideas of marketability have also adapted the way some people look at art. Questions such as “how much has sold?” or “where have he/she shown?” or “what collections are he/she in” dominant rather than discussions about the body of work itself. And now with the slowing down of the art market one has to wonder what will come next? Will the separation from the lure to make big bucks quickly require artists to create riskier work, take more changes, make something different? Will it weed out the bad galleries/artists or will it weed out the good ones as well?

I think we’re in danger of swiping the middle generation of artists and galleries under the rug. With the current market down-turn/recession yet still high auction prices, my prediction is that those buyers with the money and those artists who are already significantly established will continue on their successful path. The old adage: the rich get richer applies with a greater divide between the have and have-nots. The risk we’re taking is that five years from now when the market is strong again we will have a gap, missing those who are currently emerging/mid-range artists and galleries; those who did not get an opportunity to develop. Who will then be the next Murakami and Hirst, the next Blum and Poe?

I discussed this yesterday at lunch with an art writer friend after we saw Damien Hirst’s Beautiful Inside My Head Forever auction “show” at Sotheby’s (note: this will be another post as clearly this post is long enough already). He mentioned that when asked “what’s the scene like in London” he finds it difficult to define or direct someone to a specific current movement or cohesion. It’s like that in Los Angeles now too. Nothing seemingly works together to build itself into a major driving force; individuality influenced by globalization? Areas like Viner Street/east end in London and Culver City and Chinatown in L.A. should be hubs for the most innovative art work but they’re in actuality quite tame. And if they’re tame we must ask why is this so and what will the ramifications of this neutralized art be in the next decade?

A lot of questions posed here without any real clear answers, just a prompting of more discussions. In regards to what can be done to save the next generation, our generation, seems easy enough to me - those with the buying power need to stop relying on what’s already proven, trust their eye, and start supporting what is not yet a sure thing. In reality, this requires a very unique individual. Someone who, like the best gallerists and artists, have the guts to be an individual, trust their instinct, and realize that art has meaning that, just sometimes, transcends the market. There are those in the art world who are innovative and who I trust are in it to be apart of the future - I just want to make sure they have their chance to succeed.

Topics: Editoral | 3 Comments »

These Tudors Aren’t on Showtime

By caryn | September 10, 2008

A few of the things I love about London: rainy days, men in suits, the musical history, sharing a pint with friends on Sundays, the museums, and the ability to indulge my obsession with European history. Being that I grew up in a part of Florida where a Ponce de Leon commemorative statue from 1985 near the local Home Depot is considered a reason for celebration, I suppose it makes perfect sense that as I’ve gotten older I’ve found the romantically rich brutal history of Europe, particularly England, so irresistible. Devouring historical biographies has helped occupy my recent sabbatical and the amount of information I know (as well as the abyss of intriguing information I know that I have yet to discover) is, well, interesting. And now I’m actually living here I can regularly frequent one of my favorite spots in the city, the Tudor/Stuart rooms at the National Portrait Gallery.

Looking at these historical portraits is a vast departure than what I experience at contemporary art museums. It’s a different way of seeing - wall labels are your friend and the purpose is decidedly historical rather than conceptual. It’s a vacation for my eyes and mind while still experiencing art. So armed still with a hint of my sinus cold, I paid a visit to Henry VIII, Mary Tudor, Queen Elizabeth I, Mary Queen of Scots (my favorite), and the other assorted gaggle of priests, sons, daughters, advisers, lovers with their interwoven back-stories of love, treason, and power that altered religion and the entire world. See, I get carried away. And lest I forget the divine miniatures - like the Cornell’s at the Art Institute in Chicago I keep pushing the light-up button over and over again to view the works, a kid myself.

Of course I had to pick a day when roughly thirty grade-school children were sprawled across the floor drawing their own versions of the portraits. Usually these particular galleries are quite quiet but the life the kids breathed in was refreshing, even though I literally had to step over them to see anything! You can virtually view the room via Quicktime here but I highly recommend that if you adore brilliant painting and need a break from the rigeours of contemporary art, come say hello to the Tudors.

Topics: Editoral, Reviews | No Comments »

Richard Serra in London

By caryn | September 7, 2008

Just discovered that Richard Serra will be opening at show at Gagosian’s Britannia Street gallery on October 4. Unfortunately there isn’t any information on what will be in the exhibition but still, can…hardly…contain…excitement…

Topics: Previews | No Comments »

And Art Season Begins

By caryn | September 7, 2008


It’s September which means the universal opening of the new art season after what should have been a restful August off for art world folks. I know Los Angeles had a difficult time navigating all the openings happening on the same night this weekend (seriously, why does this happen?). London is also marking the beginning of the new season this month as was evident during the first First Thursday on the east end. And so I went out on Thursday, with my friend Andy, to a gaggle of openings amongst the posh and great unwashed. Started at Alison Jacques and Rokeby whose WITH, with.co.uk exhibition you should not miss. Viner Street, was so crowded and all the shows where installation or videos so it proved pointless. Going back this week for closer inspection.

Topics: Editoral, Reviews | No Comments »

Tate Modern: on Twombly and permanent collection

By caryn | September 4, 2008


Pretty much since I’ve arrived in London I have been saddled with an unbearable cold reminiscent of the 2007 art fair flu in New York which, if you were unfortunate enough witness to that lovely sight you know that this sickness wasn’t very pretty either. However on Tuesday I was finally able to muster up enough strength to visit the Tate Modern. I went with the express interest of seeing the Cy Twombly exhibition (closing September 14) but was really left rather disappointed by it. Mainly, as I’ve thought about it after-the-fact, it was just over-hung. Works were placed far too close together, large works even, that they just couldn’t breathe on their own. Even paintings I had seen before I hardly recognized. Thus proving that spacial limitations should be taken into consideration when doing a show…just because you have the work doesn’t mean you need to show it all.


Lately, I have found curated permanent collection shows to be terribly inspiring (recent examples: MOCA’s recent Collecting Collections and the Hirschhorn in DC). So after the Twombly semi-letdown, and a much-needed cup of coffee, I explored the Modern’s. The main reason I’ve been so interested in collection exhibitions has come from my reaction to the opening of BCAM (the Broad Museum of Contemporary Art) in Los Angeles earlier this year where I found it to be less curated and more geared towards promoting private interests. Don’t get me wrong, the majority of the works there are phenomenal, it’s just that the museum’s sum does not equal more than its parts. This, of course, has made recognizing quality curated collection exhibitions all the more apparent: when they are done right they produce conversations between disparate and/or similar works as well as start conversations in my own mind; I find that invigorating. So, with that in mind, here are some of my scattered thoughts…

Topics: Editoral, Reviews | No Comments »

London, I’ve Arrived

By caryn | August 29, 2008

I’ve been in London a little over 48 hours now; I believe I’ve been asleep for 40 of them. As I emerge from my post-Los Angeles moving haze (one worsened by jet lag, a lingering cold, and the stress/fun of the days preceding my departure), I’m slowly starting to gauge my surroundings. I’m living in north London, an area that despite all of my numerous time spent in this city, I’m entirely unfamiliar with but, so far so good. I’m currently on stolen internet, huddled in a corner in my flat to get the meager signal but I hope that will be figured out soon. Lord knows I’m a girl who can’t survive without being connected.

Most importantly, I’m also starting to dive into the reason why I’m here in the first place…art. Looking forward to opening of the new art season in London at the upcoming galleries exhibitions of Udomsak Krisanamis at Victoria Miro and Robert Irwin at White Cube and, of course, the museum shows of Cy Twombly and Gerhard Richter at the Tate Modern, Francis Bacon at the Tate Britain (!!!!), and Robin Rhode at the Hayward. I’m sure in the coming days my explorations will have me stumble upon new shows and new galleries but, in the meantime, if you have any suggestions, please send them my way or post in the comments below! Oh, I also can’t wait to dive into the music scene here…I feel the upcoming shows of Wire and Spiritualized calling my name…

So, more in a bit as I adjust, find new adventures, and get some better internet. This is just the beginning!

Topics: Editoral | 3 Comments »

Here is London

By caryn | July 31, 2008

Welcome to the upcoming Art Blogging London! Officially launching at the end of the month, this post is just a brief introduction to acquaint you with both the blog and to me, Caryn.

In a couple of weeks I’m about to do something I never thought I would do…leave my beloved Los Angeles to embark on a new chapter in my life in London. Beginning the MFA Curatorial Programme at Goldsmiths this fall, I’m leaving behind a familiar world of being an art dealer/gallery owner in Los Angeles so that I can concentrate more on curatorial endeavors and writing. I am a swirl of emotions, most of them good.

When I began my first art blog in early 2004, art.blogging.la, I certainly wasn’t a stranger to the L.A. art scene but I did have a strong desire to explore the city through my writing and write about why I believed it was so vital to the art world. Like the best things in life, the opportunity to blog happened very organically and is one of the most important things to ever happen to me. The unique perspective of analyzing an art scene from the inside and out, the relationships with incredible people in the art world, and simply the platform to express my ideas has been invaluable to shaping who I am and who I hope to become. Because of this, I knew that after making the decision to move to London it was inevitable a London art blog would follow; and look, here we are.

Honestly, it’s quite difficult to state a mission at this point about what I’ll be writing about here. Until I start traversing the London art landscape and get knee-deep into my explorations, it’ll be hard to define. What I do know is that I have the freedom to write about whatever I’d like – no restrictions. There will be editorials and a look into my curatorial adventures at Goldsmiths and surely reviews, news, and interviews with artists, dealers, curators. Using the basic guideline of my passion for art, my desire to acquaint myself with my new home, and my need to document it all, we’ll see where my adventures take me. Until I arrive in London on August 27…take care and see you soon.

Topics: Uncategorized | No Comments »


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