Most days art Critic Paul Carey-Kent spends hours on the train, traveling between his home in Southampton and his day job in Surrey. Could he, we asked, jot down whatever came into his head?
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NYC REVIEW: John Gordon Gauld’s Third Solo Exhibition ‘Interstellar Overdrive’ Now On @Salomon Contemporary
From crushed red bull cans, to singed cigarette butts, neon texts, chastity belts, and sculpted monochromatic birds with modest messages for the masses,
Last year I wrote an article on FAD about my issues with video art, the mistakes being made with it and how it could be improved –
The recent announcement of the UK’s top ten most expensive living artists offers a sobering opportunity to think about the extent to which contemporary art has been infected by its entanglement with money.
One door closes another door opens… Although a number of meritorious small galleries have closed recently, there’s a new trend towards auction houses putting on curated exhibitions of selling art as if, in effect, they’re commercial galleries who don’t represent artists.
The price of art is a much discussed and much maligned phenomenon. But whilst there may sometimes be good grounds for suspicion, a lot of what we hear about the price of art is a wilful fantasy of the media, fuelled by a perennially disingenuous market.
The company started in Paris three years ago, our aim from the beginning has been to get people involved in investing in artists they believe in and have always been fans of, however many have not had the financial means to buy the work they have long desired.
‘Post-internet Art’ – a current buzz-term meaning work informed by the web, rather than anticipating its demise – is well represented in London now in shows by Camille Henrot (Chisenhale), Hito Steyerl (ICA) and Trisha Baga (Anita Zabludowicz).