When John Cage published 4'33'', a piece of silent music, there was much consternation. Years later, it's still easy to joke about the absurdity of a piece of music consisting of four minutes and thirty three seconds of silence.
And when the first internet companies that proposed free as a business model (free email, free social networks, etc.) started to gain traction with investors, there was an even louder chorus from those that cried foul.
When (part of) your marketplace embraces a 'new' that makes no sense to you, it's essential you understand the point of view that's leading people to embrace this new idea. No, you don't have to cheer it on, collect it, support it or pretend you think it's the greatest breakthrough ever. But yes, you probably need to understand why other people were touched, inspired or found something worth talking about.
Can you explain to me why some people wait in line for that car or that new restaurant? Do you understand why this person is being talked about online or promoted at work? Does it make sense to you that this canvas sells for five times as much as that one?
Denigrating art you don't understand doesn't hurt the art--it reveals something about your willingness to learn.
Ushabti or Ishabti-or NOBODYshabtis: BUT IS IT REAL??
Today I received a call from a gentleman wanting to get an appraisal on a Ushabti (ancient Egyptian funerary figure) He ALREADY bought it for $1,500.00 off of the Internet. He says he has a "certificate of authenticity".
1.) ANYone can print out a "certificate of authenticity"
2.) Before you spend 1,500 of your hard earned money, get a CLEAR picture of who the Internet seller is, how they conduct business, how do they get their artifacts (are they grave robbers?) and just HOW can they guarantee that the object you think you are buying is really what you are buying.
I gave this same advise to the woman calling about whether she should buy this Picasso over the web. At least she called me BEFORE she made the purchase!
As published in ArtNexus; I wondered how much longer they could afford those metal clasps that are so emblematic of that GREAT institution: The MET!
Heard on The Street The Metropolitan Museum of Art bids goodbye to the iconic clasps used as entry tickets 15/July/2013
United States, New York
Metropolitan Museum of Art
Since Monday, July 1st, the emblematic clasps used by the MET as admission tickets will be replaced by paper stickers, after 42 years in use. The decision was based on the cost to the museum of producing the clasps. These were presented in 16 colors and carried the symbol of a letter M. Paper stickers will also have colors, but their production costs a third of that of the clasps.
This new policy is accompanied by the decision of opening the museum on Mondays, the day of the week when for many years it was closed. Now, the MET will open seven days a week and visitors will be admitted every day. Hours of operation are also changing: up to now, the museum doors opened at 9:30 am. Now, they will open at 10:00 am.
SWAG. According to Kamila Kocialkowska of the New Statesman: The term, coined by analyst Joe Roseman of Investment Week denotes “alternate investments” which manage to defy economic gravity – namely silver, wine, art and gold.
Kandinsky: Drei Reiter Courtesy of Worthington Gallery, Chicago
Some people today
think they’re so cool with their “tats”!
While this may not be
tattooing- ladies were certainly decorating their skin way back when!
patch box, small, usually rectangular, sometimes oval box
used mostly as a receptacle for beauty patches, especially in the 18th century.
During the days of Louis XV,
black patches of gummed taffeta were popular with fashionable women (and
sometimes men) who wanted to emphasize the beauty or whiteness of their skin.
The patches varied in form and design from simple spots, stars, or
crescents to elaborate animals, insects, or figures. Patches had their own
tacit language: a patch at the corner of the eye could indicate passion, one at
the middle of the forehead could express dignity. Women sometimes carried their
patch boxes (which sometimes also contained rouge) with them. A gift of a patch
box could be a costly expression of admiration and sentiment, for they were usually gold, sometimes enameled or
painted with amorous scenes and encrusted with jewels.
How does the fit in with
appraising? Well, like a detective, we
have to gather many, many clues to research what we appraise. If I see a painting that seems to be very
old, ONE of the clues I use are costume, and appearance of the subject. If a lady sports a patch box, I would use
that clue to help date the painting from the 1700’s.