Talked to MoMA today to finalize the exhibition format for Souvenir November 2001. A film transfer would be really lush and sexy. Yesterday, I saw a video projected version of a short I’d seen at the New Directors/New Films series last spring. The difference in the image, particularly in the color intensity, was marked. A film transfer would also be a couple grand, and given that I still feel a slight itch to finetune the sound (and/or music) a bit, it’s money I’d rather save for when the movie is triple-locked and padlocked locked.
Been working on advance press, doing selective flogging, and talking to a couple of publicists. We’re preparing a mailing to go out to the collective lists of the crew, which includes most NY media, all the art media (Jonah, the DP has been getting a lot of attention lately for his own fine art photography and video work), and a bunch of dawgs, to use the vernacular.
Something’s working. I was introduced to someone (with a much higher Q-rating than mine) who promptly asked, “You have a website? about a movie? Is that you?” First time that‘s happened.
Walking through midtown today, I was surprised to come across three people firing up old school (ie., on the street)r than tobacco among the traditional smoker exiles. Was it a coincidence that they were each in front of a company whose chief product is idea generation?
Went to the contemporary art auctions Wed./Thurs. at Christie’s. If there’s a pop coming to that bubble, it wasn’t yet. Crowds were, well, crowded, and bidding was consistently active.
I definitely don’t collect to make money. Making money’d entail selling, and the idea of parting with a work just confounds me. Still, watching an auction can be like repeatedly clicking Reload on your E*Trade account; in your head, you mark your own taste to market. When a Flavin and some Donald Judd sculptures did very well, for example, the Italian woman next to me whipped out her mobile phone and rattled off the results. << Si, como nostro. como nostro >>, she repeated excitedly. Molto buono, indeed.
Desk & Chairs, 1988, Donald Judd, sold at Christie’s Nov. 14, 2002 (image: Christie’s)
So how’d my taste do? Pretty good, I have to say. Strong, smart pieces by artists whose work I really enjoy–Donald Judd, Felix Gonzalez-Torres, Olafur Eliasson, Hiroshi Sugimoto–did well; the prices seemed right, not overheated, like some others (Gursky, Demand, Murakami). One downside: it hurts to see work rise beyond your reach (note to self: close that the five-picture deal…) It’s almost enough to make you wish the bubble’d pop.