*** MONDAY October 7th, 2019 *** The Price of Everything *** DIRECTED BY Nathaniel Kahn*** INTERPRETED BY Jeff Koons, Paul Schimmel, and Larry Poons

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Note New Time & Format

6:35 arrive

7:00 Film Starts

• NO FOOD OR DRINK •

 

With unprecedented access to pivotal artists and the white-hot market surrounding them, The Price of Everything dives deep into the contemporary art world, holding a mirror up to our values and our times — where everything can be bought and sold.

After seeing Never Look Away, the film loosely based on Gerhard Richter’s life, we thought it might be interesting to see this film because it includes an interview with the mature artist. The Price of Everything was created by Nathaniel Kahn (Louis Kahn’s son, who did the splendid film My Architect, a run away favorite for most of our regulars).

 

 

 

3 responses to “*** MONDAY October 7th, 2019 *** The Price of Everything *** DIRECTED BY Nathaniel Kahn*** INTERPRETED BY Jeff Koons, Paul Schimmel, and Larry Poons

  1. Another…..earlier…..comment on the subject!!

    Wolfe’s thesis in The Painted Word was that by the 1970s, modern art had moved away from being a visual experience, and more often was an illustration of art critics’ theories. Wolfe criticized avant-garde art, Andy Warhol, Willem de Kooning and Jackson Pollock. The main target of Wolfe’s book, however, was not so much the artists, as the critics. In particular, Wolfe criticized three prominent art critics whom he dubbed the kings of “Cultureburg”: Clement Greenberg, Harold Rosenberg and Leo Steinberg. Wolfe argued that these three men were dominating the world of art with their theories and that, unlike the world of literature in which anyone can buy a book, the art world was controlled by an insular circle of rich collectors, museums and critics with outsized influence.[1]
    Wolfe provides his own history of what he sees as the devolution of modern art. He summarized that history: “In the beginning we got rid of nineteenth-century storybook realism. Then we got rid of representational objects. Then we got rid of the third dimension altogether and got really flat (Abstract Expressionism). Then we got rid of airiness, brushstrokes, most of the paint, and the last viruses of drawing and complicated designs”. After providing examples of other techniques and the schools that abandoned them, Wolfe concluded with Conceptual Art: “…there, at last, it was! No more realism, no more representation objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes. …Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until… it disappeared up its own fundamental aperture… and came out the other side as Art Theory!… Art Theory pure and simple, words on a page, literature undefiled by vision… late twentieth-century Modern Art was about to fulfill its destiny, which was: to become nothing less than Literature pure and simple”.[4]

    • Art is useless because its aim is simply to create a mood. It is not meant to instruct, or to influence action in any way. It is superbly sterile, and the note of its pleasure is sterility. If the contemplation of a work of art is followed by activity of any kind, the work is either of a very second-rate order, or the spectator has failed to realize the complete artistic impression.

      A work of art is useless as a flower is useless. A flower blossoms for its own joy. We gain a moment of joy by looking at it. That is all that is to be said about our relations to flowers. Of course man may sell the flower, and so make it useful to him, but this has nothing to do with the flower. It is not part of its essence. It is accidental. It is a misuse. All this is I fear very obscure. But the subject is a long one.

      Truly yours,

      Oscar Wilde.”

  2. !!!!!! what a film…what a world….what a scam…Nathaniel Kahn; what a documentarian….what a focused beam on the here and now…not taking sides…just exposing…yes…buy your Art @ Longs drugstore…they have the best prices…

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