Thursday, October 31, 2019

Confessions of a Ghost Painter

Painting by Phil Musen

Confessions of a Ghost Painter


   It might not be known to the general public, but it’s not a very big secret in the art community. Successful mainstream artists rarely create their own work.  This would be a sin in the music industry, where it happens but is less common.  There seems to be an ethical rift not only in how the art world vs other businesses such as the music industry handles ghosts, but amongst the art world themselves there is a strong divide.  



   To meet international demand to be in multiple museums, galleries, private and educational collections, contemporary artists turn to scourges of unpaid interns and outsourcing regularly. 



   While historically several artists such as Warhol and Judd have collaborated with other creators such as in Andy’s Factory.  It was not secret that they used other labor, and in fact it was conceptually key to their specific works, as the subject of their artwork dealt with ideas of creating work and authorship.  



   Medieval painters frequently collaborated within their guild and family and it can hard to verify the hand of old artists as one guild member may have painted the landscape and sheep and another painter worked on Jesus and Mary.  Ghost writers happen frequently for autobiographies, where a famous subject needs assistance in writing about their life, yet the music industry’s relationship with ghosts is more muddled.  Kanye and Eminem are known for their creative efforts, but often have their writers and collaborators listed in fine print and credited on their albums.  Musicians from the Beatles to Beyonce have used tunes written by others without many questioning the act, however when Milli Vanilli was caught lip-syncing a live performance in 1989, the shame and stigma led to the suicide of a member.  Animators also frequently collaborate but usually credit is given, so why so much secrecy about ghost art? 



   The “myth of the creative genius” has something to do with it.  That art isn’t a regular business and that a crazy eccentric individual is locked in a studio somewhere creating all of this magic is how it all happens.  It is a myth and this myth is sellable.  



   Robert Greene’s 48 Laws of Power addresses this tactic as one of its topics. To paraphrase - He encourages taking the skills of other workers under you or around you and make them appear as your own, as a power play.  Make the labor and ideas of those beneath you be branded with your name.  This is great for capitalism, and horrible for the working artists employed under it. 



   I won’t reveal all my clients, but I’ve done this for ten years and it is nothing new, in fact, it is the industry standard from New York to LA to Tokyo.  It is what individual artists are competing against.  Professional artists don’t just outsource, buying lights and brushes - Assistants not only mix the paint but make the works from start to finish with out the artist ever present in many cases.  If the lead artist doesn’t sign the artwork themselves, an intern can copy it from a “signature book.” A real thing at a former workplace, by the way.  Board meetings are used for creative decisions to decide what art will be the trendiest and most marketable - the lead artist stopped buying sketchpads years ago to plan anything, and may not even be present at the meetings.



   Star artists such as Jeff Koons, Murakami and Kahinde Wiley have armies of unpaid interns and the practice happens on a smaller scale with other artists such as Summer Wheat, Diana Wege and more. Too often the lead artists are standing on the shoulders of the those with the skills they wish they had.



   It unfortunately shows if you look at Kahinde Wiles work up close.  While online or in print the colors, patterns and compositions seem the same, when you see many of the works gathered in person you can tell that many different hands created them, the texture and techniques are wildly dissimilar.  It made me question if he even painted Obama’s portrait. 



   So, where do you draw the line?  While it is hard to find a check creating your own fine art objects, some artist assistantships provide steady pay and many artists are eager to take the lowly unsustainable positions.  With this level of industry exploitation, young artists should evaluate their practice.  Should it be modified to compete with these giant machines, much as ma and pa shops must use franchise restaurant short cuts just to compete and stay alive.  And while I won’t encourage exploiting other artists to create your own work, or un-crediting them, I would encourage some of the practices of the professional artist, from using a team or an assistant, to paying for ads.  I believe credit has to be given to those who created the work, and the myth of the singular creative genius needs to be torn down and demystified. 



   It’s a difficult compromise, and artists should be aware. For more art writing like this and all your art and culture news follow @sharks_eat_meat

DAY 3297 - Turkey

Photography by Mike Coulter

Friday, October 18, 2019

COMEDY REVIEW : Kyle Dunnigan



   Largo is a lovely West Hollywood club, where this week some legends tried out new material on a local audience before some of the content possibly makes it onto a big screen one day- or stays right here in the club as the art of stand-up was fire this week.
 
  It was fun to see famous film director Judd Apatow perform stand up.  Opening up for the group, he warmed the crowd excellently with funny and surprisingly relatable daily observations.  Morgan Murphy incorporated humorous details of her life without making it sound like therapy.  As a frazzled underdog her quirks are charming.  Anthony Jeselnik’s humor is quick and confidently dark.  Discussing topics that may unsettle some audience members, Jeselnik doesn’t shy away from the taboo.  His assertively, neigh- aggressively creepy stage persona compliments the content perfectly.
 
  Kevin Nealon is a legend from his tenure with SNL, the series Weeds and many Adam Sandler films.   He is hysterically relevant and his stand-up game is incredibly sharp.  To stay funny for so long, as humor has evolved, is no easy feat and from his entrance to the moment he walked off the stage he was strong.   His jokes on death were some of the best of the night.  The dark topics make the audience think about the uncomfortable fears we all share and inject insightful humor to into that fragile space. 

  Known for his work on Reno 911 and his over the top web comedies on YouTube and Instagram, Kyle Dunnigan goes beyond stand up and is a well-rounded performer and entertainer.  When he’s on stage, you don’t just hear jokes, you are invited to enter his world.  

  He has a great sense of body presence and movement.  He combs the stage surprisingly and humorously to add depth to the performance- Never just standing still telling jokes.  

  Dunnigan is also surprisingly musically talented.  As a musician I appreciate those who can bring comedy and music together.   Too many songs are love, blues or party songs and humor is welcomed in the music world.  To see a comedian not only skillfully utilize music in their performance, but to make music the subject of the jokes, to poke fun at sound design and soundtrack composers through music, is devilishly sharp.  Using music to dissect the music industry is postmodern to a T, in a world where mainstream comedy is filled with awkward humor and nostalgic references Dunnigan’s performance is refreshing. Accompanying Dunnigan for several of the musical numbers was keyboardist Dallas Kruse who added depth to each piece. 

  Kyle doesn’t stop there.  In a progressive use of technology, he incorporates parts of his online acts which require the newest face switching software to be performed live.  Combining the tech with elements of improv and impersonation, Dunnigan delivers an outstanding show with great stamina. To be pulled off in conjunction with improve, live on stage is admirable. It’s the type of event not happening anywhere else - A unique night.

    Contact your local club to request Dunnigan and friends do a show near you.
Follow these talented comedians on social media and support live local performances. As always stay tuned to Sharks Eat Meat for all your art and culture news.

by John Coulter

https://www.kyledunnigancomedy.com/
https://www.largo-la.com/

DAY 3284 - El sueño del Tilacino

Painting by Mariana Magdaleno

Thursday, October 17, 2019

KCPL STAFF SHOW



   The Kansas City Public Library recently curated a wonderful show of artwork created by their librarians and staff members.  The Library’s downtown space is columned with beautiful classical architecture that elevates the local artist’s work by framing them in a powerful museum like context.  The KCPL’s architecture is as beautiful a space for art as the Nelson Atkins or NYCPL.  The reception had an excellent performance by local folk trio “Tiny Escalators.”

   My favorite work in the show is “Galaxy Chest” by artist and musician Nash High.  “Galaxy Chest” is a sculpture and computer program that generates light patterns from a box. The work resembles a mysterious treasure chest filled with sparkling goods, but instead of being from some long lost time, it hails from the future.  The smooth cloth lined box has a glowing screen inside producing original star like patterns that playfully change over time.  The “Galaxy Chest” is a wonderful contemporary multimedia sculpture that inspires awe and stirs the imagination.

   Other stand out works from the show were Shiela Story’s landscapes.  The thick textured paint in Story’s “Kaw Point Bridge” is confidently meaty.   The abstract shapes of the bridge against the water make for a striking image.  “Streamers Over Used Car Light” by Leslie Case is delightful.  The streamers form an abstract pattern with different colors and light much like a Monet landscape where the light is the subject and not the objects themselves.  Samantha Edwards’ illustrations colorfully bring popular tales to life with subtly detailed watercolors.

   Nicole Brewer’s sublime architecture photography is inspiring.  The sense of space in “Corcomroe Abbey” is epic, and captures the magnificence of the locale.  David M. Cox’s “Metropolis” features a lovely shot of New York’s Eastern bridges.  The black and white scheme calms the chaotic city and allows you to enjoy the details. 

   Bob Pedersen’s “Handprints” are raw and relatable.   David Joiner’s “Mariner” features clean Matisse like patterns and shapes similar to contemporary artist Alyson Khan’s abstractions.  Michael Brown’s superhero airbrushing brings a graphic comic style to the groups show.  And Jason Bruenn’s ink works such as “Arrowhead” are delightfully detailed.  Travis Bird’s sketch digital portraits are refreshing.  Modern psychedelic works by Brad Krohe and Marley Bryant are quirky and charming.  And Joanna Marsh’s cosmic landscapes are equally fun. “Wildlife Calendar,” a torn paper collage by Clare Hollander, shatters space similar to a Cézanne.  Andy Dandino’s sculpture is meaty with a texture similar to a Giacometti or Schiele.  Kaite Stover’s “Prairie Night Fire”  is a bold landscape of a wildfire at night.  Having lived in areas where the mountains glow with fire at night, and it rains ash in the day, I can say their painting captures the intense looming glow of the blaze.

   Sculptures, baskets, and textile work on display by Clare Hollander, Kathy Meyer, Debbie Wachs, Ronda Cornelius and Amanda Barnhart are all made delicately with patience.  Debbie Gamm’s abstractly quilted “Marti’s Memory” rivals powerhouses like Faith Ringgold or Louise Nevelson. Buddy Hanson’s “Purple Minimal: Handmade”   shows a lovely photo of a custom colored handmade bass - crafted with great precision.

   Finally, another favorite of mine from the show,  “African-American Civil War Soldier” by John Horner captures a piercing and emotional expression from a young face.  The psychology in the portrait is rendered immaculately and is powerful and memorable.

   Check out all the artists in the show and visit their personal sites to see more of their work.  Visit your local KC Public Library to meet some of these friendly faces behind these talented creations.  For all your art and culture needs follow SharksEatMeat for daily updates.

DAY 3283 - Hombre con Catalejo en el Bosque

Painting by Michael Yaikel

Tuesday, October 15, 2019

Karibik Underwater



   Karibik Underwater is a unique band from the DR with a style that’s out of this world, or maybe, from under the sea.  The group uses complex Caribbean rhythms with experimental textures to create a sound that’s like an out of control Radiohead beach party.  They feature a bold, perception melting synth violin in the forefront that’s sure to get you grooving. 

   Lead singer and violinist Sunil uses his instrument to transport the listener to new worlds by skillfully utilizing bizarre electronic textures.  With both slow bow played harmonies and plucky melodies the violin solos are fire.   Sunil does more with his electronic instrument for Latin beats than electric harp virtuoso Kiki Bello, and the experimentation is sure to please fans of music like early Pink Floyd.   Sunil maximizes and pushes the limits of what a violin can do by squeezing complex delays and textured vocalizations from the stringed instrument.

   The group has a new live session video that’s worth checking out.  Catch all the psychedelic vibes here at this link. 

   As always, stay tuned to SharksEatMeat daily for all your art, music and culture news.

DAY 3281 - Sorbete de Amrita al humo de mapacho

Painting by Curro Gómez