Wow a Rothko painting sold in 2004 for 8.3 mil and was found to be a fake. This kind of thing is exactly what the art world does not need, and actually is becoming more and more rampant across other industries as well. I was watching a news report where the same thing was happening in the Virgin Olive Oil Industry which has the most exclusive Olive Oil being produced in Italy.
Strangely enough the industry figured out a method that if you’ve been reading this artist’s blogs for years, I created on Amazon back in 2006. Pioneered the direct sales of my artwork, bypassing the galleries, so that patrons actually could talk to and purchase the art from the artist. Now this concept actually came about because one; it was rather expensive and dangerous to ship my art around to galleries not knowing exactly what would be done with it. Besides was the fact that many of the galleries were closed minded to a Black American Avant-garde artist, preferring more mainstream or exotic artists. *Side note – after leaving Pratt for an exploration stint in NYC my hometown, around the early 70’s I was offered to have my work on consignment in a newly formed Soho gallery (I walked the early Soho as teen studying Industrial Design at Brooklyn Tech, a lot of my early ideas & concepts came from what I saw there. Probably why I became Avant-garde what I saw there didn’t make it into galleries for another 10 years), but balked and walked out when I could not be paid upfront like Picasso, believing myself to be a modern day equal.
I spent quite a bit of time talking to California artist Marc Busacca a former art school educator turned gallery owner. In our talks he asked whom as an artist I admired, for which I exclaimed, Rauschenberg (I actually wanted to submit for a Rauschenberg project “Racial Justice Through The Lens of Mass Incarceration”, but no one would come through for me on writing the recommendations I needed) for his activism and Pollock for his free thinking avant creativity. That’s where Marc kindly gave me the idea of fingerprinting every piece for authenticity so there is no question that the work was actually done by me with the thumbprint being inked right onto the back of the work.
So now while back in 2006 I could not get into Marc’s brick and mortar gallery, he was kind enough to let me have a stint on the online gallery which although great was not exactly a good fit for an Avante-garde modern artist. Then appeared my breakthrough with Amazon, who contacted me and asked if I was still interested in becoming a living artist on their platform ( I thought to my self does a bear do his duty in the woods? OF COURSE I WAS!).
Now after some nine years on Amazon where a lot of the really big galleries picked up on my concept, however still would not let me join their gallery pages with their bigger marketing push (obviously Amazon never told them the concept came from a Black Avant-garde artist Lol) I think it is time to explain the works that are there in the limited 1 of 2 editions are only artist proofs so I can gauge the color and the nuances of the effect of my works.
The plan now being while taking a break from my socialization efforts in the music world to Tilt (link coming soon) fund and commence with patronized, large format works. Three of them in about an 8′ X 4′ size, that patrons would actually receive after the Gallery showing at my favorite local gallery Art Avenue here in Greenville, NC.
To add some real flavor to this crowd sourced art event I will be asking my friend, Italian Modern Classical Music Composer Vito Palumbo (an early Ikohaus artist member) for one or two of his pieces that a small string ensemble can perform, and putting out a request to East Carolina University to hire students to perform and possibly film the event. All in all I think this should be the new direction for most artist that are really basically starving in a global economy that is down anyway. As I have said before we have to come to grips with creativity being the new wealth, we have machines to do and make just about anything, a dearth of apps and gadgets, but when you put on something using creativity you still need good old fashioned man power to think it, ink it and make it.
So now with crowd sourcing why should we make the work before we know if people want it? As artists did in the old days. Also if the artist is dealing directly with the patron, the patron can see the progress of the work, interface with a new breed of social artist leaving out corrupt dealers and galleries. Keep up with me here at Ikohaus the new 21st Century coming of the old concept of the Bauhaus.
|Proposed Large Format Gallery Work “Social Assembly” by Romero|