Auction catalogs are incredibly heavy. I often bring mine on the airplane…the last frontier of isolation and concentration, even if the subject in question is the latest iteration of Anchorman. I play a game, which I think should be a standard course of study for art majors. I build my fantasy collection, tearing pages and circling lots. If this was a real course, one would be given a budget, constraints and directives. My collection is unhindered by such practicalities. It is also devoid of intellectual pretense, academic validation, and fussy adjectives doing backflips. It is “informed by” nothing. It is based purely on object value…what I like, regardless of pedigree, fashion, the judgment of others or investment value. I have applied this same methodology to this exercise for Artsy. Of course one would like to believe that names do not matter, but they do, so inevitably one cannot help but be influenced. Call me impressionable, but I do like John Baldessari (especially his hair) and Liza Lou (especially her name), so I’m willing to suffer the occasional high-profile exception. Here is my Artsy/Frieze fantasy collection, and it certainly isn’t easy to choose 12 among these thousands. Whatever might be said about art, there’s no denying that, all else aside, it offers something for everyone.
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, 2013, at Galerie Krinzinger