Tag Archives: art collectors

Hello, 2011!

If you’re anything like me you were likely equally astounded and amazed by the events that defined 2010. We watched Vancouver host the Olympics, and not without some controversy; we saw Toronto host the G20 summit, and controversy? Understatement; we met the vuvuzuela with mixed results; we watched the explosion at Deepwater Horizon and the BP underwater webcam feed with disgusted rapture; natural disasters like floods, earthquakes and volcanic eruptions were a regular headline; we celebrated the Chilean miners who survived nearly 10 weeks underground; we mourned the passing of JD Salinger, Alexander McQueen, Gary Coleman, Dennis Hopper, and more. All told it was a year of 365 days, and a million and a half memories.

At the fair, we had a banner year! A record number of visitors came through the turnstiles at the Metro Toronto Convention Centre to celebrate eleven years of the Toronto International Art Fair. We were joined by a roster of sponsors, as well as exhibiting galleries and featured artists that set the year apart as one of the Fair’s best!

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2010, we salute you!

But 2010 is last year’s news – 2011 is what’s all the rage! If you’ve been entertaining ideas about see Art Toronto up close and personal, this is the year to do it. We’re going to have more of everything you want — more programming, more artists, more galleries, more collectors!

Art Toronto is currently accepting applications — why not click here and take a read through what some of our past participants have said about the fair? Convinced? Click here to download our application package.

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Be 1 of 30, but 1 in a million to us!

MOCCA has commissioned Toronto-based artist Jason McLean to produce 9-5, (2009), a limited edition four-colour silkscreen print on archival paper. The prints will be exclusively available during the fair, and with only thirty prints available at a very reasonable price of $800.00 they will be sure to sell quickly. All proceeds from the sale will contribute to the support of programming initiatives at MOCCA.

Jason McLean graduated from the Emily Carr Institute of Art and Design in Vancouver, British Columbia in 1997, and has since received wide national and international acclaim. His diverse practice includes drawing, sculpture, installation, sound performance and mail art. Much of his work contains collaborative elements. In 2008, McLean re-located his practice from Vancouver to Toronto.

In 2009 his work has been included in the exhibitions Pulp Fiction and Arena: Road Game, at the Museum of Contemporary Canadian Art, as well as a solo exhibition at Jessica Bradley Art + Projects in Toronto.  In recent years his work has been included in solo and group exhibitions in New York, Miami, Malmo, Padova, Berlin, Madrid, Mexico City, and Dublin and he is represented internationally by Richard Heller Gallery in Santa Monica, U.S.A, Perugi ArteContemporanea Gallery, in Padova, Italy, and LaViolaBank Gallery, in New York City, U.S.A.

Jason McLean is represented in Canada by Jessica Bradley Art + Projects, Toronto.

Jason McLean, 9-5, 2009 (Edition of 30 + 10 A/P), Four-colour silkscreen on archival paper, 30” x 22”, Price: $800.00 (unframed)

Jason McLean, 9-5, 2009 (Edition of 30 + 10 A/P), Four-colour silkscreen on archival paper, 30” x 22”, Price: $800.00 (unframed)

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Thanks Madonna, less is in fact more

A few weeks ago I wrote that, in light of the economic turmoil that has defined the last year, things at Art Toronto were better than ever. To reiterate, it’s because at a time like this it’s easy for an event like Art Toronto to try new things and go in new directions (as long as those directions fall along the cheap-and-cheerful path) which means that future iterations of the fair in economies of lesser strife, we’ll have new and unusual things that already have the kinks worked out.

It seems that I’m not the only one who believe this. In a recent New York Times Special Report on The Arts, Alice Pfeiffer wrote that “recession has jarred the world of contemporary art as much as any part of the economy, but for art, the shake-up may turn out to be inspirational.”

Many of those at the centre of this shift are claiming that the biggest move is away from production-line art to more scaled down, though no less ground-breaking, works. Think of it as blockbuster movies going by the wayside to be replaced by indie films and flicks made in basements and garages.

In many senses, it’s about economies of scale — can an impoverished town support a big-box store? Or would several smaller ma-and-pop type shops work better? Not only does it lessen or completely bridge the gap between hard-hit art collectors and harder-hit artists, it keeps the flow not just moving but fresh.

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Crunchy handful

So you’re a collector? Are you sure?

Now you too can Own Art.

The mob mentality.

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A short start to a long conversation

Since I got my start in publishing years ago the idea of an economy of arts has always fascinated me.

“Art” and “Economy” — they are two words you wouldn’t normally think could co-exist in a sentence, but the art world has a currency and economy all it’s own. And this goes for every art culture.

What is arts’ value? What is art’s worth? What will you pay for art?  While they might seem like the same question, closely inspected they are all very different.

Let’s look at something innocuous (so-called because I have nothing to do with this industry!) the MUSIC industry. What does one song cost? You can get it from iTunes for $0.99. Is that what it’s worth? If you’re talking about the latest Britney Spears tune, you might not agree that it’s worth a buck, you might even say it’s worth more. Let’s consider in the broadest of terms what it cost to produce that single song — including the cost of all the Volvic that she drank — you ‘ve got to pay the writers, the artists, other musicians, production costs, marketing and so on. We’re into the high-end of six-figures, for sure. But for all the money invested, it’s fair to say that this Britney song will have a short shelf-life and eventually drift silently into oblivion.

So. We have something you could buy for less than a buck, which costs hundreds of thousands of dollars to make, and has an ultimate worth of nil.

The relationship between price, cost and worth is skewed and seemingly disjointed. Yet it appears that they all exist in a delicate balance with one another, all three simultaneously sacred and profane.

Art is an expression, an impression, a meaning, a feeling, an impulse, an irresistable urge. It is the manifestation of something ultimately intangible in something perceivable by our senses in paint or sculpture or photograph, and others. How can you put a price on art?

Art inspires, it confuses, it humbles, it glorifies, it stands alone, it fits in. Some people wait years just to see a work and decades appreciating it, others let works languish in neglect, gathering dust, forgotten. How do you value art?

Artists rise and fall, artists are panned and lauded, critiqued and praised, courted and curried, some works sold to the highest bidder, and some works are bought-in. But how do you judge art’s worth?

It seems to me that every stage is raw and vulgar and secretive and exclusive, and overarchingly subjective. There is no true way to qualify and quantify effort or market value or appreciation. And yet, at some point there is a figure for everything — but I’m left with more questions than answers.

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Crunchy handful

Apparently, what the art world needs most is more Jack Nicholson. I wonder what he’s doing this October…

Young girls can now reclaim their self-esteem as art and science prove that even Barbie is beautiful on the inside.

Who wants to be the next Herzog?

Like, woah. Damien Hirst does bling.

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