The Art Prophets: The Artists, Dealers, and Tastemakers Who Shook the Art World

The Art Prophets: The Artists, Dealers, and Tastemakers Who Shook the Art World

Richard Polsky

Language: English

Pages: 272

ISBN: 1590514068

Format: PDF / Kindle (mobi) / ePub


In The Art Prophets, Richard Polsky introduces us to influential late twentieth-century dealers and tastemakers in the art world. These risk takers opened doors for artists, identified new movements, and resurrected art forms that had fallen into obscurity. In this distinctive tour, Polsky offers an insightful and engaging dialog between artists and the visionaries who paved their way.
 
Table of contents
Ivan Karp and Pop Art
Stan Lee and Comic Book Art
Chet Helms, Bill Graham, and the Art of the Poster
John Ollman and Outsider Art
Joshua Baer and Native American Art
Virginia Dwan and Earthworks
Tod Volpe and Ceramics
Jeffrey Fraenkel and Photography
Louis Meisel and Photorealism
Tony Shafrazi and Street Art

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

pictorial pottery from crafts to fine art, can only take partial credit for his vision. The rest of the equation can inadvertently be attributed to the Indian painter Fritz Scholder. The art market’s initial embrace of Scholder, and its eventual rejection, would set the stage for Baer to exhibit early Indian art—the much-admired weavings and ceramics. Baer elevated those works into the category of “real” art through his contagious enthusiasm and unfailing commitment. To understand this nonlinear

certain artists and collectors, Joshua Baer’s attempt to elevate Native American crafts to equal status with other contemporary art forms wasn’t an easy road. In the beginning, Native American craft pieces were viewed as artifacts studied by anthropologists and displayed in natural history museums. Ethnographers were only interested in learning about how these indigenous people lived. The artistic appeal of their crafts was less important than their cultural significance. While there’s no doubt

an adult, she often accompanied Smithson to the museum, marveling at its otherworldly dioramas, unsurpassed dinosaurs, and fantastic mineral specimens. Sharing their love of natural wonders created a soul-felt bond between Smithson and Dwan. Her admiration for his intelligence was also part of her attraction to him as an artist. She would have accompanied him anywhere—and did. Smithson, along with his wife, the sculptor Nancy Holt, and Dwan, once journeyed to the Yucatán to study the Maya and

exhibited—Friedlander, Arbus, Avedon—will become even more sought after as investments. The quest to own the best never seems to change. With the continued disintegration of art market categories, Jeffrey Fraenkel, who is considered one of the finest photography dealers around, will eventually be ranked as simply one of the finest art dealers around. Period. Louis Meisel with his wife, Susan P. Meisel. Chapter Nine Louis Meisel and Photorealism LOUIS MEISEL was seated behind his desk,

his vision. Even today, a broad swath of collectors, critics, and museum curators give short shrift to Photorealism. Since 1964, when Robert Bechtle painted the first true Photorealist painting, the movement has been on the defensive. Photography, while a fine art in its own right, has also been used as a tool to help painters see and remember. Referring to photos as source material is a proven strategy for many. But once artists wanted to “copy” their photographs and turn them into “look-alike”

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