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Exploring the Lines Between Art, Hype and Biz

Exploring the Lines Between Art, Hype and Biz (photo)

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“I had reservations about making art a business,” the famous art collector Mary Boone once said. “But I got over it.”

Such is the tension within all artistic industries — film, painting, theater or music, the idea of selling-out dogs them all. Are the high prices that paintings go for at Sotheby’s or films sell for at Sundance indicative of their success, or their impurity? And how do you distinguish the “true” art from the art that’s just hyped? Do the two have to be mutually exclusive?

The recent documentary “Exit Through the Gift Shop” takes up these questions and then some. Ever since its “surprise” Sundance premiere in January, the film has generated a considerable amount of attention. Supposedly directed by British street-art provocateur Banksy — famous for his political and controversial acts of graffiti, such as painting on Israel’s West Bank Barrier — much of the buzz has circled around questions of the film’s veracity: Was the film’s protagonist, a French videomaker-turned-artist named Thierry Guetta, just a fabrication? Was the entire project yet another infamous Banksy prank?

But whether the film is real or staged or somewhere in between misses the point: “Exit Through the Gift Shop” — as its title suggests — is ultimately a lacerating critique on the commercialization of art, making it the latest in a new wave of documentaries that focus on the struggles of artists and art aficionados to define the value of art in a world dominated by profit motives and capitalist enterprise. As the recently released “The Art of The Steal” makes strikingly apparent in its chronicle of Philadelphia’s power grab of a private collection of impressionist masterworks, art is big business.

It’s no surprise that Banksy also raises the ugly specter of art’s commodification in his debut film. After his works sold at Sotheby’s in 2007 for record-breaking amounts for a young artist, he posted a painting of an auction house on his website with the caption, “I can’t believe you morons actually buy this shit.”

04192010_mykid.jpgOne could pose a similar question to the patrons of abstract expressionist artist Marla Olmstead, the four-year-old painter at the center of Amir Bar-Lev’s 2007 documentary “My Kid Could Paint That.” Like “Exit Through the Gift Shop,” which contrasts art that’s heralded as legitimate (from Banksy) with work that is depicted as a rip-off (by Guetta), Bar-Lev’s film addresses a similar conflict. Are Olmstead’s paintings true expressions of childhood genius, or is her art guided by her father, an amateur painter, and then exploited for profit as the work of a prodigy?

2006’s “Who the #$&% Is Jackson Pollock?” starts with a matching quandary. The film opens with an image of an abstract expressionist painting and the voiceover: “Is this a genuine honest-to-god no-doubt-about-it American masterpiece, possibly worth up to $50 million? Maybe.” In a former female truck driver’s quest to make millions off an alleged Pollock she bought at a thrift shop, the film explores the ambiguities inherent in the validation of a piece of art. While art experts claim the painting is a cheap knock-off, the woman and her family hire forensic scientists to prove the work to be Pollock’s based on fingerprint analysis. Despite the high-brow art world’s unwavering refusal to acknowledge the art as legitimate, bids for the drip painting go from $2 million to $9 million. (As of last reporting, the painting was still awaiting higher offers.)

Ultimately, “Exit,” “Kid” and “Pollock” leave the question of their art’s authenticity up for the audience to decide — it’s actually this ambiguity that helps construct the films’ central conflicts and mysteries. But by the movies’ final frames, a few things become clear: quality art is difficult to define, the people who buy it (and buy into it) are often ignorant about what makes it worthwhile, and the background of the artists may be more important to observers and consumers than the artwork itself. There may be no more ironic display of such misguided celebrification and misunderstanding of art than the array of young L.A. hipster-fashionistas in “Exit” captured on camera declaring brand-new art-star Guetta’s laughably derivative debut show “a revelation.”

04192010_pollock.jpgThese issues are nothing new in the art world, of course. “It’s always been there,” says arts journalist David D’Arcy. “You’re not just selling a work of art for what it is; you’re selling it as an abstract painting by a child. It’s not so different from selling a painting by a serial killer. You’re selling an autograph,” continues D’Arcy. “When Basquiat died of an overdose in 1988, it had to be his shrewdest career move. Modigliani, Frida Kahlo, same thing. You can sell martyrdom. Would these pictures mean anything if we didn’t have the biography? It’s almost like having the footnotes.”

If personality has supplanted quality, who gets to determinate art’s “quality” in the first place? Or to borrow the title of another recent doc, about Henry Geldzahler, the Met’s first curator of contemporary art, “Who Gets to Call It Art?”


Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.


Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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GIFs via Giphy

Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:


The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.


They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!


Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.


Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.



Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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GIFs via Giphy

Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”


IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?

Betsy: I wasn’t sure I knew what it was, I just knew I loved it!

Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.

Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 


IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.