By Deb A.
Those who want to see photographs on paper rather than on a screen have several options. At one extreme, there's a beautiful, 'sumo-sized' 476-page coffee table book of Annie Leibovitz's photography (complete with tripod to spare your arms and lap the stress of holding the massive tome) for $2,500 or $5,000, depending on the edition; or an Anselm Adams original photograph for anywhere from $8,000 to $50,000. At the other end of the spectrum, there's The Photocopy Club.
The Photocopy Club offers "xerography for photographers". Founded in Brighton by photographer Matt Martin, The Photocopy Club is based on two main principles: photos are better when they're printed, as opposed to googled; and we should all be able to put a print we love on our wall.
“With art becoming increasingly only affordable by the rich, photocopying seemed like the obvious medium to turn this on its head,” Mr. Martin told Dazed, “it’s about allowing people to own art again.”
The Photocopy Club's exhibitions throughout England and the rest of the world are a sea of black and white photocopies that are more evocative of a dorm room than a private gallery. The images are sent in by post from photographers around the world, often with notes of support for the project.
Visitors can buy a photocopy for £5... and feel secure that whether they decide to frame it or put it up with sticky tack, they've done the right thing.
The Photocopy Club returns to its home town of Brighton in February with an exhibition called What Brighton Means To Me.
By Deb A.
Saatchi Gallery is celebrating its 30th birthday with a first in its illustrious history: Champagne Life (13 January - 9 March) is an exhibition featuring works from 14 female artists from around the world. As well as celebrating their contribution to art, the exhibition was created as "a rare and apposite moment to reflect on what it means to be a female artist working today."
Julia Wachtel, who created the piece that is the exhibition's namesake, told The Guardian, “While one might say it’s problematic to have a show of just women artists, because we don’t have a show advertised as exclusively male, the statistics speak for themselves.”
There are a few more statistics to add to the mix; for instance, Maura Reilly's uncompromising look at the state of affairs for female artists, via ARTnews:
$179.4 million: The highest price paid at auction for the work of a deceased male artist [Pablo Picasso’s Les Femmes d’Alger (Version "O")]*
$58.4 million: The highest price paid at auction for the work of a living male artist [Jeff Koons’s Balloon Dog (Orange)].
$44 million: The highest price paid at auction for the work of a deceased female artist (Georgia O’Keefe's Jimson Weed/White Flower No. 1)
$7.1 million: The highest price paid at auction for the work of a living female artist (Yayoi Kusama's White Number 28).
17: Number of women in Kunstkompass's 2014 list of "the world's 100 greatest artists"
11: Number of women in Artfacts.net's 2015 ranking of the top 100 artists
4: Reviews of solo shows of women in the December 2014 edition of ARTnews
17: Reviews of solo shows of men in the same issue
33%: Percentage of artists featured at the 2015 Venice Biennale who are women
7%: Works on display at the MoMA by women (April 2015)
Ms. Reilly suggests a number of measures to address the art world's gender imbalance, and we at Agave Magazine would like to add one more: visit--and talk about--shows by female artists. Alongside Champagne Life in London, there's the Art Institute of Chicago's Nothing Personal: Zoe Leonard, Cindy Sherman, Lorna Simpson, which will run until May. If you're in Miami, you can visit NO MAN'S LAND: Women Artists from the Rubell Family Collection until the end of May. And WOMEN: New Portraits will bring an update of Annie Leibovitz's collaboration with Susan Sontag to 10 cities throughout 2016.
Agave readers, what other exhibitions do you recommend? Add them to the comments section below.
*The ARTnews article, posted in the same month as Les Femmes d'Alger was auctioned, lists $142.4 million for a Francis Bacon triptych as the record.
By Deb A.
The death of a beloved artist sends tremors around the world. Tributes follow, as does the reassurance that at least the artist's work lives on for all of us. This is not quite how it went when the world learned of David Bowie's death on January 10th, just days after releasing Blackstar, his 25th album.
We were shocked. We were sad. But the difference here was that not only had we lost an inspiration to generations, we had been forced to confront the mortality of a man we'd all assumed was immortal. Yes, his work would live on, but this time that was cold comfort in the face of the realisation that despite his knack for otherworldly reinvention, David Bowie was, after all, a human being. A space traveler, a thin white duke, a force for unity in a divided city... an icon in so many ways, but a human being all the same.
If tomorrow does indeed belong to those who can hear it coming, no-one can lay claim to a future without David Bowie.
He moved us; what moved him? David Bowie's superlatives
By Deb A.
His achievements are many and wide-ranging: astronaut, pilot, spaceship commander, author, musician, Canadian icon and, of course: amateur photographer.
All photos by Chris Hadfield from outer space.
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