Human Resources In Chinatown

        Aghh! I will begin the gushing now. Human Resources is probably my favorite art collective in all of Los Angeles. To put this in a more proper context I would have to cite all my years of reading art history - the Bohemian 1900's in Paris, 80's New York, Andy Warhol's factory in the 60's, Tony Shafrazi tagging "KILL LIES ALL" on Picasso's Guernica. In other words I have spent multiple decades reading about the art world, assuming it was feral and off-kilter. Now I go to a lot of shows, chat with a decent amount of art dealers and I thought things would be different, I thought the vibrant art scene would be palpable and it wasn't. The art does not disappoint though. But then there's Human Resources. In Los Angeles I have not came across another gallery that feels as vibrant, cutting edge and forward thinking as Human Resources does. They have performance art, noise bands and art shows. When attending I regularly get the feeling that I'm privileged enough to be part of something amazing. It feels like I'm witnessing creativity being pushed to it's most avant guard boundary by seriously talented and intelligent artists. The art work shown here really projects the best Los Angeles art has to offer. I've lived in Chicago, the liberalness of this city is good for creative souls. 

    I can't say how much I love this art collective. It used to be in a much smaller spot in Chinatown, it moved to a former Kung Fu Theater on Cottage Home St. For a while it was a porn theater, but it still has a neon sign above in chinese characters. It's a really amazing space. 

   A prime example of an amazing performance there was Bret Nicely, Hecuba & John Knuth show Fading Horizon. When I was there I felt like what was happening was special, it lives up to all the years of reading crazy shit from the art scene of the 80's or Andy Warhol factory days. Most of all it feels very cutting edge in the best possible way.

   Fading Horizon was a performance piece that evolved through out the show. When I first walked in it was dark and smelled like dessert. John Knuth walked around the room and had bags of sugar, I think they might have been around 10 pounds. He proceeded to pour sugar on top of various light bulbs across the room. The light bulbs had soft mounds of sugar on them and evolved so beautifully, they would glow and transform from white to brown and sometimes bubble. Knuth would move some of the mats that were placed under these mounds and expose the lightbulb so the room would elegantly transition to a brighter space. It felt brilliant and improvisational, he would sometimes move the mats with the sugar and pour it on another light bulb. Standing there I felt really lucky to have found a gem of a art space like Human Resources, I just feel like the performances there are of the highest caliber, period. 

   The art collective is made up of several co founders, mostly from band members of  Lady Noise and LA Fog and another well known performance artist Dawn Kasper.  I really enjoy running into them because they're pretty down to earth. 

Mat Gleason and Coagula Curatorial

Banksy's The Room in the Elephant. 
I just thought it fit themes addressed.

        Mat Gleason is an amazing art critic/curator/gallery owner. He's had vibrant art shows with d.j.s that flood Chung King Road. Since opening Coagula Curatorial there the amount of people attending the openings have increased by leaps and bounds. It's sad more people don't attend openings on Chung King Road, they are really missing out. I always enjoy reading Coagula Art Journal or his entires in the Huffington Post. He's just hilarious. All in all he's added so much vitality, wit and passion into LA's art scene and the art world overall.

        The art world is complex and it  tends to brew art work that is conceptually unattainable. Mat Gleason is one of the few art critics who takes away the haze of inaccessible optical vocabulary that can only be decoded by someone who has a masters in art. Not to mention Gleason's brutal honesty is always hilarious and refreshing. In his Editor's Life Unedited he really just sums up what everyone is thinking but very few curators address.

    The Basic Big Problem With Much Art. Some of my favorite quotes are "This baggage is basically just excuse-making. There is an excuse as to why the art is so shitty - it is some rhetoric as to why the art has barely mustered up enough of one (and only one) element and can rationalize stopping there."…"Your intentions aren't shit. You can come up with convoluted analytics and propositions all day and all night but until you at least fetishize your ideas, they are not art. And you likely have to do something with them even after doing that."

     His writing reminds me of William Powhida's solo show at Charlie James Gallery 'Bill by Bill'. Powhida's m.o. is much different than Gleason's, but Mat's approach is more accessible. Although they're both equality amusing and address some of the same topics

Here is my favorite excerpt from all of his entries - from the article "Twelve Art World Habits to Ditch In 2012"

Academic Curators

The realm of the visual is inherently non-verbal. Academia is a lecture-based system of auditory and linguistic learning. Pretty much the polar opposite of art. And yet here come the pinheads with their Ph.D. theses (rhymes with feces) ….Their ruse is the implication that art is intellectual. Art is sensual. Academics are not. Sleep with a few (your grad school professor is almost always willing) and tell me I am wrong.

Perform Chinatown at Coagula Curatorial; part of the Carlos Batts/April Flores exhibit. Courtesy of the Pleasure Chest.

Perform Chinatown 2013 - Natalie Loveless & Novelty Acts

        
  Natalie Loveless -  I really enjoyed her performance, it was really heartfelt, what struck me the most about it was how skillful she was at communicating the frustrations and anxiety of being a homemaker. There was a feeling of genuine authenticity and her talent showed in how well she conveyed her emotional state mind with so much transparency, I haven't seen a lot in other performance art pieces. it reminded me of Martha Roslers' Simiontics of a Kitchen. I love when artists make themselves vulnerable by opening themselves emotionally, it conveys a sense of integrity. Just watching Natalie Loveless' piece it's very visible how talented and clever a performance artist she is. 

      

                                                                                                                                              

                                                                                                                                                                                                                                             

 Novelty Acts performed by Allison Wyper, Esther Baker Tarpaga, Rebeca Hernandez and Hind Benali, along with Ryan Hawk -    

 I was really impressed by this piece, it was very sensual and I was pretty much captivated the whole time. Yes the  performers were sexy but at the same time their movement was very elegant and the lighting reminded me of Caravaggio's paintings. It also conveyed a sense of complexity and interpersonal conflict. One of my favorite parts was when Esther Baker Tarpaga walked around and touched everyone. I'm going to say this one was my favorite out of all of them. 

Perform Chinatown 2013

          Perform Chinatown 2013 was amazing. I went to Perform Chinatown 2012 and there was five times as many people at Perform Chinatown 2013 as there was in 2012. It felt so vibrant and anyone who knows me well enough knows I'm a huge fan of Chung King Road. If you look on artslant.com and see more than one opening (perfect combination is Charlie James Gallery, Coagula Curatorial and Jancar Gallery) I highly recommend attending. They have quarterlies four times a year that are completely vibrant and most of the art galleries in the alley have openings that night. Chunk King Road is so full of charm, beauty and culture. It's the perfect combination of dozens of chinese lanterns, arching graceful pagodas and world class contemporary art. 

         A lot of these performances were very clever and sharp-witted, looking at them over and over again I thought to myself that it's sad so many people are automatically closed off to high art or performance art, I think there are a lot of people who would watch these performances and appreciate the message and themes they're exploring. 

           Vela Phelan @ 0:40 - Whenever artists address subject matter within our culture I always like it more. Some haters have pointed out that making art can be such a self absorbed thing to do with your life. I think the people who say that don't have the first clue about how much artists sacrifice to be prolific and established and not to mention all the under appreciation that comes with it. Taking a traumatic international event like the financial crisis of the Great Recession and acting out the coping mechanisms arising from the vulnerability of the power of cooperations and the realization of how disposable we are compared to any high powered CEO made for a amazing performance piece. It's especially important because there are so many guys out there who aren't inclined to verbalize the overwhelming anxiety experienced when they were surviving the great recession. Even if they do have the personality to articulate it a lot of men have too much pride to open up to others. That's why I really appreciate this performance piece. 

          Mideo Cruz & Racquel De Loyola @ 4:50 - I loved this one too, I think one of the best things you can do with art is use it as a vehicle to change someone's perspective of a cultural norm. I found it really intelligent, I had a huge smile the whole time I was filming it. It's extremely endearing when performance artists mocks power and dominance, if done right it makes for the best performance art. It reminded me of The Yes Men's Management Leisure Suit, if you write that in a Youtube search it will be 2:41 minutes of your time spent wisely. 

       Vasan Sitthiket @ 6:05 - Yes that's me laughing in the background. I just thought this performance was so fun and at the same time the subject he was tackling was very significant. 

         Well yes Perform Chinatown in late July, and it's November. I wanted to get all the artists I liked from Thinkspace up since I posted the blog about Thinkspace. 

It

is 

freaking

hard 

to 

wooooork 

on 

a documentary 

when you have 

three jobs. 

         I now only have two jobs but in October had three.  I was just talking to a guy in my building who's doing a documentary and we were both venting, he's just saying it's so common for it to take five years. I now have someone who is willing to help with the editing so I should be faster with things. I'm actually really excited that I have someone who will be my co-producer and assistant editor. Yay!

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Lou Reed Is No Longer With Us

         So the first thing I hear Sunday is "Lou Reed died early this morning…" on my radio alarm. Yes I get up at 3:30 a.m. certain days for work but Sunday morning is a different case, I still manage to sleep through my alarm. That however made me fully awake. 

Photo credit Yarl (Pawel Marynowski)

        I wish I could have met him, when you live in Los Angeles those possibilities are slightly higher. But that's not why I've decide to blog about this. Lou Reed was such a extraordinary example of how an artist should live their life and how being true to yourself benefits your art work.

       Going to more galleries, reading and talking to art dealers I've learned a lot, most importantly how crucial it is to know which artist did something first. Originality is a extremely important characteristic to have in artwork. You're not going to get anywhere making art that looks like someone else's work. I'm sure there are tons of artists out there that want to be ground breaking. They want to make something no ones seen before. It applies to music, fashion, filmmaking and writing. 

      I've gone to art school and seen it in other areas too- artists just conform to the mold of being an 'artist.' I remember starting art school and knowing guys that would shower regularly when they started (looked like they did), but a year into attending they're only showering once a month. Or girls growing out their arm pit hair. I know there's more examples, but my point is a lot of art students start art school and quickly do something to conform to the stereotypes up in there. Conforming to a stereotype is not going to help you if you want to make art work that's fresh, original and groundbreaking. It's like a habit, you have to be true to yourself. Unless your into torturing animals, get help and make horror films <--- You know what else there were at art school, a few ultra creepy looking guys. 

       Lou Reed was true to himself and he produced music that was way before his time because of that. There's no way around it, if you want to make good art you have to put a part of yourself in it, not the stuff you put on your resume or present on a first date; I mean demons, the ugly stuff. If there's any chance you want your art work to be ground breaking and blow people away- practice being true to yourself instead of conforming because your art work is a part of you. 

Joram Roukes

Photo credit Thinkspace Gallery

      Joram Roukes is a Dutch artist living in Groningen, Netherlands. His signature style is collage like with multiple styles meshed in a single work. I've read that he references the competitiveness in everyday life by having his subjects wear sports jerseys and his characters are inspired by inner city life.

    Joram is pretty young, only 30, his CV isn't a mile long and it isn't filed with accolades, he's just starting out his career, but when I look at his work I find myself having a large amount of respect for him.  I mean I look at Baldessari and have a lot of respect for how witty some of his artwork is or I have a lot of respect for John Cage's work because it's really innovative. But honestly the more I look at Joram Roukes' work the more I end up having the same amount of respect for him as I do for other art world titians. His work is just brilliant. I like that he named a show after a Smashing Pumkins album "Mellon Collie and the Infinite Sadness." He looks like a depressed guy.  

Photo credit Thinkspace Gallery

Alex Yanes New Works

Photo credit Thinkspace Gallery

Photo credit Thinkspace Gallery

           Hi again! I'm still waiting for my sequence to render in Premiere Pro. When I walked into the back gallery of Thinkspace I saw a friend and said "Hey," then I turned to my right, saw Alex Yanes' work and immediately said "Whoa." It's just so fresh and original. I don't want to write anymore about him other than that because I think my reaction says enough.  Never happened before. 

           

Photo credit Thinkspace  Gallery

Photo credit Thinkspace Gallery.

Drew Young Nostalgia

       I've always wanted to make art work that addresses really potent issues that arise in life and could happen in someone's life 500 years from now. I use symbolism to convey this, Drew Young artwork seems to also convey this in a very indirect but on the dot way, in other words- there's no mistaking the subject matter of his painting is deep and very meaningful or all consuming.   

Photo credit Thinkspace Gallery

           I love how complex it is. Complexity is one of my favorite characteristics in artwork. He's one artist that I would love to trade work with, God willing. 

    His work makes me think of songs, the ones that you put on repeat because it pertains to what you're going through; then years later that song comes on the radio and you're delivered a heavy dose of nostalgia. That's what his work makes me think of- when I used to be really depressed, many years ago. Sometimes when  so much time has gone by, the way my life used to be in the past seems very foreign. Maybe that's just weird. I'm weird so you probably don't know what I'm talking about. Young's work makes me feel nostalgia the way songs do. They remind me of when I was depressed. Depression can be like a train of thought going down an undisciplined path. The multiple images of people is reminiscent of thought pattens.  The pallet he's using also evokes melancholy. And the fact that most of the subjects are alone, usually when you're the most depressed you're alone. I think that's one of the things I love most about Drew Young's work- it evokes a feeling of nostalgia that I've only experienced with music, or songs rather.

      In a interview there's b roll of him having anxiety while saying under his breath "that made me seem like a cocky dick." I think you have the right to be cocky Drew.

Photo credit Thinkspace Gallery

Thinkspace Gallery in Culver City's Arts District

      I've been filming at Thinkspace Gallery in Culver City every Friday throughout the Summer. At first I was drawn to it because it consistently exhibits amazing art, never a let down if you want to see some good art. But learning more about it I was continually more impressed.  It's a really amazing space that boldly breaks the mold in a very rigid art world full of unwritten laws.

     

                                                The Contemporary art world is deceiving in certain ways, especially to the average American. It can look like a subculture with very few restrictions. Looking at art pieces there's a freedom that's very dignified, especially set against our popular culture's stereotypes that are played over and over, decade after decade with "different" musicians, but they all fit the same gyrating half naked mold.

      Year after year I learned more about the art world and I realized it has tons of rules-  talk about your art a certain way, rent a work studio, get a masters degree from a good art college, stop bathing. Anywho, there's a lot of conformity up in here, no one really breaks these rules, it is what it is. But Thinkspace audaciously does things their way. 

      Every Friday they hold portfolio reviews at their gallery. I was really impressed they made the decision to give artists the liberty of bringing their work to Thinkspace. Come on, artists are expected to have a work studio to be taken seriously by dealers? Ask for one phase associated with the word artist and I guarantee you 85% of the responses will be "starving artist." That phase has staying power over the centuries for a reason. And we're suppose to in essence have two apartments or two homes, whatever. There should be a way around this to be taken seriously, perhaps proliferation, but a work studio, grrrrr, I disagree with this practice, but does that matter- no, but I'm not Eli Broad, I'm not a art world titian. I would pay that guy to own my work by the way. 

Thinkspace is located at 6009 Washington Blvd.
Culver City, CA 90232. Photo credit Thinkspace Gallery

          I'm taking about Thinkspace aren't I? I have to say I can not commend them enough for giving artists the liberty to bring their work into the gallery for portfolio reviews. Co-owner LC Croskey  is a really amazing art dealer. At the portfolio reviews he takes the opportunity to give artists advice about the art world in a business sense. If you want to make it as an artist you really do need to be as business savvy as possible and it's a travesty that information isn't easily accessible, in fact it's really hard to find resources that really give you the information key to being a successful. 

    LC is a really interesting guy, he used to be a graffiti artist back in the 80's. I love that his crew name was I.B.M.- Images Beyond Mentality. He co-organizes a once-a-month portable gallery and performance space called Cannibal Flower. It has been in a lot of ways a stepping stone for a lot of artists to break into the art world and get signed to a gallery. Many of successful artists had there start or had help on there way up from Cannibal Flower, I'm a huge fans of the following alumi -Dabs Myla, Lola Gil, Korin Frought, Craig Skibs Barker,Liz Brizzi and William Zdan. 

www.thinkspacegallery.com Photo credit Thinkspace Gallery.

   Cannibal Flower is a amazing resource where up and coming artists can hone their exhibiting and business skills until they are signed to a gallery. It's a shame there aren't more venues like this! 

   Above is a featurette of the footage from filming at Thinkspace Gallery. I hate that word by the way - featurette. 

Jil Weinstock RE: play at the Walter Maciel Gallery

 
These pieces by Jil Weinstock made an immediate impression on me, very few art pieces achieve that. What I find so brilliant about them is how she has taken a banal everyday object, like balloons and turned it into something elegant and sophisticated. To back up the previous declarative sentence I really must say pictures do not do them justice, they are much more powerful in person- not to belittle her talent in anyway.
           I always think artists are more interesting when I find out they have a Bachelor in a completely unrelated field and end up as career artists. She majored in physics at UC Berkeley, I really see the connection in her work. The art dealer Walter Maciel mentioned a few times that they're molded in plastic. Side note- Walter must be the most handsome, friendly, down to earth art dealer in LA, his husband is a very lucky man. And for all the Latinos who visit his gallery- he's Portuguese not Mexican, so he won't understand you if you speak to him in spanish.

What also comes to mind when looking at these pieces, as a fabricator myself, is the boldness of what objects she is using. High art does have a mold of what it should look like aesthetically speaking. Developing as an artist from a young age I remember experiencing an anxiety over what was appropriate subject matter to put in an art piece and still have it look like it could be in a gallery. I remember steering away from cats or dogs because I thought it wouldn't fit the mold of what high art should look like. I've heard other established artists struggle with this also. And I always have a lot of respect for artists when I see boldness in the art. I really want my art to look bold and have a pungent beauty. I would love to be an acquired taste. Somedays I think I am already if you know what I mean. Sometimes I do something bold in the hopes that it will somehow come across in my art work- like a simple drawing of a chair or hands. I've had this weird conviction/theory for a while now. I liken it to the odd way people can have mannerisms or facial expressions that give away who they really are, i.e. every creepy looking guy always looks creepy for a very valid reason. Okaaaaay.

Soo Kim; Black Sun at Angles Gallery

(She keeps them in her hand) - Photo credit Angles Gallery

         Soo Kim's work is one of my favorite to date, I was really blown away by her pieces. Every once in a great while I'll see a piece I like so much it affects me physically, it's the tingles. I guess brilliance can affect your nervous system.   

         Looking skyward at tree branches with birds in them doesn't seem to have any clear narrative path, but the subject matter evokes a state of daydreaming and at the same time it keeps me drawn in for a long period of time.  The branches that are cut out and fall down inject an element of elegance and unstructured chaos at the same time. I don't know how to interpret it but the outward physicality of the cut out branches keeps me fixated. I've been captivated by art that is so much more complex and blatantly narrative, but this jumble of golden paper cut out and manipulated by gravity does it. 

      There's large amount of respect I have to give to someone who can create a art piece that is very simple but at the same time is sophisticated and captivating.  The fact that Kim did not have to pull out all the tricks out of the hat to make something so eloquent is also a testament to how talented she is. It's simple, there's only one subject matter. It reminds me a bit of Rauchenberg.  

      When looking at this piece I can't help but interject an third party, more specifically a witness to the subject matter.   I don't know if an art piece has ever made me think about that. I think about a fictional person looking up and how they are viewing this world. This person is either lying on their back or looking up with their head tilled up at an angle. And at the same time I feel this person is daydreaming. I think it's really interesting to note that an art piece has never come close to making me think of a fictional 'point of view.' 

(With a burst of laughter) - Photo credit Angles Gallery

        Kim must have wanted to make art work that was more innovative. I would love to know how many different directions she pushed this idea in before being happy with it, I imagine a lot.

Hey is this a variation on scrabble? These are the titles of her work and she has a MFA in film and critical writing.

She keeps them in her hand

Suddenly he seems to make up his mind

Looking at him in surprise

He exits

She is visible trying to find words

A long pause

She extinguishes the last light

The other two smile

With rising exhalation

(He touches them) - Photo credit Angles Galley

Honing Your Inner Space Cadet

P.D.A. between Keith Haring 
and Basquiat.

             It's passed due, procrastination and the measurement of time is now confrontational and condescending. It's been four years since I graduated art school and I try to go to as many art shows as I can since moving back to LA. When I was in college someone made an observation that has stuck with me throughout the years. I don't remember who, but it was a student at SAIC who said "Artists usually use the same formula and style over and over again to express different ideas." And that's the main reason why I go to so many art galleries. Since 2010 I regularly visit galleries in Chinatown, Culver City and Bergamot Station. I feel compelled to see what amazing and diverse work Los Angeles artists are producing because I have an underlying anxiety that I'll produce artwork that will all look similar and I won't ever push my self in another direction style/creative wise. Another reason I go to so many shows is because  when I was young I remember romanticizing bohemians during the birth of modern art; Picasso, Matisse, Modigliani. The Montparnasse and Montmartre hoods of Paris, France where artists redefined the way you live life. It was the first time I realized I didn't have to grow up and have a desk job. As a young adult I also romanticized the art scene in the early 80's in New York; Basquiat, Warhol and Keith Haring.

                   

Keith Haring in a New York Subway.

                                                                               
                          I'd like to bust out the flux campacitor and start at the genesis. I started taking art seriously when I was about 10 years old. Believe it or not at that age I had a sense of urgency to decide what I was going to do for a living. I thought "If I start now, by the time I'm in my 20's I'll be good at what I want to do for a living." It was at that time I started taking classes at Mt. San Antonio College. I looked at the schedule of classes and saw a Life Drawing course. I was 10, I read the course description and thought I would be drawing people siting around. I found out later you had to be 18 to sign up for those classes, but I was abnormally well endowed for a 10 year old (there was no training bra phase), my mom dropped me off and my professor was an eastern European artist, so I slipped through the system. I get to my first day of class and the guy in front of me disrobes and the next thing you know I have to draw a naked man. "Half the job of drawing well is really looking at what you're drawing." But it gets better, at the end of the semester my mom comes up to me and says "Show me what you drew in your class." I adjusted. I liked my teacher Julianna Balogh, I kept taking her life drawing classes during the school year and summer up until the 9th grade. She was one of my first mentors. During my freshman year I auditioned for the magnet school Los Angeles County High School for the Arts or LACHSA. I managed to get in on my first audition even though they have a 25% acceptance rate. I took five art classes a semester along with my general ed. It was a great opportunity and from there I developed a lot creatively and learned that I hated art students. They can be a bit like social piranhas that come from wealthy families and feel the need to elevate themselves above everything from the city of Los Angeles to our campus Cal State LA (and how mediocre the college is).

From left to right -Modigliani, Picasso and Andre Salmon.

From left to right -Modigliani, Picasso and Andre Salmon.

              After high school my next calculated career move was to attend a community college for 5 years. I commuted to Pasadena City College because they have an outstanding art department, instead of the community colleges closer to me. Around 2004 I was employed as a portrait and caricature artist at Rubio Arts and leased out to draw in the Disneyland Theme Parks. My overuse arthritis flared up at that time and the pay was bad. In 2005 I was accepted to The School Of The Art Institute of Chicago, it was my first choice because it's known to be a conceptual school, which was an area I was weak in at the time. I was also able to double major in video at that college. All the years of art classes added up and I've taken around 50 cumulatively.  After graduating I moved back to Los Angeles in September of 2008 and have had 38 art shows since, many of them have been at theDowntown LA Art walk. In November of 2012 I signed a lease for a art studio in Downtown LA in the heart of the Gallery District. For the past year I have been researching and working on preproduction of a documentary I am working on which focuses on Los Angeles' gallery scene. It's been a lot of fun, I've gallery sat at Human Resources in Chinatown, an art collective I am focusing on in my documentary. Several art dealers that have galleries in Chinatown and Culver City have agreed to be in it. It's been an exciting labor of love. Like I said when I was younger I spent a lot of time romanticizing the art scene of the 80's in New York and early 1900 of bohemian Paris, France (Montparnasse and Montmartre areas). That's a big reason why I'd like to document Los Angeles' gallery scene. I think this city has a lot going for it, the art work is amazing and the art world in general grew during the great recession; as asserted by Morley Safer on the 60 Minutes segment Even in Tough times, Contemporary Art Sells- "The art market sizzles while the stock market fizzles."   

  

      

From left to right -Andy Warhol,
 Basquiat and Francesco Clemente.

                  I've been talking about starting a art appreciation blog for a while now, I go to galleries so much it feels fitting. I have a album with pictures of all the art work I like from my gallery visits that has 141 photos in it, my goal is to have 250 photos by the end of this year. This blog will highlight my favorite art works I see in galleries across Los Angeles. Some are from shows I went to back in 2010, but the work had a big affect on me so it's okay if I regress, in general this blog will be pretty current though.

                I'd like to end my first entry with a quote from one of my favorite art dealers Jeff Poe of the gallery Blum and Poe. I actually have a huge crush on his business partner Tim Blum. When I met  him he was really nice and completely flattered that I wanted to take my picture with him. His hands are really soft when I shook them and he said "Wow usually people want to take pictures with the artists, sure!" I was so timid and told him "I'm just really infatuated with the art world. I think it's really glamorous." Totally worth coming off like an obsessed weirdo. Back on Poe, he was asked what makes a good art dealer and his reply also describes really well what makes an exceptional artist. "You have to have an eye- a savantish ability to recognize work that is symptomatic of an artist with real intelligence, originality, and drive." 

A ball in Montparnasse, Paris. 

I'm sure la fee verte was in attendance.

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