this is a drawing a made using correction tape.
i've been doing a lot of exchanges with artists and illustrators lately. this one is going to Jordan Danchilla whose work i really love.
i think i am moving to a bigger brighter studio. it's going to be less like an office and more like a nice place to be.
it seems she has a way of keeping on asking for what she wants in the face of no agreement. i love her work.
"Even so-called experts haven't always known what to make of her work. "I've gotten negative reactions for 25 years," said Mr. Protetch, Ms. Woodman's dealer and friend, from "narrow, unthinking art world people who are more impressed by superficial things than they are by substance."
With his artist ensconced at the Met, Mr. Protetch can feel that his perseverance was justified. "I'm exonerated, and Betty is recognized for the really important figure that she is," he said. (His gallery in Chelsea has a concurrent exhibition, "Betty Woodman: New Works," through May 27.)
In her private life, part of her charm is her renowned cooking ability, which didn't hurt in securing the retrospective.
"Betty seduces people with food," Ms. Adlin said. A few years ago, she was having breakfast at Ms. Woodman's studio with a museum colleague. "In her wonderful, inimitable style, she asked us when we were going to give her a retrospective," Ms. Adlin recalled, adding, "She was doing these incredible blueberry pancakes."
They talked briefly, but nothing was definite. "The next thing I know, she's calling to follow up," Ms. Adlin said. "It's within Betty's nature to push for what she wants."
Ms. Adlin expected resistance from the museum's higher-ups. But her boss — Gary Tinterow, who directs the department of 19th-century, modern and contemporary art — knew Ms. Woodman's work and loved it. Even the Met's director, Philippe de Montebello, signed on right away. "I was pleasantly shocked that the director wanted to do this show," Ms. Adlin said."
alain de botton explains what art is for.
to make you feel less alone
to show you what's glamourous and exciting and worth your attention (oranges in a bowl, grass by the road).
nice interview with david bates on modern art notes podcast.
david bates paraphrasing picasso:
"you try to do somebody elses work but you mess it up because you're not them and the part that you don't get right, the messed up part - that's you, that's your deal.
"your job is to take the avant garde ball and move it down the field. i don't care if that's what you want to do or not - that's what you need to be doing. i was not really set for that game.
"in the land rush of contemporary art - you know we gotta find new land, new land, new land - there was a lot of perfectly good land that got left behind. And everyone was faster than me anyway so i was just like, yeah this looks pretty good right here.
painting has died so many times. it's been on life-support my entire career. i've always felt like it was a giant beautiful mansion fully stocked with a wine cellar....and it was just left. And I just walked in and and said, 'is anybody here? I'll take it!'"