I don't know much of her story either, though yes, she apparently had art world connections. She seems to work mainly in film, but is represented by a gallery. Some people on the list must be familiar with her work? . . . However beautiful or interesting her films may be, there are certainly many others equally worthy, I should think, so presumably it has something to do with the networks she is in, in addition to whatever inherent value her work has.

I could engage in a little cynicism of my own (not about her specifically, but about art world choices in general and what drives them), but perhaps that's easy enough for anyone to see -- and I have to get back to work now, so am signing off for awhile . . .

MB



A little of my own cynicism: There is a certain degree of spectacle, and of an accessibility of ideas that can be talked about that influence

On 5-Mar-12, at 11:33 PM, John Woods wrote:

>This really does seem a little too cynical. No one is suggesting any such thing. I'm just trying to represent the work of someone who is already well-known >and presumably taken seriously. And I guess what it takes is being clear about one's expectations and sticking to it.

Yes, that was a dumb, cynical remark I made. But I do have a genuine question as to what were the circumstances that allowed those artists to achieve their special status in the art world presenting film in a gallery setting?

I'm mainly familiar with Stan Douglas's work of the past decade which includes film & photography (which have sometimes been photos related to a film), so he's got the art school and artist from another field thing in his support but what of Tacita Dean? I havn't seen her work but from my quick study online (ok just wikipedia) she seems to be a filmmaker who happened to be associated with a group of traditional artists who got some notoriety in the late 80s. Clearly she's had a great career, but would the galleries have called if she didn't have famous friends?
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