Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
The style of ancient Egyptian art is transcendently clear something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art one that lasts 30 dynasties spread over 3 000 years.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls digging a crater in Gavin Brown's gallery floor in 2007 creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness operatic uncontrollability and barbaric sculptural power.
All of Koons's best art - the encased vacuum cleaners the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture) the amazing gleaming Balloon Dog and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism idealism and fantasy.
First let me report that the art in the Barnes Collection has never looked better. My trips to the old Barnes were always amazing but except on the sunniest days you could barely see the art. The building always felt pushed beyond its capacity.
There's one Baldessari work I genuinely love and would like to own maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara California Sunday 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says.
Probably only an art-worlder like me could assign deeper meaning to something as simple and silly as Tebowing. But to us anytime people repeat a stance or a little dance alone or together we see that it can mean something. Imagistic and unspoken language is our thing.