Bur@rt Diary
Bur@rt Diary is published every Monday morning.
It’s a diary-style column in which the editor-in-chief of art on jots down thoughts on art and on the everyday things he likes or has on his mind. Please give it a read when you have a moment.
Looking Back at the 2019 Collection
The first half of December is over, and 2019 has only about two more weeks to go.
As the year draws to a close, I’ve been organizing the works I collected in 2019. Along with counting the number of pieces, I also calculated how much I spent. Ah, terrifyingly… the figure came out much higher than I’d imagined, and I’m astonished.
Another item that unexpectedly ballooned was “framing costs.”
I frame the works I collect as much as possible, for storage and for indoor display. Many of this year’s pieces needed framing, and it turned out the cost went well beyond what I’d expected. Had I skipped framing, I could have bought quite a respectable additional piece with that money. Next year, I’ll try to plan more carefully.
I also compared the 2020 planned budget with my wish list of artists. That number, too, is far from reality. I seriously want a money tree.
I’m planning a talk event at the Collectors’ Collective exhibition with a framer as guest (scheduled for January 11). I’m collecting responses to this survey about framing via this link.
The plan is to discuss the topic of framing — which comes up so often when collecting — from various angles. Your input would be much appreciated.
Artist Talk
Over the weekend I attended the opening of “Surrealism and Painting” at the Pola Museum of Art. One of the participating artists, Tabaimo, was there, and I had the chance to witness her artist talk, in which she discussed her works before the press.
Tabaimo, whose practice centers on collage, is an artist who consistently drives her production process through logic. Rather than surrendering to intuition, she accumulates realities — a stance that seems to inherit surrealism (chōgenjitsu-shugi, “super-realism”). The exhibition covers surrealism comprehensively, making it recommended for anyone interested in the movement.
Tabaimo’s artist talk was fluid and clear, and her presentation to us was easy to follow. Even among artists with substantial careers, those who can properly present their own work are still, I believe, in the minority. Her talk was very lucid, and it deepened my understanding of Tabaimo’s practice.
The information we receive through various media and the words we hear directly from an artist herself are overwhelmingly different in strength and weight. After the artist talk, I had a chance to speak with Tabaimo face-to-face. My admiration may be biased since I collect her work, but seeing her speak so vividly and healthfully as an artist drew me in even further. For a contemporary art collector, the opportunity to speak with an artist directly is important. It’s not uncommon for the words an artist releases to lead directly to a purchase.
There are only about ten days left before the Collectors’ Collective exhibition, and the participating works have been published on the gallery’s website. A second release from the gallery should also come out today. It’s an action toward the second edition. Thank you for your continued interest.
One more reminder.
It seems that “Obviously No One Can Make Heads Nor Tails” by mé at the Chiba City Museum of Art has grown extremely crowded as the exhibition draws to a close. Setting aside the pros and cons of the show’s content, I believe anyone who considers themselves an art fan must see it (though it’s not for everyone). The exhibition ends soon, on December 28, 2019.
See you next week!
