Many Say An Art Dealer Running A

The Giant White Cube Is Now Impeding Rather Than Enhancing The Rhythms Of Art. It Preprograms A Viewer's Journey, Shifts The Emphasis From Process To Product, And Lacks Individuality And Openness. It's Not That Art Should Be Seen Only In Rutty Bombed-out Environments, But It Should Seem Alive.

Much Good Art Got Made While Money Ruled; I Like A Lot Of It, And Hardship And Poverty Aren't Virtues. The Good News Is That, Since Almost No One Will Be Selling Art, Artists - Especially Emerging Ones - Won't Have To Think About Turning Out A Consistent Style Or Creating A Brand. They'll Be Able To Experiment As Much As They Want.

A Saboteur In The House Of Art And A Comedienne In The House Of Art Theory, Lawler Has Spent Three Decades Documenting The Secret Life Of Art. Functioning As A Kind Of One-woman Csi Unit, She Has Photographed Pictures And Objects In Collectors' Homes, In Galleries, On The Walls Of Auction Houses, And Off The Walls, In Museum Storage.

Although I Adore The Italian High Renaissance, I'd Rather Look At Mannerism. The Former Is Ordered, Integrated, Otherworldly, And Grandiose; It Leaves You Feeling Hungry For Something Flawed And Of-the-flesh.

I Also Take Pleasure In The So-called Negative Power In Grotjahn's Work. That Is, I Love His Paintings For What They Are Not. Unlike Much Art Of The Past Decade, Grotjahn Isn't Simply Working From A Prescribed Checklist Of Academically Acceptable, Curator-approved 'isms' And Twists.