I am still in the process of thinking how I will use this section. A blog is only interesting for others to read if things get posted regularly. I also want to avoid stating the obvious too often.
In the past to weeks I have been to the atelier only for short visits, each visit about the lengths that it takes to to make one small drawing. With time constraints, I try to avoid to "sit around" and look around for too long, or read. However, from CAA in Chicago, I brought home the biographical book about Gerhard Richter, written by his longtime secretary (forgot his name), that was just published here in the U.S. in English.
Reading this instead of making art, you know, I must say this: There is nothing wrong with a bit self promotion. It is highly interesting how strategically one can built a career in the arts. It starts with rigorous editing of own work, archiving, and also separating with Weggefährten (companions [in the arts]) at times.
It also gives me insight into a questions that I wondered about: That is whether Richter uses assistants in creating his "S-Class paintings" (a term once used by critic Harald Fricke reviewing a show by Baselitz in the Neue Nationalgalerie Berlin).
This is even more interesting when contrasted with Sigmar Polke, who appears to be an even more private artist. I don't know if there is any bio out about him.
So why am I talking about the usual suspects rather than artists who should receive more attention (find them on my links )?
I don't know. I just think about other artist's work and life a lot.
Yet another artist I read about is Norbert Prangenberg.
He was included in a show in the Kunsthalle Bielefeld (the city I grew up in) a long time ago and I didn't look at his work in at least 15 years or so. His paintings and drawings relate well to his ceramic work and there is a tentative, improvisational approach, a playfullness that I appreciate. BTW he's going to have a show in April at Betty Cunningham Gallery in NYC.