Keith Christiansen's A Caravaggio Rediscovered The Lute Player PDF

By Keith Christiansen

Many black and white and colour pictures of work. comprises background and outlines.

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I don’t think there’s anything else like it. I always say it’s not ‘‘government regulated,’’ but then would we want it to be? APFELBAUM: Right, nothing moves forward without my approval. Nothing is set. It’s always a negotiation. I’ve worked with the same gallery for years and things are always in flux. There are so many variables to consider. Right now I’m working toward a show in Sweden, which is something I am looking forward to. In New York I am known for a specific type of work. Stockholm seems like a good place to experiment.

My assignments were based on how I learned to do these things. It was through my curatorial experience running a nonprofit gallery that I learned what worked in an artist statement, how to organize a portfolio, conduct a studio visit, or write a grant proposal. I wanted the AIM artists to get this same kind of experience. How does a curatorial perspective change a studio visit? For example, one of the assignments was they had to do studio visits with five artists in the program who followed them alphabetically on the list and write up a proposal for a two-person exhibition.

I had sculpted six prototypes in clay and then had molds made. The final figures were cast in Hydrocal. The scale of this project took over my painting studio and basically shut down my painting practice for a year. C U T LE R : YEE: Do you think you might continue in this vein? C U T LE R : I think there will be more three-dimensional work in my future. When you have these kinds of opportunities to exhibit outside the United States, do you find that your work is received differently in different contexts?

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A Caravaggio Rediscovered The Lute Player by Keith Christiansen

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