AS THE LAWRENCE WEINER RETROSPECTIVE at the Whitney Museum fades to white under multiple coats of Kilz and
latex paint, and his various exuberant ephemera take up residence at LA MoCA before wending their way back to their rightful property owners; as Tate Modern and the ICA London emerge from momentary spells of whispered headlines, random sketching, streams of consciousness, and face slapping; as New York's New Museum concludes its vestigial assault on the Work of Art, not to mention the etiquette of proper spacing, and as visitors to the new building
experience the worst case of buyer's remorse since the reopening of the Museum of Contemporary Art, Chicago; as the Metropolitan Museum's Dutch
paintings readjust to the staid organizing principles of artist's name, date, and genre rather than hanging according to who bought what from whom (on whose advice) and resold it to so - and - so, who then donated it to the Met; and as the scent of modesty - prosaic, charcoal filtered, crystalline - emanates from the 2008 Whitney Biennial, now is as good a time as any to talk about money.
Experience in
paints -
Experienced with oil, shellac,
latex, acrylic, alkyd and epoxy
paints as well as 1 %, 2 % and 100 % silicone caulks, 20 minute patching compound and assorted sand papers.