WorkUntitled

Unedited conversations between artist in a productive critique  discovering  thesis and processes behind the work.

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SHERMAN:  ‪hello‬‬

 

RAMOS:  ‪Hi Sherman, thank you for joining me‬‬

 

SHERMAN:  ‪thanks for having me‬‬

 

RAMOS:  ‪so we ran into each other at the Art Basel Fair right as you were purchasing this piece by Nina Beier‬‬

 

SHERMAN:  ‪yes. but i first saw you right after i had bought the Sue Williams piece from Regan Projects‬‬

 

RAMOS:  ‪yes you are right... i just got the names confused

‬‬

i really like Williams work

 

did you know of her before you saw this piece or did run into the piece and then heard of her

 

SHERMAN:  ‪me too. i had been looking at her work the last 2 years at Basel and when i saw this piece i couldn't say no.

‬‬

it had so much more depth and the colors in person are amazing

 

RAMOS:  ‪i agree... the different scales of brush strokes, from blurs to a very refined line creating drawing-like images, are very joyful and almost whimsical‬‬

 

SHERMAN:  ‪yes! and the lines are so precise. its really a beautiful piece of work.

‬‬

RAMOS:  ‪yes. .. the baby blue in contrast to the the lines feel like a horizon, a sort of background to this whirlwind

‬‬

i enjoy the visual narrative

 

SHERMAN:  ‪i collect another artist named Friedrich Kunath who also does these surreal drawings throughout his work and so when Sue had added this dimension to the pieces this year it brought a smile to my face because i have always loved the way she paints. I love the loafer in the middle of the painting.‬‬

 

RAMOS:  ‪yes it also reminds me a little of Cecily Brown's work‬‬

 

Williams is somewhere in between Kunath and Brown‬‬

 

Kunath is a bit more figurative‬‬

 

but i see that juxtaposition of line-work and painting that also appears in Williams' work

 

SHERMAN:  ‪yes. ‬‬

 

RAMOS:  ‪Nina Beier's piece is very different‬‬

 

Nina Beier

Allegory of Peace and Happiness of the State, 2015

Ceramic cup, cofee beans, resin, wood and metal

12 2/3 x 22 x 19 2/3 in.

 

SHERMAN:  ‪Nina's piece is so clever. its a sculpture made of coffee beans being poured onto the floor by a coffee cup.‬‬

 

RAMOS:  ‪right‬‬

 

i like that theres a bit of awkwardness to her work

 

SHERMAN:  ‪Yeah she tends to mix things up which i like. The first time i saw her work she had made the framed paintings from different fabrics.‬‬

 

‪I love coffee and could think of nothing better for my kitchen than this sculpture.

 

i found them brilliant. They even smell like espresso  ‬‬

 

RAMOS:  ‪haha awesome‬‬

 

so this piece was location specific

 

as opposed to William's piece

 

SHERMAN:  ‪correct. I also love the gallery Standard(OSLO), i think they have one of the best programs.

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Williams was a I can't walk away from this decision. Big different in price but equal love for the both.

 

RAMOS:  ‪right... Williams is more conventional in it's beauty, at least only in comparison to Beier which has a very subtle and ingenious touch of impossibility and reality that work very well together

 

i too enjoyed meeting Gilda from Standard - hoping to get her in a conversation soon

 

SHERMAN:  ‪She's fantastic‬‬

 

RAMOS:  ‪agreed

‬‬

so tell me about the Jonathan Gardner piece you bought

 

because it seems like a bit of a curve ball

 

Jonathan Gardner

Reading Room, 2015

Oil on linen

56 x 36 in.

 

SHERMAN:  ‪I love tennis as you know. And I saw this painting at Sadie Coles of these women playing tennis and it was Jonathan Gardner. I then researched his work online and saw that he worked under Jim Nutt whose work I liked. Almost like a sims game version of Picasso.

 

Anyway, I'd put Gardner on my radar and I was having lunch with a good friend of mine named Casey Kaplan who has a gallery in NYC and mentioned to him I really like this guys work. He paused and smiled and said "that's so strange because I'm going to represent him" which then made me smile because I knew right then I would be able to own a piece of his work.‬‬

 

RAMOS:  ‪ha... a sims game version of Picasso... i thought of it more like if Modigliani + Matisse + Botero had a baby

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there are hits of those DNAs there for me

 

but i definitely see the sims version of Picasso

 

SHERMAN:  ‪His attention to details is fascinating. The way he paints a women gives her body life on the canvas. Pretty amazing.‬‬

 

RAMOS:  ‪yes i like the two-dimensionality to the composition (hence Matisse)‬‬

everything works on the same plane

 

SHERMAN:  ‪Def uses Matisse and Magritte references.‬‬

 

RAMOS:  ‪some of the facial expressions in other works have a Modigliani-sh sort of stare‬‬

 

and the boobs for some reason remind me of Botero

 

SHERMAN:  ‪Yes!!!‬‬

 

You know your art history.

 

RAMOS:  ‪although this particular piece has no face and no boobs...  ‬‬

 

this piece seems scholarly

 

as if sitting at school dreaming of my nightstand and what i get to wear later at night

 

SHERMAN:  ‪I know.‬‬

 

RAMOS:  ‪so i love the way you love the work you purchase‬‬

 

‪and how you don't set strict standards in terms of typologies‬‬

 

SHERMAN:  ‪No I've always bought with my eyes and not with my ears.‬‬

 

If I like an artist I buy that artist. That's what I love about my collection.

 

RAMOS:  ‪is that what it feels like?‬‬

 

when you own a piece... does it feel like you own a bit of a person?

 

i never thought of it that way

 

SHERMAN:  ‪Absolutely in fact I'm a big fan of meeting the artists I collect because I have a piece of that person in my house and I'm big on energy so I like to know there is positive energy in the painting when I bring it into my house.‬‬

 

I've become good friends with several of the artists I collect and they are all amazing people in their day to day lives as well

 

RAMOS:  ‪i'll tell you this... as an artist, i've never thought of my work as a piece of me, in fact i am quite detached from them as they seem more like a piece of my intellect, at least the more recent things‬‬

 

but it is refreshing to think that way

 

and makes me want to put more soul into it

 

SHERMAN:  ‪Well I think now a days people sell art when they buy it so much you have to probably detach from it when it leaves your studio. But for me as a collector and I've only really been collecting for the last 5 years I want to make sure I live with and enjoy the art I buy. I've never bought art to make money off it. That is never my intention. I buy art to give my house life and joy to those who come over and say wow that's amazing whose that artist and it brings up good conversation.‬‬

 

‪In my professional life I am a Producer, and I look at first time directors a lot and it's funny how I never noticed until now that I probably do that with art as well. I like to buy young artists as if I'm making their first film in the hopes of continuing to make movies with them for the remainder of our lives.‬‬