Introduction 4
I Youth Introduction 7 Once upon a time and a very good time it was… 10 Becoming an artist 18 Art school 26 Life after art school 40 Notes 44
II Breaking out Introduction 47 First studio 50 Getting noticed 55 First shows 64 Finding a gallery 70 Notes 76
III On the scene Introduction 79 The art world 82 Friendships, rivalries, fallings out 90 Notes 100
IV The professional artist Introduction 103 Success and failure 106 Facing criticism 113 Contents Market 120 Keeping going 123 Routine 128 Moving around 130 Inspiration and chucking out 134 Influence — finding a place in art history 142 Notes 148
V Experience Introduction 151 Looking back 154 Mortality 158 Experience 160 Notes 164
Index of quotations 166 Acknowledgements 167
I Youth
Introduction 7 Once upon a time and a very good time it was… 10 Becoming an artist 18 Art school 26 Life after art school 40 Notes 44 Youth I Youth 7 Yoko Ono Yoko Issy Wood Issy Allen Jones Larry Poons Larry Tracey Emin Tracey Sarah Lucas Sarah Billy Childish Billy Salvador Dalí Salvador Damien Hirst Anish Kapoor Richard Serra Richard Francis Bacon Francis David Shrigley David Joyce Pensato Joyce Michael Landy Bruce Nauman Phyllida Barlow Phyllida Rachel Howard Maggi Hambling Maggi Mary Reid Kelley Reid Mary Gilbert & George Vincent van van Vincent Gogh Charlie Billingham Willem de Kooning
Δ
Chris Ofili Picasso Pablo Roth Dieter Tuymans Luc Leonardo Leonardo da Vinci Rae Fiona Shawcross Conrad Wallinger Mark Jesse Darling Jesse * Giacometti Alberto Goss Nick Finlay Hamilton Ian Hockney David Jaray Tess Δ Koons Jeff Metzger Gustav Philippe Parreno The artists, a historian* and a philosopher and a historian* artists, The Allington Edward Baer Jo Benglis Lynda Bourgeois Louise Michael Craig-Martin Immanuel Kant Diodorus Siculus I Youth 14 artist becausemy mother was always telling meI was nogood. My father was scientific, soIgot hisintelligence. Ididn’t want to bean I have asciencebackground. She was goodat artandI wasn’t. but very talented andshockingly competitive. It’s oneof the reasons My mother was asuccessfulcommercial artist.She was very stupid, moment. Collaborations canconvey these kindsof moments inart. I had this picture inmy head from the word. It was purely amagical out all the letters: oneletter, then two letters, andsoon. Then suddenly what reading was. I was reading this book and,at first, I was spelling I keep returning to amoment when I was 5 years oldandjustlearning Pablo Picasso b.1959 Billy Childish that Irealized that it was asexual thing towards my father. through the grooms and the peoplein the stablesIhadaffairs with, When I first sensedit, Ihardly knew it was sexual. It was only later, I disliked him,butI was sexually attracted to him when I was young. b.1962 Sarah Lucas which frightened me. which frightened I madeacademicdrawings at the ageof 7, the minute precision of children’s drawings. Ilacked the clumsinessof achild,hisnaivety. My first drawings couldnever have beenshown at an exhibition of of reading and writing rather than the originsof obscure modernartists.’ My schoolreport said:‘He would dobetter to worry about the essentials the hotel opposite. A half-way house for borstalboys andscallywags. The old whore in bars. Slums.Fish andchips. Children playing on the street allday. something Dickens might have written. People spillingoutof public Looking back at my childhoodit’s not amillionmilesaway from 9 11 ‘I madeacademic Pablo Picasso drawings at the ageof 7’
10 12
Philippe Parreno Francis Bacon Jo Baer b.1964 b.1929
i realized after acouple of years of o bumming of around
nothing. that i knew Joyce Pensato
I Youth 15 I Youth 31
30 b.1954 Charlie Fiona Rae Fiona Billingham Anish Kapoor Mark Wallinger Mark 31 32 I walked into Saint Martin’s on a course for people who showed who showed people for course a on Martin’s Saint into walked I was it because go, to allowed wasn’t I then But ability. particular college. local the to went I So Kent. for area catchment the of outside My first day in art school, we went to the Baltimore Museum and at and Museum Baltimore the to went we art school, in first day My was. Braque who know didn’t I was. I naive how realized I moment that probably and Warhol, Dalí, knew I nobody. knew I Manet. know didn’t I art history. of but I had no sense Michelangelo, and Rauschenberg, - neces was age it my at that occasions me on several wrote father My walks take trips, the theatre, go to take to to some have recreation, sary to Academy the with friends. about town From Nothing availed. the exceeded I never and Academy, the to room my from room, my day. per one peseta of budget The thing with Goldsmiths was that it just allowed us to think for ourselves. for think to us it just allowed that was with Goldsmiths thing The
Goldsmiths educated me in the history of art, and provided a space in space a provided and art, of history the in me educated Goldsmiths having imagine not out. I can’t things figure and experiment to which were You a difficult place. was But Goldsmiths art school. to gone an from Coming year. a one essay write to had You no structure. was there and own, your on my ‘Where’s I thought: first, because at badly floundered school, I at academic background why it, and to achieve and how to do, I need what telling me the staff are Where timetable? point one at out dropped nearly I own. your on were You cared! one No cent?’ per 90 get I can’t cope. because I couldn’t Michael Landy b.1963 When I started out in art school in the 1970s I did it just to exist, there there exist, to just it did I 1970s the in school art in out started I When it. from making a living a hope in hell of wasn’t Salvador Dalí Salvador was that an art college at was college. I degree time at terrible I had a of an idea much of have to seem — it didn’t rudderless completely do to trying of years three was But it anything. or teaching or ethos that. do to permission and being given something, Childish Billy Jeff Koons Jeff b.1955 remember I school, art to going from dissuasion of time this During I didn’t if that said He school. at teacher art my from advice some great would I that art instead, of the history study to went art school and to go able being art and not people’s other looking at day every spend all day frustrating. be incredibly would that that and own, my create to Personal experiences experiences Personal mobiles sex make to time that amusing at very considered wasn’t big on Dada, and it was I influenced very was but I and made drawings, painter figurative a was thing. I kind of that and the course. finish to allowed wasn’t and put on probation was I Schwitters. Kurt by
a revelation. a
Jesse Darling Jesse
process process was
universal universal
a a more
connect to connect
until you until
something something
yourself in in yourself losing losing
I Youth 30 IV The professional artist
Introduction 103 Success and failure 106 Facing criticism 113 Market 120 Keeping going 123 Routine 128 Moving around 130 Inspiration and chucking out 134 Influence — finding a place in art history 142 Notes 148 The professional artist IV The professional artist 103 Jo Baer Jo Nick Goss Nick Eric Fischl Ged Quinn Allen Jones Carle Andre Carle Oscar Wilde Oscar Sarah Lucas Sarah
Damien Hirst Jesse Darling Jesse #
Derek Jarman Derek Lynda Benglis Lynda Grayson Perry Grayson David Shrigley David Auguste Rodin Auguste Mark Wallinger Mark Raphael Gygax Jackson Pollock Jackson Winslow Homer Winslow Δ Christopher Wool Christopher James Rosenquist James Ian Hamilton Finlay Hamilton Ian Robert Rauschenberg Robert
#
and a writer and
Ω
, a dealer Δ
Pliny Pliny the Elder * Philip Guston Conrad Shawcross Conrad Wentworth Richard Helen Frankenthaler Helen Hambling Maggi Hodgkin Howard Jaray Tess Joffe Chantal Leonardo da Vinci Pensato Joyce Poons Larry Rae Fiona Kelley Reid Mary Edward Allington Edward Bacon Francis Barlow Phyllida Childish Billy Duchamp Marcel Hartley Marsden The artists, an art historian*, a curator historian*, an art artists, The Luc Tuymans Luc Wood Issy
Thaddaeus Ropac Ω
IV The professional artist 105
23,100,000 Allen Jones Allen
15,800,000 Gilbert & George & Gilbert
15,333,330 Pablo Picasso Pablo
15,233,330 Andy Warhol Andy
14,400,000 Michael Craig-Martin Michael
13,100,000 Vincent van Gogh van Vincent
10,933,330 Salvador Dalí Salvador
8,756,670 Oscar Wilde Oscar
5,240,000 Joseph Cornell Joseph
3,586,670 Jenny Holzer Jenny
3,336,670 Leonardo da Vinci da Leonardo
3,100,000 Willem de Kooning de Willem
3,046,670 Lawrence Weiner Lawrence
2,885,000 David Shrigley David
2,738,330 Grayson Perry Grayson
1,946,670 Sarah Lucas Sarah
1,896,670 Francis Bacon Francis
1,510,000 Christopher Wool Christopher
1,510,000 Derek Jarman Derek
1,393,330 Marsden Hartley Marsden
1,311,330 Jackson Pollock Jackson
1,295,000 Billy Childish Billy
1,248,000 Dieter Roth Dieter
1,179,330 Charlie Billingham Charlie
1,080,000 James Rosenquist James
1,052,670 Richard Wentworth Richard
984,670 Michael Landy Michael
967,330 Gustav Metzger Gustav
883,670 Fiona Rae Fiona
874,000 Issy Wood Issy
809,670 Pliny the Elder the Pliny
595,670 David Hockney David
592,670 Diodorus Siculus Diodorus
579,330 Carl Andre Carl
Average number of search results on Google.com. Note that search results change day by day, day, by day change results search that Note Google.com. on results search of number Average to Beyoncé. compared when insignificance pale into these artists and all
* 531,330 Robert Rauschenberg Robert
524,670 Alberto Giacometti Alberto
511,000 Winslow Homer Winslow
505,330 Yoko Ono Yoko
505,000 Anish Kapoor Anish
486,000 Immanuel Kant Immanuel
474,330 Auguste Rodin Auguste
463,670 Tracey Emin Tracey
459,670 Lynda Benglis Lynda
440,330 Marcel Duchamp Marcel
433,000 Richard Serra Richard
426,330 Jeff Koons Jeff
423,670 Helen Frankenthaler Helen
419,330 Damien Hirst Damien
410,670 Louise Bourgeois Louise
403,670 Mary Reid Kelley Reid Mary
401,000 Jenny Saville Jenny
397,330 Bruce Nauman Bruce
388,330 Dante Gabriel Rossetti Gabriel Dante
375,670 Giorgio Vasari Giorgio
371,330 Maggi Hambling Maggi
361,000 Howard Hodgkin Howard
337,000 Jo Baer Jo
315,330 Philip Guston Philip
313,000 Luc Tuymans Luc
284,330 Eric Fischl Eric
220,670 Philippe Parreno Philippe
220,330 Ian Hamilton Finlay Hamilton Ian
202,670 Chris Ofili Chris
202,670 Ged Quinn Ged
155,000 Tess Jaray Tess
148,000 Edward Allington Edward
138,330 Phyllida Barlow Phyllida
137,430 Larry Poons Larry
121,670 Mark Wallinger Mark
121,670 Chantal Joffe Chantal
74,200 Peter Liversidge Peter
59,830 Conrad Shawcross Conrad
53,370 Joyce Pensato Joyce
Number of internet search results* search internet of Number
IV The professional artist professional The 104 IV The professional artist 117
Conrad Conrad Shawcross Larry Poons Larry David Shrigley David that questions can ask’ you only Shrigley David ‘There are certain certain are ‘There Critical writing has a place just as art has a place. Often it has meaning Often writing has a place just as art has a place. Critical way. that judge it in to have you and within a context, Most artists I speak to, if it does come up, remind me of what me of remind up, it does come if to, artists I speak Most body, their from torn is brush mark said — every Hancock Tony about it. think people might what about worry and fret they and I don’t. Whereas very the critics are then favourable it’s If it is different. the press In idiots… are they then not, if perceptive, In the end it’s a more interesting project to develop yourself as an yourself develop to project interesting a more the end it’s In falling artist, than to into. be you’re with the concerned that categories people other how know to hard But it’s it. of be aware to try course I Of see you.
Lynda Benglis Lynda b.1941 Billy Childish Billy Jaray Tess It always matters what other people think because we’re human. we’re because think people other what matters It always begin to perceptions have we reason the That’s machines. not We’re the same perceptions. all have don’t we the reason with, and also vacuum in a work the make can’t you — needs a response Everybody work: the about yourself carefully very think to also need you — but time, the of can ask. Most you only that certain questions are there contextualize to opinion or an express to having they’re about it, write people when other necessarily. work, the in contextualizing interested really not I’m way. in a certain work the as project my to and relative made before, I’ve work the to relative work the in interested I’m a whole. Rae Fiona b.1963 when me. I suppose affect It does I get. that the press most of I read just it positive, more it’s When more. you affects it critical more it’s take I critical, been has it When done. you’ve what endorses of sort justified, it’s whether about think and try and and listen it seriously right. what’s wrong or and what’s a week and week a
Ged Quinn for three. for
get get paid
seven seven days
you work you work
artist when when artist
professional professional
become a a become you’ve you’ve
IV The professional artist professional The 116 V Experience
Introduction 151 Looking back 154 Mortality 168 Experience 160 Notes 164 Experience V Experience 151 Larry Poons Larry Sarah Lucas Sarah Jesse Darling Jesse Lynda Benglis Lynda Francis Bacon Francis David Shrigley David David Hockney David Maggi Hambling Maggi * Thaddaeus Ropac Richard Wentworth Richard Joyce Pensato Joyce Shawcross Conrad Weiner Lawrence Tracey Emin Tracey Hodgkin Howard Rae Fiona Carl Andre Baer Jo Childish Billy Damien Hirst The artists and a dealer* and a dealer* artists The V Experience 153 $4,444 Jaray Tess 2011 $9,906,000 Bruce Nauman 2001 $10,559,676 Duchamp Marcel 2009 $58,363,750 Pollock Jackson 2013 $5,986 Wentworth Richard 1990 $9,064,696 Saville Jenny 2016 $6,320 Shrigley David 2012 $58,405,000 Koons Jeff 2013 $9,979 Finlay Hamilton Ian 2012 2016 2014 $11,712,500 $12,837,160 Damien Hirst 2007 David Hockney David $25,013 Jarman Derek 2001 $7,781,000 $66,327,500 Willem de Kooning 2016 Joseph Cornell Joseph 2008 $30,768 Hambling Maggi 2015 $6,313,000 $31,591 Michael Landy 2011 Marsden Hartley Marsden 2013 2011 $82,500,000 van Vincent Gogh 1990 $6,074,193 $17,931,961 Salvador Dalí Salvador $31,619 Childish Billy 2013 2014 $18,645,000 Rauschenberg Robert 2015 Dante Gabriel Rossetti Dante $33,254 Barlow Phyllida 2016 $4,533,000 Winslow Homer Winslow 2013 $47,818 Pensato Joyce 2015 2017 $4,267,750 Andy Warhol Andy $105,445,000 2015 Richard Serra Richard 2016 $65,568 Joffe Chantal 2010 Chris Ofili $20,410,000 $3,837,559 Auguste Rodin Auguste 2014 $74,841 Rae Fiona 2015 $3,387,864 Tracey Emin Tracey 2014 2015 2013 $3,301,000 $82,376 Shawcross Conrad 2013 $141,285,000 * Sales prices converted to US dollars. See page 164 for full details. details. full for 164 See page dollars. US to converted prices * Sales 2013 $25,883,750 Philip Guston Alberto Giacometti Alberto James Rosenquist James $2,887,988 Allen Jones $86,459 Wallinger Mark 2006 2015 $88,864 Roth Dieter 2014 2015 $2,830,000 2013 2013 $28,165,000 $142,405,000 Francis Bacon Francis $116,500 Ono Yoko 2010 Louise Bourgeois Louise $2,699,750 Helen Frankenthaler Helen Luc Tuymans Luc $132,000 Rachel Howard 2008 2008 $2,589,770 2008 2015 Anish Kapoor $50,000,000 $2,513,647 $29,930,000 2015 Christopher Wool Christopher $185,000 Weiner Lawrence 2015 $179,365,000 Gilbert & George Pablo Picasso Pablo 2017 Under Under cent ×500 per Enlarged $2,246,882 2008 Howard Hodgkin Howard $198,191 Michael Craig-Martin 2016 Carl Andre $2,165,000 2009 Eric Fischl $1,874,500 2014 $1,157,000 Larry Poons Larry 2015 2014 Jo Baer Jo $222,194 $905,000 Sarah Lucas Sarah 2008 2017 $881,000 $450,312,500 Jenny Holzer Jenny 2017 Leonardo Leonardo Vinci da 2014 $841,874 $245,000 Lynda Benglis Lynda 2000 Grayson Perry Grayson $574,500 Giorgio Vasari Giorgio 2017 $500,000 $500,000,000 2011 $257,119 $516,500 Ged Quinn Under Under cent per ×50,000 Enlarged Under Under
Philippe Parreno Highest prices at auction* at prices Highest
152 V Experience V Experience 162 than that? being accepted by peers,andgetting opportunities to show at different places. What isbetter or do whatever, andit’s okay. Right now, I’m having the best time —makingacoupleof dollars, it or not.’ And I think you have to get older to feel that way, not to care a little bit. You can say about finally accepting whoIam,embracing it,and saying: ‘Thisis whoI am, you canaccept Wallace Stevens once said: ‘Theutmostmustbegood.’ an emotion asanything else:it’s allgood. Any feeling that onegets has to begood.I think and everything elseislessmarvellous, to you? Even what you’re perplexed by canbeas valid b.1937 Larry Poons thing to have —unlessit’s more money. artist’s artist.Especially among the young ones. There’s nobetter Actually, Iamgetting now to be the best thing there is, which isan Joyce Pensato to bebeyond embarrassment. Artists tend to bebeyond embarrassment the way littlechildren tend Jo Baer and you don’t give ashit what anybody thinks. As you get older, you don’t have a filter: you cansay whatever you want, Lynda Benglis I’m agoodmountaineer, andsoon forth. questions. I’m agoodgeologistbecause Iknew one for along time. carpenter because I learned from them. I watched them, asked lived with or dated, Ihave taken whatever they’re goodat. I’m agood I have always admired men,and from all the menIhave marriedor gallery, junk itup. SoIbrought inallmy stuff. Butmostly, that was moving, Ihadallmy junk.Ihadalways wanted to really crap-up a fancy A coupleof years agoIdidashow at Petzel, andat the time I was tell mesometimes, like going to amuseumandseeinganIonic column. just about active process, it’s all about the pauses. A little thing might voice tell me where to gonext. Ihave to pauseinorder to think. It’s not I canpause.I’m not sure Iget better, butIdo planonhearinganinner why doesitexcel to your ears? How come? Why isitsomarvellous, to have. Say, apersonlike Turner, or GlennGould, the pianist: Our mindisamachine that hason file every impulse that it’s possible 10 ‘There’s nobetter thing Jo Baer more money’ to have —unlessit’s
Joyce Pensato Carl Andre Jo Baer b.1935 b.1941
w a ’ the ‘what’s
e t question best
in the world, Richard Wentworth and the worst. point?’ is the
163 V Experience