Where is the line?

What does it mean to be a sellout in art? As many already know, there is a fine line that must be walked between homelessness and preserving a reputation. Just ask Thomas Kinkade; the evil mastermind who convinced millions of suburbanites that they needed an uninspired picture of a house in their house. Sure, he might be worth millions, but is his work in any respectable gallery (besides the one at the mall)? His “work” is always the same, a house in the middle of the woods with a bunch of trees and random animals that looks good next to your U2 Cd collection. His work is the result of countless minions painting along with machines that press out thousands of prints a day.


Recently we attended the Molly Barnes Brown Bag Lecture series featuring Ultra-Violet at The Roger Smith Hotel in NYC. Molly was charming as usual, and knows how to lead a crowd (with the exception of introducing someone as the long deceased Charlie Mingus).

For those not “hip” enough to know, UV was a “superstar” and muse for Warhol and Dali back in the day. Beyond her elevated groupy status (Warhol eventually replaced her with a younger girl “Viva”), UV separates herself from the pack with her own recent works. Admittedly, I did not have high hopes for this event. In my mind, it would be like meeting the former Highschool badass, who only has the same old story to tell; “do you remember that one time man? When we had____ and did____?”. Warhol’s famous Factory was a constant party-scene, and one would expect any survivors to be burnt-out and at best confused.