Confessions of THE Art Executor
This blog explains that when my sister Jenny died suddenly I became her Art Executor and had to learn what to do from scratch. I hope these posts explaining what I did (and didn’t) may help others in the same situation – and encourage artists to think ahead as well.
How do we treat a work when we know so little about it, not even if the artist would have wanted to be known?
When all the pieces are in the right place, it will move.
Getting 4 works ready to go on show was a learning experience.
Catalogues can be minimalist too – the art is the story.
Untitled, 2010. Paper, 56 x 56 cm boxed (wood and glass) 60 x 60 x 7 cm This and three other paper works by Jenny are now on display until February 20th, as part of a mixed show in Katherine Richards' exciting new Gallery at 111 Portland Road Hove. If you can get to...
Listing the works in date order for the catalogue made me suspect some were missing.
Now I see this work again, I understand how it helps explain the development of Jenny’s works on paper.
How a simple typing mistake misled the artist, a Gallery owner, and the Art Executor.
Like this Composition, a list may look easy, but it’s much more sophisticated than it appears.
Every catalogue must tell a story.
4 years on, I am starting to realise that being an Art Executor is a lifetime’s calling.
Setting off into the blue sky, two men in a balloon are alone in the vastness.
Like many, more important, projects for 2020 our plan for an exhibition of Jenny’s work has fallen victim to Covid-19.
Did Morandi’s example inspire her to paint the same pots for 50 years?
An artist’s experiences can influence their work after a long gestation and without their being conscious of it.
What made her sit down to make another?
is it really lost?
It was a lightbulb moment when I realised that sometimes you just have to make it up.