June 3, 2024 • 37 mins
Modesty, quietude and humility are rarely words associated with history's greatest painters. Join us as we take a look at the life and work of Lois Dodd who has dedicated more than 70 years to further honing of her practised eye.
We unravel the remarkable journey and achievements of Dodd, a pioneering woman artist who originated from the downtown New York scene of the 1950s, when bohemian life there was vibrant and new and whose work continues to captivate audiences at the age of 96. From her early days at Cooper Union to co-founding the groundbreaking Tanager Gallery in 1952 to summers spent luxuriating in the nature of Coastal Maine, Lois has been a central figure in the New York and North Eastern art community for 70 years. Our art expert, Nicholas Robinson, takes us on a fascinating tour of the Tenth Street scene and creative energy that shaped her career, alongside contemporaries like Alex Katz, Philip Pearlstein, and Tom Wesselmann.
Dodd's story is more than just a timeline of achievements; find out what makes her unshowy work compelling and understand her wider impact on the art world and market of today. Despite her undeniable talent and contributions, her works remain affordably priced compared to her male counterparts. In this episode, we celebrate Lois Dodd's singular focus and achievement, her enduring influence and provide insights into appreciating and acquiring her art with a critical and discerning eye.
Episode Image: Lois Dodd, Arbor Vitæ + Bill's Cottage, 2021, Oil on masonite, 31.1 x 31.1 cm (DETAIL), ©️Lois Dodd, 2024
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jeppe Curth (00:00):
Hi and welcome to the Collector's Edge for Nordic
Art Partners.
In today's episode we willexplore the remarkable work and
career of Lois Dodd, acelebrated American artist
admired for her uniqueperspective and captivating
landscapes.
Join me, as always, with ourart expert, Nicholas Robinson,
and I'm your host, Jeppe Curth .
(00:21):
Let's get started.
It is with Alex Rotter, at 400million Selling here at
Christie's $400 million is thebid and the piece is sold.
Nicholas Robinson (00:32):
We've all heard about it.
Sometimes it's front page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
(00:56):
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
Whatever your objectives, it ispossible to put money into art
wisely, to be consideredthoughtful and well-informed in
(01:16):
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue of collecting with an eye
for curated beauty and practicalvalue.
Jeppe Curth (01:27):
Hi Nick,
Nicholas Robinson (01:27):
Hi Jeppe, how are you doing?
I'm very well, thank you.
How are you today?
I'm good, thank you.
Jeppe Curth (01:31):
Good, so today we're going to talk about Lois
Dodd.
Nicholas Robinson (01:35):
Yes, lois Dodd, yeah, the legendary Lois
Dodd.
Jeppe Curth (01:43):
Yeah, you say that, but it's not a long time ago.
I didn't know about her, so Iguess you brought her into this
and we just bought some worksfrom her.
Nicholas Robinson (01:47):
Yes, I mean we've been looking at her works
for a while.
It's not the first group ofworks we've bought, but it's not
so long, so many years, thatshe's been so keenly on my radar
either, and I suppose we'llfind out why yeah, yeah.
Jeppe Curth (02:07):
So maybe we should start, as we usually do it, by
taking it from the beginning.
So can you take us through herearly days in the art world and
how she got started?
Nicholas Robinson (02:18):
uh, yes, gladly.
Um lois dodd was born in 1927and she is actually still
working today.
So for those of you who areadept at mathematics, you will
no doubt be able to work outthat she is 96 or 97 years old.
She received her education atthe Cooper Union from 1945 to
(02:43):
1948.
And the Cooper Union is a verysort of unique and distinctive
establishment in a NorthAmerican educational context.
It has very specific ideasabout education, very specific
faculties in the things thatthey teach, in the things that
(03:03):
they teach, and it has had a keyrole in the formation of some
key thinkers, personalities whohave gone on to become very
influential in public life inthe United States.
So that's a sort of interestingby the by.
(03:24):
And then she was part of thissort of interesting by the by Um
, and then she was, uh, part ofthis sort of downtown group of
painters.
Um, and at this time in New Yorkthere was not a very large
audience for modern art.
Um, obviously New York hadbecome a central place in the
production of art, but there wasstill a very sort of small
(03:48):
group of collectors who wereliving uptown, on the Upper East
Side, in and around Park Avenueand the galleries that
typically served the needs ofthis collecting community was
also located uptown,concentrated around 57th Street.
So at this time, these downtownartists, they started to
(04:13):
organize and by that I meanworking together in a sort of
cooperative, almost unionizingtype way, and one of the things
that they were doing tofacilitate the opportunities for
themselves to promote, exhibitand sell their work was forming
(04:34):
galleries together, and thescene was largely centered
around 10th Street, and the 10thStreet avant-garde scene has
become a byword, in fact, forthese galleries and, back at
(04:55):
this time, the community in thisarea.
It was not the salubrious, uhvillage, greenwich village that
we know today.
This was an area consisting of,um tenement buildings, cold
water apartments, uh sheet metalworkshops, uh late night
(05:21):
billiard pool rooms, uh pornshops, um, and so it was.
It was a sort of a gritty urbanuh environment, um, and because
it was like this, it had becomesomewhat of a mecca for artists
(05:41):
to live there, because theywere able to find premises that
enabled them to live and workvery inexpensively.
So in 1952, lois Dodd was theco-founder of a gallery called
the Tanager Gallery, and thatwas one of the two that were
(06:02):
founded in this year, and anumber of others continued to be
, to be founded throughout the1950s.
So this was kind of a keydevelopment in this milieu from
which Lois Dodd came.
The gallery was next door tothe, the place where de Kooning
(06:27):
lived and worked.
Franz Klein lived around thecorner, so this was really a key
neighborhood that started tofoment this kind of artistic
energy.
Some other founding or earlymembers of the Tanager were Alex
Katz, philip Perlstein, tomWesselman, who was one of the
(06:49):
early uh pop artists, acollagist initially.
George Siegel, um, who was asculptor, became known for
making um, uh figurativesculptures out of plaster.
So this is a very interesting, avery vital, a very vibrant part
(07:11):
of a downtown scene, a downtownwhere the elevated subway was
still running up and down theBowery and very different from
the downtown, from the downtownthat that that we know today, um
.
So.
So Lois Dodd is the is thefounder of the Tanager um, a
(07:33):
gallery that would actually goon to be managed by Irving
Sandler, who's a uh, I supposethe seminal chronicler of this
period.
It was the gallery that hostedthe very first reading by Jack
Kerouac.
So this is a really importantvenue in the cultural scene of
(07:54):
New York, the burgeoningcultural scene of New York, and
so I think I know that's sort ofa long answer to understanding.
You know where Lois Dodd camefrom, but these formative years
and this cross-pollinationamongst these people is very key
and Lois Dodd is not just asort of willing acolyte
(08:18):
participant, she is a leader ofthese amongst these, these
people, amongst these peersthank you, nick um.
Jeppe Curth (08:28):
You have lived in new york for many years.
Do you have you walk aroundthis neighborhood?
Nicholas Robinson (08:32):
yes, it's.
Uh, it's rather different now.
Um, there are lots of rowhouses in this neighborhood
which are townhouses which arevery expensive.
Um, but there are stillapartment buildings and still
some loft buildings, but nowthey just consist of expensive
real estate.
The taxi workshops and thecottage industries are long gone
(08:52):
.
Jeppe Curth (08:57):
Can you explain the central themes she explores in
her paintings and what you thinkmakes it compelling to
collectors?
Nicholas Robinson (09:03):
Yes, absolutely.
Her work is very humdrum,everyday subjects consisting of
the things that she observes inquotidian life.
They are scenes of herapartment in downtown New York,
(09:28):
um, vignettes of of things thatshe's able to see in her
apartment, sometimes scenes outof the window of her apartment,
but done sort of on the spot inthis very low key observational
way, um, and there's just a sortof quiet beauty in you know
(09:50):
this, a certain sense of thingsthat you might look at but never
actually see.
Lois Dodd sees them and thenshe depicts them.
Jeppe Curth (10:02):
I think there's some peacefulness in the works
when I look at them.
Nicholas Robinson (10:06):
Yeah, absolutely, and I think one of
the you know, if you ask whatcharacterizes her work, I mean
we haven't really yet talkedabout the main thing that
characterizes her work.
Now, for anyone who's everspent time in New York, it's
they will know that New York inthe summer is very cloying,
(10:28):
claustrophobic, stifling in thissort of heat and the smell, and
the thing that one most wantsto do in New York in the summer
is leave Um and Lois and hercontemporaries werecot Bay and
they were attracted by the verycheap, somewhat ramshackle
(11:13):
farmhouses, the landscape, thebarns, the fresh air and the
light, and they would go therein the summer and they would
make paintings.
And the thing that Lois Doddhas ultimately become most known
for is a lifetime of makingplain air paintings, and plain
air, simply put, is just workingoutside.
(11:38):
So she would take her easel andher support and her materials
and she would venture out intothe great outdoors and she would
capture the things that she wasseeing, and this could be still
lives of leaves and plants andpine cones and other type type
(11:58):
of things that she woulddiscover in nature, or it could
be a slightly more expansivescene of a landscape and and you
would see trees, a littlecottage, a barn, a brook, a path
, and you would see thecharacteristics of this scene as
(12:21):
she was seeing it, in makingvery specific painterly choices
with her brushstrokes in orderto really encapsulate what she
was seeing in this particularmoment.
And she was, of course,channeling her experience into
this painting.
And so you see this veryimmediate response to light, to
(12:48):
the time of day, to the season,and you know, she became a
master at communicating thisfleeting, ephemeral moment in
time.
And the thing that is sort ofmost striking about her work is
that I don't think anybody wouldspecifically say this about her
work, but what she did was verymuch like what the
(13:11):
Impressionists did in the 1870s,1880s, and the Impressionists
were the very first generationand I think most people would
trace the beginning of modernart to this final quarter of the
19th century.
But the Impressionists were thefirst group of artists to take
this kind of working methodologyout of.
(13:34):
The were emblematic of theleisure classes, um,
experiencing modern life, um,and Lois Dodd, in her very quiet
(13:54):
, very unassuming, very modestway, did the same thing, uh,
with her experiences of life indowntown New York, in the city,
and her experiences of life inthe summertime in coastal Maine
Primarily Maine, I suppose, iswhat she's become known for, but
any painting that reallycaptures the essence of her
(14:18):
experiences in this environment.
And there are other artiststhat she was spending time with
up there, artists that were partof this summertime exodus from
new york um alex katz is themost well-known of them but very
iconic um.
Landscape artists also werepart of this.
(14:40):
This group um Rex Drawdowns,neil Welliver.
Jeppe Curth (14:44):
Sorry for me to interrupt you, nick, but the
first time I saw the work fromLois Dott, it reminded me of
works by Alex Katz, which youjust mentioned.
Is it correctly understood thatAlex Katz is inspired by Lois?
Nicholas Robinson (15:05):
Well, I think that they have been friends and
colleagues for 60, 70 years atthis point, so obviously they've
seen and been around eachother's work and maybe even
working alongside each other attimes, I don't know.
Um.
I've also heard, anecdotally,that Alex Katz has been a big
(15:30):
supporter of her work, havingacquired many examples of her
paintings from almost all of herexhibitions over the years.
So so clearly these are twoartists that have worked
alongside each other, that haveknown each other as close
friends for more than half acentury.
Um, have they influenced eachother?
I think when one looks at theirwork, and any sort of
(15:52):
superficial reading of theirrespective works would see that
there's clearly been, uh a aback and forth of visual
information that they have eachmanaged to integrate into their
working lives.
I mean, probably they're, theyhave some shared values about
what painting is, what it's for,what it what they think it it's
(16:16):
best served doing.
Um.
So so these, these affinitiesare there.
I mean, I with Alex Katz.
He's a little more closelyassociated, I suppose, with the
advent of, of pop, pop art inthe 1960s.
Um, whereas I think you canmaybe more more clearly see in
(16:37):
Lois Dodd's painting almost arejection of this and just to
sort of explain why.
I mean the pop art of the 1960s, commercialism and consumerism,
uh, that exploded in New Yorkin the post-war period and this
(17:08):
is a.
This is an art that recognizesthe power of advertising and
consumerism and marketing andthe potency of branding.
Um, and you could say thatLois's work is, maybe implicitly
, a sort of rejection of thesevalues.
There is almost a rejection ofthis and a clear communication
(17:35):
that the key to a certain kindof satisfaction and fulfillment
in life is just the vocationaldedication to one's craft, um,
the, the pleasure in therepetition and learning of one's
craft, and this sort ofsimplicity of things that one is
(17:55):
able to communicate from from,from doing it well from doing it
well.
Jeppe Curth (18:05):
So Lois is 97 years old.
Nicholas Robinson (18:09):
Yeah, 96 or 97, yes, yeah.
So why are we first startingbuying them now?
Well, it's a good question andI think there's no really simple
answer.
I mean, we, we Are they hard toget, or Well, well, I mean,
maybe they're not super hard toget.
I mean, they're perhapsdifficult to get a very precise
(18:32):
example of the very best of whatshe does.
Um, she doesn't make so manypaintings anymore, even though
she's still working.
Um, there are.
Her paintings are quite, uh,modest in size for the most part
, although there are some largerones a meter, a meter 20.
Um, she's become actually verywell.
(18:53):
When people think of her work, Ithink that they think of
particular types of of work.
She's became very well knownfor paintings of windows.
She would be, she would be, um,known for painting, uh, a scene
of a window in in very sort ofclose up, where the window frame
is very close to the umperimeter of the painted surface
(19:16):
, um, and you would maybe seesomething a little bit through
that window.
You would maybe see things alsoreflected in the window, and
often the window is a window ofa cottage, the window of a barn.
So you get this very, you know,very specific snapshot of a
simple rural life.
And those paintings are in factsufficiently well known that
(19:39):
they have become quite expensive.
In fact, there was a paintingthat sold quite recently of a
barn window, uh, that sold atauction for, I think, $225,000.
Uh, 39, 239, $239,000.
There you go, um.
You're the man with the thesefacts, um, and that was the
first time that uh, very sort ofnotable price had been achieved
(20:02):
for a painting that one feltwas long overdue, well-deserved
and had been a long time coming.
But I think the sheer modesty ofher paintings and the lack of
shoutiness in her paintings iswhat has maybe kept them from
coming more to the fore.
(20:23):
She's also painted a lot oftrees and flowers and this kind
of thing, and for many, manyyears she actually resisted
painting those kinds of things.
She had always found these verysort of small moments in nature
very rewarding and had wantedto paint them, but she decided
(20:43):
that she would be better servednot painting them, um, for fear
of being denigrated as a womanSunday painter, uh, because of
course this kind of subjectmatter, um could be more closely
associated with this kind ofpainting or painter Um, and she
did not want to be that Um.
So it's only uh, in maybe lateryears where she has become
(21:09):
established as a, as an artist,become a well-known artist.
I mean she also has had, youknow, very significant roles in
education.
She has been the roles ineducation.
She has been the leader I don'tknow the exact job title of the
Skowhegan School, which is avery famous art school in Maine
that is particularly renownedfor its summer programs and the
(21:34):
way that these summer programstake place.
She is a member of the AmericanAcademy of Arts and letters, so
she's a very well regarded,very decorated artist.
Um, but I think also, you knowfrom, for women artists, it's
also been very difficult for along time.
Um, I mean, there's a veryfamous woman artist from new
(21:59):
York, also from this generation,alice Neel, known as a
portraitist, who was very much apart of the New York
avant-garde.
I mean, she even famouslypainted Andy Warhol, who was
notoriously reticent andeccentric and shy, and he he
(22:20):
painted.
She painted him with his shirtoff after he had recovered from
surgery.
He was a victim of anassassination attempt in the
late 1960s.
A woman called valerie solanustried to kill him and alice neal
painted warhol with of his allof the scars on his torso.
(22:44):
But anyway, she is a painter whoreceived a certain kind of
recognition amongst theavant-garde and the
intelligentsia of her day but ina market sense, took many years
to be properly recognized andshe famously struggled as an
artist with two young childrenat home.
Lois was married, became amother in 1952, and it could be
(23:08):
that she was juggling thedemands of her career as a
leader, an academic leader, andalso as a mother.
And and and the men, of course,as is so often the case, were
the ones receiving all theaccolades and all the acclaim
and all the glory.
Jeppe Curth (23:25):
But is she current as a trend in art market or more
a rediscovering thing that wehave looked into?
Nicholas Robinson (24:08):
Find the important women artists of
history that have you know beensort of fallen victim to a lack
of opportunity or a lack ofcritical acclaim simply because
they were not, you know, at theforefront of just to use a sort
of a parallel for this.
The advent of abstraction wasconsidered a male innovation in
the first decade of the 20thcentury.
People would variously point toworks by Kandinsky or Malevich
in Russia, or even Piet Mondrianwith his purist doctrine in the
Netherlands around 1910, 11,even certain types of sort of
cubism.
All of these types of art wereconsidered a thrust towards
(24:33):
abstraction and people wouldattribute these innovations to
these male artists.
But it's only in the last fewyears that um the work, the
pioneering work of a Swedishartist, uh, hilma Aklint, um her
work is now considered the veryfirst abstract work and um the
work of Carmen Herrera is alsonow considered among the very
(24:55):
first uh types of abstraction.
So there's a certainrevisionism that takes place,
which kind of looks afresh atthese examples from history and
it starts to sort them out innew ways that give credit where
it was not given in the initialinstance.
Jeppe Curth (25:14):
Well, we have bought Lois' works, but we have
also placed some in collections.
How have you explained how tosee her works, the market and
her future potential?
Nicholas Robinson (25:29):
Well, my first key thing is really just
to look at the work, andqualitatively, these works are
extraordinary.
They're made quickly and yetthey're made very decisively, in
a fleeting moment, and yetthey're extremely communicative,
with an incredible amount ofboth nuance and precision.
(25:52):
And when you're able to seethat an artist is able to
communicate so much with sucheconomy, then you know, you can
say with conviction that they'rean extraordinary artist, and
Lois is is an extraordinaryartist.
Um, the way she's able tocapture light and shadow and,
(26:15):
you know, very sparse visualinformation into a scene of
abundance or a winter scenewhere a certain kind of you know
, you feel the warmth, you feelthe cold, you feel what she is
feeling.
And that's the first importantthing to note that she's an
extraordinarily good painter.
And when you have anextraordinarily good painter,
(26:39):
then of course it makes sense toTry and acquire them, just
because qualitatively they, they, they deserve that.
And if, if you wish to have acollection of of of painting,
then may as well make them goodones.
So that's, that's the firstthing.
But then the second part isthat when one look, looks at her
work in a, in a market sense,relative to the prices of her
(27:03):
peers, then the prices areextraordinarily affordable.
Alex Katz's work is extremelyexpensive and he is an icon of
20th century painting and, and Imean, to my eye, qualitatively,
there's not really anydifference between what the two
of them are able to do with, youknow, quite a lot of bold color
(27:28):
and sort of flat painted, uh,swathes of whatever on a flat
surface.
They both, they both have that,that ability, um, but her, her
other colleagues from thisgeneration, neil Welliver's work
is costs has traditionallycosted a lot more.
Rackstraw Downs' work has hascost a lot more, um, and you
(27:50):
know, lois is a, is a, is aleader, and and the fact that
she has vocationally achievedthis kind of consistency over
such a long period of time, Imean one of her achievements is
her longevity as an artist, um,and I think it's, you know, it's
definitely not overstating itto say that she's an iconic
figure who has, you know, newYork, has written the book of
(28:12):
modernism.
New York is the epicenter ofmodernism and modern art since
the Second World War and LoisDodd has been a consistent
component of that, almost sinceits inception.
And I think that you know whatyou will find in the future is
that her works were her worksare in.
(28:36):
You know all the importantmuseums and what I think you
will increasingly see is theseworks being taken out of the
storage and the basement andbecoming much more prominently
displayed in these modernistgalleries.
And you will see the worksappearing increasingly at
auction and I think, as thesevisual documents, they're very
(29:00):
important and I think that youwill see collectors increasingly
competing to buy them and ownthem.
Jeppe Curth (29:08):
Which galleries is Lois represented by, and is
there some notable collectors ormuseums collecting her works?
Nicholas Robinson (29:17):
Well, her work is in many important
American museums Too many tolist.
She's shown with a gallerycalled Alexandra gallery in New
York for many years and they doa really great job, uh, with a
particular roster of Americanmodernists, um, and that's their
(29:38):
specialization and that's whatthey've done, done really well
with, and she's been beenshowing there for for a number
of years.
Um, she has an exhibition now atuh been showing there for a
number of years.
She has an exhibition now atthe Parrish Heiden Gallery in
Los Angeles and that is one ofthe galleries under the aegis of
Franklin Parrish and he's a NewYork dealer who's also
(30:00):
extremely scholarly, extremelyadept at finding really
interesting artists and, youknow, bringing them back to
prominence, understanding themcontextually, showing them in a
very sensitive way and and he'syou know I was really happy and
excited to see that he was umbecoming involved, because that,
(30:21):
to me, is another sort ofsignifier of a increase or a
revival of interest Her work is.
I think that the the wholecollection or foundation is has
a number of very fine examplesof her work and I actually think
that they, they, they did anexhibition of her work in their
(30:46):
Vermont galleries a couple ofyears ago, so you know her work
is you know her work is not newto people's awareness, but it's
growing in awareness and it'sbeen, perhaps you could say, a
well-kept secret amongst theinitiated for a long time.
Jeppe Curth (31:08):
We just mentioned it, or you just mentioned that
the auction record was around$240,000, right, correct.
And you also mentioned that,compared to similar careers
artists' similar careers,representation in museums,
exhibition history and plays inart history her work is compared
to them affordable in some way.
(31:29):
What is affordable?
What is the primary price ofthese works?
Nicholas Robinson (31:33):
Her prices for her typical 30, 40
centimeter paintings is around$40,000, plus or minus depending
on small variations in size.
The landscape paintings thatare a bit bigger that are maybe
(31:55):
much more emblematic of the sortof visual world that she
depicts in Maine they're gettinga bit more expensive, up to
$100,000.
These are the primary marketprices for her paintings.
Jeppe Curth (32:15):
From both artistic and financial perspective.
How do you see Dutt's workfitting into a well-rounded art
collection?
Nicholas Robinson (32:24):
Well, I mean they're excellent works and
they're very, very good value,so they fit into any collection.
I mean they're beautiful tolook at, so they're not
difficult things to incorporateinto any kind of environment.
I mean they, they challenge youin that they challenge you to
understand how somebody hasmanaged to be so communicative
with such economy of means, withsuch rich gesture, such nuance
(32:48):
of, of of light.
Um, you know that's the, that'sthe, the, the, the first thing
to note, um.
But in terms of being part ofany sort of coherent, uh,
collecting group, I mean she's a, she's an iconic New York
modernist Um.
So so any painting collectionor any, a collection of any type
(33:09):
of art that wishes to have, youknow, really good examples of a
certain type of thing, I meanshe can fit, fit in any, any
kind of collection.
It's.
It's not something that peoplehave habitually or traditionally
collected Um.
I lived in New York for 20years, from the late 1990s to
almost to 2020.
(33:31):
And I mean I knew her work, butit was not something that
people were, you know, activelytalking about or pursuing, and I
think that there's just becomean increased appetite in finding
interesting things from historythat have been underrepresented
.
Jeppe Curth (33:56):
And you know people explore the reasons why and it
becomes a motivation for them toget involved.
For someone that is new to LoisDodds' works and maybe want to
investigate more, of course theycan always contact us, but
where else could they startexploring her works?
Nicholas Robinson (34:07):
Of course they can always contact us, but
where else could they startexploring her works?
Well, I think that if you lookat the website of the Alexandra
Gallery you'll find nice sort oftruncated biography and images
of examples of her paintings.
I think if you search in someof the main museums you'll see
the holdings of her work thatthey have.
(34:29):
The Hall Art Foundation has apretty nice text about her
practice and images of somereally seminal works.
There's a painting that theyhave of her studio or apartment
in New York or apartment in NewYork, and they have some larger
examples which are much rarerthan I suppose.
(34:50):
When you're painting outdoors,taking the easel outside, it's
much easier to work on a verysmall, intimate scale than it is
with a large, unwieldy canvas,and that's most likely why
there's many, many more smallpaintings than there are large
paintings.
Jeppe Curth (35:06):
Thank you, Nick.
I think we're through all myquestions for today about Lois.
Do you have anything to add?
Nicholas Robinson (35:16):
No, I mean, the only thing that I would say
is that you know, when peopleare looking to acquire things,
one of the first things theyoften look to, instead of
individual artists' work, theylook at trends.
You know work they look at.
They look at trends.
You know they look at what'smaybe popular, what kinds of
work, and then which of theartists that maybe most
represent which are the artiststhat have become the most, you
(35:39):
know, known, the most, have themost instagram followers,
artists whose name is sort ofbecoming synonymous as a brand
of art, if you like.
And Lois Dodd is not that.
Lois Dodd is just a reallyinsightful, quiet painting whose
(36:01):
experiences with what she'sseeing is translated in a
painterly sense, in a way that'sreally felt and really profound
.
So I think that oftentimes,when you're looking to buy
things, one of the things thatyou can best do for yourself is
to step outside of trends andpay very close attention instead
(36:24):
to the specifics of anindividual artist and the
specifics of the way their workis regarded, or perhaps not
regarded, by the market, andthen, if all of those things you
know tally up in a certain way,then then it's.
You know it's a veryinteresting proposition.
Jeppe Curth (36:43):
Thank you, nick, for that advice, and thank you
for letting me pick your brainagain.
Nicholas Robinson (36:47):
Yes, it's, it's nice to be here, thank you,
and really nice to talk aboutLois Dot, really really nice.
Jeppe Curth (36:57):
Thank you.
So if you have any questions,you need any help, any advice,
please contact us for info atnordicartpartnerscom and we'll
see you next time.
Hi and welcome to the Collector's Edge for Nordic
Art Partners.
In today's episode we willexplore the remarkable work and
career of Lois Dodd, acelebrated American artist
admired for her uniqueperspective and captivating
landscapes.
Join me, as always, with ourart expert, Nicholas Robinson,
and I'm your host, Jeppe Curth .
(00:21):
Let's get started.
It is with Alex Rotter, at 400million Selling here at
Christie's $400 million is thebid and the piece is sold.
Nicholas Robinson (00:32):
We've all heard about it.
Sometimes it's front page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
(00:56):
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
Whatever your objectives, it ispossible to put money into art
wisely, to be consideredthoughtful and well-informed in
(01:16):
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue of collecting with an eye
for curated beauty and practicalvalue.
Jeppe Curth (01:27):
Hi Nick,
Nicholas Robinson (01:27):
Hi Jeppe, how are you doing?
I'm very well, thank you.
How are you today?
I'm good, thank you.
Jeppe Curth (01:31):
Good, so today we're going to talk about Lois
Dodd.
Nicholas Robinson (01:35):
Yes, lois Dodd, yeah, the legendary Lois
Dodd.
Jeppe Curth (01:43):
Yeah, you say that, but it's not a long time ago.
I didn't know about her, so Iguess you brought her into this
and we just bought some worksfrom her.
Nicholas Robinson (01:47):
Yes, I mean we've been looking at her works
for a while.
It's not the first group ofworks we've bought, but it's not
so long, so many years, thatshe's been so keenly on my radar
either, and I suppose we'llfind out why yeah, yeah.
Jeppe Curth (02:07):
So maybe we should start, as we usually do it, by
taking it from the beginning.
So can you take us through herearly days in the art world and
how she got started?
Nicholas Robinson (02:18):
uh, yes, gladly.
Um lois dodd was born in 1927and she is actually still
working today.
So for those of you who areadept at mathematics, you will
no doubt be able to work outthat she is 96 or 97 years old.
She received her education atthe Cooper Union from 1945 to
(02:43):
1948.
And the Cooper Union is a verysort of unique and distinctive
establishment in a NorthAmerican educational context.
It has very specific ideasabout education, very specific
faculties in the things thatthey teach, in the things that
(03:03):
they teach, and it has had a keyrole in the formation of some
key thinkers, personalities whohave gone on to become very
influential in public life inthe United States.
So that's a sort of interestingby the by.
(03:24):
And then she was part of thissort of interesting by the by Um
, and then she was, uh, part ofthis sort of downtown group of
painters.
Um, and at this time in New Yorkthere was not a very large
audience for modern art.
Um, obviously New York hadbecome a central place in the
production of art, but there wasstill a very sort of small
(03:48):
group of collectors who wereliving uptown, on the Upper East
Side, in and around Park Avenueand the galleries that
typically served the needs ofthis collecting community was
also located uptown,concentrated around 57th Street.
So at this time, these downtownartists, they started to
(04:13):
organize and by that I meanworking together in a sort of
cooperative, almost unionizingtype way, and one of the things
that they were doing tofacilitate the opportunities for
themselves to promote, exhibitand sell their work was forming
(04:34):
galleries together, and thescene was largely centered
around 10th Street, and the 10thStreet avant-garde scene has
become a byword, in fact, forthese galleries and, back at
(04:55):
this time, the community in thisarea.
It was not the salubrious, uhvillage, greenwich village that
we know today.
This was an area consisting of,um tenement buildings, cold
water apartments, uh sheet metalworkshops, uh late night
(05:21):
billiard pool rooms, uh pornshops, um, and so it was.
It was a sort of a gritty urbanuh environment, um, and because
it was like this, it had becomesomewhat of a mecca for artists
(05:41):
to live there, because theywere able to find premises that
enabled them to live and workvery inexpensively.
So in 1952, lois Dodd was theco-founder of a gallery called
the Tanager Gallery, and thatwas one of the two that were
(06:02):
founded in this year, and anumber of others continued to be
, to be founded throughout the1950s.
So this was kind of a keydevelopment in this milieu from
which Lois Dodd came.
The gallery was next door tothe, the place where de Kooning
(06:27):
lived and worked.
Franz Klein lived around thecorner, so this was really a key
neighborhood that started tofoment this kind of artistic
energy.
Some other founding or earlymembers of the Tanager were Alex
Katz, philip Perlstein, tomWesselman, who was one of the
(06:49):
early uh pop artists, acollagist initially.
George Siegel, um, who was asculptor, became known for
making um, uh figurativesculptures out of plaster.
So this is a very interesting, avery vital, a very vibrant part
(07:11):
of a downtown scene, a downtownwhere the elevated subway was
still running up and down theBowery and very different from
the downtown, from the downtownthat that that we know today, um
.
So.
So Lois Dodd is the is thefounder of the Tanager um, a
(07:33):
gallery that would actually goon to be managed by Irving
Sandler, who's a uh, I supposethe seminal chronicler of this
period.
It was the gallery that hostedthe very first reading by Jack
Kerouac.
So this is a really importantvenue in the cultural scene of
(07:54):
New York, the burgeoningcultural scene of New York, and
so I think I know that's sort ofa long answer to understanding.
You know where Lois Dodd camefrom, but these formative years
and this cross-pollinationamongst these people is very key
and Lois Dodd is not just asort of willing acolyte
(08:18):
participant, she is a leader ofthese amongst these, these
people, amongst these peersthank you, nick um.
Jeppe Curth (08:28):
You have lived in new york for many years.
Do you have you walk aroundthis neighborhood?
Nicholas Robinson (08:32):
yes, it's.
Uh, it's rather different now.
Um, there are lots of rowhouses in this neighborhood
which are townhouses which arevery expensive.
Um, but there are stillapartment buildings and still
some loft buildings, but nowthey just consist of expensive
real estate.
The taxi workshops and thecottage industries are long gone
(08:52):
.
Jeppe Curth (08:57):
Can you explain the central themes she explores in
her paintings and what you thinkmakes it compelling to
collectors?
Nicholas Robinson (09:03):
Yes, absolutely.
Her work is very humdrum,everyday subjects consisting of
the things that she observes inquotidian life.
They are scenes of herapartment in downtown New York,
(09:28):
um, vignettes of of things thatshe's able to see in her
apartment, sometimes scenes outof the window of her apartment,
but done sort of on the spot inthis very low key observational
way, um, and there's just a sortof quiet beauty in you know
(09:50):
this, a certain sense of thingsthat you might look at but never
actually see.
Lois Dodd sees them and thenshe depicts them.
Jeppe Curth (10:02):
I think there's some peacefulness in the works
when I look at them.
Nicholas Robinson (10:06):
Yeah, absolutely, and I think one of
the you know, if you ask whatcharacterizes her work, I mean
we haven't really yet talkedabout the main thing that
characterizes her work.
Now, for anyone who's everspent time in New York, it's
they will know that New York inthe summer is very cloying,
(10:28):
claustrophobic, stifling in thissort of heat and the smell, and
the thing that one most wantsto do in New York in the summer
is leave Um and Lois and hercontemporaries werecot Bay and
they were attracted by the verycheap, somewhat ramshackle
(11:13):
farmhouses, the landscape, thebarns, the fresh air and the
light, and they would go therein the summer and they would
make paintings.
And the thing that Lois Doddhas ultimately become most known
for is a lifetime of makingplain air paintings, and plain
air, simply put, is just workingoutside.
(11:38):
So she would take her easel andher support and her materials
and she would venture out intothe great outdoors and she would
capture the things that she wasseeing, and this could be still
lives of leaves and plants andpine cones and other type type
(11:58):
of things that she woulddiscover in nature, or it could
be a slightly more expansivescene of a landscape and and you
would see trees, a littlecottage, a barn, a brook, a path
, and you would see thecharacteristics of this scene as
(12:21):
she was seeing it, in makingvery specific painterly choices
with her brushstrokes in orderto really encapsulate what she
was seeing in this particularmoment.
And she was, of course,channeling her experience into
this painting.
And so you see this veryimmediate response to light, to
(12:48):
the time of day, to the season,and you know, she became a
master at communicating thisfleeting, ephemeral moment in
time.
And the thing that is sort ofmost striking about her work is
that I don't think anybody wouldspecifically say this about her
work, but what she did was verymuch like what the
(13:11):
Impressionists did in the 1870s,1880s, and the Impressionists
were the very first generationand I think most people would
trace the beginning of modernart to this final quarter of the
19th century.
But the Impressionists were thefirst group of artists to take
this kind of working methodologyout of.
(13:34):
The were emblematic of theleisure classes, um,
experiencing modern life, um,and Lois Dodd, in her very quiet
(13:54):
, very unassuming, very modestway, did the same thing, uh,
with her experiences of life indowntown New York, in the city,
and her experiences of life inthe summertime in coastal Maine
Primarily Maine, I suppose, iswhat she's become known for, but
any painting that reallycaptures the essence of her
(14:18):
experiences in this environment.
And there are other artiststhat she was spending time with
up there, artists that were partof this summertime exodus from
new york um alex katz is themost well-known of them but very
iconic um.
Landscape artists also werepart of this.
(14:40):
This group um Rex Drawdowns,neil Welliver.
Jeppe Curth (14:44):
Sorry for me to interrupt you, nick, but the
first time I saw the work fromLois Dott, it reminded me of
works by Alex Katz, which youjust mentioned.
Is it correctly understood thatAlex Katz is inspired by Lois?
Nicholas Robinson (15:05):
Well, I think that they have been friends and
colleagues for 60, 70 years atthis point, so obviously they've
seen and been around eachother's work and maybe even
working alongside each other attimes, I don't know.
Um.
I've also heard, anecdotally,that Alex Katz has been a big
(15:30):
supporter of her work, havingacquired many examples of her
paintings from almost all of herexhibitions over the years.
So so clearly these are twoartists that have worked
alongside each other, that haveknown each other as close
friends for more than half acentury.
Um, have they influenced eachother?
I think when one looks at theirwork, and any sort of
(15:52):
superficial reading of theirrespective works would see that
there's clearly been, uh a aback and forth of visual
information that they have eachmanaged to integrate into their
working lives.
I mean, probably they're, theyhave some shared values about
what painting is, what it's for,what it what they think it it's
(16:16):
best served doing.
Um.
So so these, these affinitiesare there.
I mean, I with Alex Katz.
He's a little more closelyassociated, I suppose, with the
advent of, of pop, pop art inthe 1960s.
Um, whereas I think you canmaybe more more clearly see in
(16:37):
Lois Dodd's painting almost arejection of this and just to
sort of explain why.
I mean the pop art of the 1960s, commercialism and consumerism,
uh, that exploded in New Yorkin the post-war period and this
(17:08):
is a.
This is an art that recognizesthe power of advertising and
consumerism and marketing andthe potency of branding.
Um, and you could say thatLois's work is, maybe implicitly
, a sort of rejection of thesevalues.
There is almost a rejection ofthis and a clear communication
(17:35):
that the key to a certain kindof satisfaction and fulfillment
in life is just the vocationaldedication to one's craft, um,
the, the pleasure in therepetition and learning of one's
craft, and this sort ofsimplicity of things that one is
(17:55):
able to communicate from from,from doing it well from doing it
well.
Jeppe Curth (18:05):
So Lois is 97 years old.
Nicholas Robinson (18:09):
Yeah, 96 or 97, yes, yeah.
So why are we first startingbuying them now?
Well, it's a good question andI think there's no really simple
answer.
I mean, we, we Are they hard toget, or Well, well, I mean,
maybe they're not super hard toget.
I mean, they're perhapsdifficult to get a very precise
(18:32):
example of the very best of whatshe does.
Um, she doesn't make so manypaintings anymore, even though
she's still working.
Um, there are.
Her paintings are quite, uh,modest in size for the most part
, although there are some largerones a meter, a meter 20.
Um, she's become actually verywell.
(18:53):
When people think of her work, Ithink that they think of
particular types of of work.
She's became very well knownfor paintings of windows.
She would be, she would be, um,known for painting, uh, a scene
of a window in in very sort ofclose up, where the window frame
is very close to the umperimeter of the painted surface
(19:16):
, um, and you would maybe seesomething a little bit through
that window.
You would maybe see things alsoreflected in the window, and
often the window is a window ofa cottage, the window of a barn.
So you get this very, you know,very specific snapshot of a
simple rural life.
And those paintings are in factsufficiently well known that
(19:39):
they have become quite expensive.
In fact, there was a paintingthat sold quite recently of a
barn window, uh, that sold atauction for, I think, $225,000.
Uh, 39, 239, $239,000.
There you go, um.
You're the man with the thesefacts, um, and that was the
first time that uh, very sort ofnotable price had been achieved
(20:02):
for a painting that one feltwas long overdue, well-deserved
and had been a long time coming.
But I think the sheer modesty ofher paintings and the lack of
shoutiness in her paintings iswhat has maybe kept them from
coming more to the fore.
(20:23):
She's also painted a lot oftrees and flowers and this kind
of thing, and for many, manyyears she actually resisted
painting those kinds of things.
She had always found these verysort of small moments in nature
very rewarding and had wantedto paint them, but she decided
(20:43):
that she would be better servednot painting them, um, for fear
of being denigrated as a womanSunday painter, uh, because of
course this kind of subjectmatter, um could be more closely
associated with this kind ofpainting or painter Um, and she
did not want to be that Um.
So it's only uh, in maybe lateryears where she has become
(21:09):
established as a, as an artist,become a well-known artist.
I mean she also has had, youknow, very significant roles in
education.
She has been the roles ineducation.
She has been the leader I don'tknow the exact job title of the
Skowhegan School, which is avery famous art school in Maine
that is particularly renownedfor its summer programs and the
(21:34):
way that these summer programstake place.
She is a member of the AmericanAcademy of Arts and letters, so
she's a very well regarded,very decorated artist.
Um, but I think also, you knowfrom, for women artists, it's
also been very difficult for along time.
Um, I mean, there's a veryfamous woman artist from new
(21:59):
York, also from this generation,alice Neel, known as a
portraitist, who was very much apart of the New York
avant-garde.
I mean, she even famouslypainted Andy Warhol, who was
notoriously reticent andeccentric and shy, and he he
(22:20):
painted.
She painted him with his shirtoff after he had recovered from
surgery.
He was a victim of anassassination attempt in the
late 1960s.
A woman called valerie solanustried to kill him and alice neal
painted warhol with of his allof the scars on his torso.
(22:44):
But anyway, she is a painter whoreceived a certain kind of
recognition amongst theavant-garde and the
intelligentsia of her day but ina market sense, took many years
to be properly recognized andshe famously struggled as an
artist with two young childrenat home.
Lois was married, became amother in 1952, and it could be
(23:08):
that she was juggling thedemands of her career as a
leader, an academic leader, andalso as a mother.
And and and the men, of course,as is so often the case, were
the ones receiving all theaccolades and all the acclaim
and all the glory.
Jeppe Curth (23:25):
But is she current as a trend in art market or more
a rediscovering thing that wehave looked into?
Nicholas Robinson (24:08):
Find the important women artists of
history that have you know beensort of fallen victim to a lack
of opportunity or a lack ofcritical acclaim simply because
they were not, you know, at theforefront of just to use a sort
of a parallel for this.
The advent of abstraction wasconsidered a male innovation in
the first decade of the 20thcentury.
People would variously point toworks by Kandinsky or Malevich
in Russia, or even Piet Mondrianwith his purist doctrine in the
Netherlands around 1910, 11,even certain types of sort of
cubism.
All of these types of art wereconsidered a thrust towards
(24:33):
abstraction and people wouldattribute these innovations to
these male artists.
But it's only in the last fewyears that um the work, the
pioneering work of a Swedishartist, uh, hilma Aklint, um her
work is now considered the veryfirst abstract work and um the
work of Carmen Herrera is alsonow considered among the very
(24:55):
first uh types of abstraction.
So there's a certainrevisionism that takes place,
which kind of looks afresh atthese examples from history and
it starts to sort them out innew ways that give credit where
it was not given in the initialinstance.
Jeppe Curth (25:14):
Well, we have bought Lois' works, but we have
also placed some in collections.
How have you explained how tosee her works, the market and
her future potential?
Nicholas Robinson (25:29):
Well, my first key thing is really just
to look at the work, andqualitatively, these works are
extraordinary.
They're made quickly and yetthey're made very decisively, in
a fleeting moment, and yetthey're extremely communicative,
with an incredible amount ofboth nuance and precision.
(25:52):
And when you're able to seethat an artist is able to
communicate so much with sucheconomy, then you know, you can
say with conviction that they'rean extraordinary artist, and
Lois is is an extraordinaryartist.
Um, the way she's able tocapture light and shadow and,
(26:15):
you know, very sparse visualinformation into a scene of
abundance or a winter scenewhere a certain kind of you know
, you feel the warmth, you feelthe cold, you feel what she is
feeling.
And that's the first importantthing to note that she's an
extraordinarily good painter.
And when you have anextraordinarily good painter,
(26:39):
then of course it makes sense toTry and acquire them, just
because qualitatively they, they, they deserve that.
And if, if you wish to have acollection of of of painting,
then may as well make them goodones.
So that's, that's the firstthing.
But then the second part isthat when one look, looks at her
work in a, in a market sense,relative to the prices of her
(27:03):
peers, then the prices areextraordinarily affordable.
Alex Katz's work is extremelyexpensive and he is an icon of
20th century painting and, and Imean, to my eye, qualitatively,
there's not really anydifference between what the two
of them are able to do with, youknow, quite a lot of bold color
(27:28):
and sort of flat painted, uh,swathes of whatever on a flat
surface.
They both, they both have that,that ability, um, but her, her
other colleagues from thisgeneration, neil Welliver's work
is costs has traditionallycosted a lot more.
Rackstraw Downs' work has hascost a lot more, um, and you
(27:50):
know, lois is a, is a, is aleader, and and the fact that
she has vocationally achievedthis kind of consistency over
such a long period of time, Imean one of her achievements is
her longevity as an artist, um,and I think it's, you know, it's
definitely not overstating itto say that she's an iconic
figure who has, you know, newYork, has written the book of
(28:12):
modernism.
New York is the epicenter ofmodernism and modern art since
the Second World War and LoisDodd has been a consistent
component of that, almost sinceits inception.
And I think that you know whatyou will find in the future is
that her works were her worksare in.
(28:36):
You know all the importantmuseums and what I think you
will increasingly see is theseworks being taken out of the
storage and the basement andbecoming much more prominently
displayed in these modernistgalleries.
And you will see the worksappearing increasingly at
auction and I think, as thesevisual documents, they're very
(29:00):
important and I think that youwill see collectors increasingly
competing to buy them and ownthem.
Jeppe Curth (29:08):
Which galleries is Lois represented by, and is
there some notable collectors ormuseums collecting her works?
Nicholas Robinson (29:17):
Well, her work is in many important
American museums Too many tolist.
She's shown with a gallerycalled Alexandra gallery in New
York for many years and they doa really great job, uh, with a
particular roster of Americanmodernists, um, and that's their
(29:38):
specialization and that's whatthey've done, done really well
with, and she's been beenshowing there for for a number
of years.
Um, she has an exhibition now atuh been showing there for a
number of years.
She has an exhibition now atthe Parrish Heiden Gallery in
Los Angeles and that is one ofthe galleries under the aegis of
Franklin Parrish and he's a NewYork dealer who's also
(30:00):
extremely scholarly, extremelyadept at finding really
interesting artists and, youknow, bringing them back to
prominence, understanding themcontextually, showing them in a
very sensitive way and and he'syou know I was really happy and
excited to see that he was umbecoming involved, because that,
(30:21):
to me, is another sort ofsignifier of a increase or a
revival of interest Her work is.
I think that the the wholecollection or foundation is has
a number of very fine examplesof her work and I actually think
that they, they, they did anexhibition of her work in their
(30:46):
Vermont galleries a couple ofyears ago, so you know her work
is you know her work is not newto people's awareness, but it's
growing in awareness and it'sbeen, perhaps you could say, a
well-kept secret amongst theinitiated for a long time.
Jeppe Curth (31:08):
We just mentioned it, or you just mentioned that
the auction record was around$240,000, right, correct.
And you also mentioned that,compared to similar careers
artists' similar careers,representation in museums,
exhibition history and plays inart history her work is compared
to them affordable in some way.
(31:29):
What is affordable?
What is the primary price ofthese works?
Nicholas Robinson (31:33):
Her prices for her typical 30, 40
centimeter paintings is around$40,000, plus or minus depending
on small variations in size.
The landscape paintings thatare a bit bigger that are maybe
(31:55):
much more emblematic of the sortof visual world that she
depicts in Maine they're gettinga bit more expensive, up to
$100,000.
These are the primary marketprices for her paintings.
Jeppe Curth (32:15):
From both artistic and financial perspective.
How do you see Dutt's workfitting into a well-rounded art
collection?
Nicholas Robinson (32:24):
Well, I mean they're excellent works and
they're very, very good value,so they fit into any collection.
I mean they're beautiful tolook at, so they're not
difficult things to incorporateinto any kind of environment.
I mean they, they challenge youin that they challenge you to
understand how somebody hasmanaged to be so communicative
with such economy of means, withsuch rich gesture, such nuance
(32:48):
of, of of light.
Um, you know that's the, that'sthe, the, the, the first thing
to note, um.
But in terms of being part ofany sort of coherent, uh,
collecting group, I mean she's a, she's an iconic New York
modernist Um.
So so any painting collectionor any, a collection of any type
(33:09):
of art that wishes to have, youknow, really good examples of a
certain type of thing, I meanshe can fit, fit in any, any
kind of collection.
It's.
It's not something that peoplehave habitually or traditionally
collected Um.
I lived in New York for 20years, from the late 1990s to
almost to 2020.
(33:31):
And I mean I knew her work, butit was not something that
people were, you know, activelytalking about or pursuing, and I
think that there's just becomean increased appetite in finding
interesting things from historythat have been underrepresented
.
Jeppe Curth (33:56):
And you know people explore the reasons why and it
becomes a motivation for them toget involved.
For someone that is new to LoisDodds' works and maybe want to
investigate more, of course theycan always contact us, but
where else could they startexploring her works?
Nicholas Robinson (34:07):
Of course they can always contact us, but
where else could they startexploring her works?
Well, I think that if you lookat the website of the Alexandra
Gallery you'll find nice sort oftruncated biography and images
of examples of her paintings.
I think if you search in someof the main museums you'll see
the holdings of her work thatthey have.
(34:29):
The Hall Art Foundation has apretty nice text about her
practice and images of somereally seminal works.
There's a painting that theyhave of her studio or apartment
in New York or apartment in NewYork, and they have some larger
examples which are much rarerthan I suppose.
(34:50):
When you're painting outdoors,taking the easel outside, it's
much easier to work on a verysmall, intimate scale than it is
with a large, unwieldy canvas,and that's most likely why
there's many, many more smallpaintings than there are large
paintings.
Jeppe Curth (35:06):
Thank you, Nick.
I think we're through all myquestions for today about Lois.
Do you have anything to add?
Nicholas Robinson (35:16):
No, I mean, the only thing that I would say
is that you know, when peopleare looking to acquire things,
one of the first things theyoften look to, instead of
individual artists' work, theylook at trends.
You know work they look at.
They look at trends.
You know they look at what'smaybe popular, what kinds of
work, and then which of theartists that maybe most
represent which are the artiststhat have become the most, you
(35:39):
know, known, the most, have themost instagram followers,
artists whose name is sort ofbecoming synonymous as a brand
of art, if you like.
And Lois Dodd is not that.
Lois Dodd is just a reallyinsightful, quiet painting whose
(36:01):
experiences with what she'sseeing is translated in a
painterly sense, in a way that'sreally felt and really profound
.
So I think that oftentimes,when you're looking to buy
things, one of the things thatyou can best do for yourself is
to step outside of trends andpay very close attention instead
(36:24):
to the specifics of anindividual artist and the
specifics of the way their workis regarded, or perhaps not
regarded, by the market, andthen, if all of those things you
know tally up in a certain way,then then it's.
You know it's a veryinteresting proposition.
Jeppe Curth (36:43):
Thank you, nick, for that advice, and thank you
for letting me pick your brainagain.
Nicholas Robinson (36:47):
Yes, it's, it's nice to be here, thank you,
and really nice to talk aboutLois Dot, really really nice.
Jeppe Curth (36:57):
Thank you.
So if you have any questions,you need any help, any advice,
please contact us for info atnordicartpartnerscom and we'll
see you next time.
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