![]() ![]() "Expensive work becomes meaningful in part because it is expensive," he writes about Jeff Koons, but leaves it at that. Thompson could have taken a similar approach and produced something along the lines of "The Painted Number," but he is never that ambitious. and came out the other side as Art Theory!" Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until, with one last erg of freedom, one last dendritic synapse, it disappeared up its own fundamental aperture. ![]() ![]() "No more frames, walls, galleries, museums. ![]() "No more realism, no more representational objects, no more lines, colors, forms, and contours," Tom Wolfe wrote in "The Painted Word," his brilliant, if vicious, 1975 screed about contemporary art. Thompson's focus is in the right place, even if he doesn't always seem to understand why. In "The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art," economics Professor Don Thompson nearly gets away with writing more about the filthy lucre than about the much-more-fascinating hands exchanging it. The Curious Economics of Contemporary Art By Don Thompson Palgrave Macmillan 272 pages $24.95 ![]()
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