used to say, about things that hit too close to home. Now, Rachel, she’d say after an outburst of denial, what’s really going on here?
Of course, Dennis could dislike Louis for any number of other reasons. It’s not uncommon for people to be jealous of their best friend’s lover. I wondered if Dennis and Cliff had been lovers before Louis came onto the scene. Or even afterward. I checked the date of the codicil, but it turned out the one I had just read was the second. Perhaps when I checked to make sure I had everything ready to be copied I had gotten them out of order. The first of the two codicils was two years old, and left Clifford’s entire artistic estate to Leonard Polski, aka Louis Lane. The Magritte codicil was dated a year and a half ago, five and a half months later.
If Cliff wasn’t accepted by his family, he still kept faith with them financially. He probably knew he had to anyway. His will would be contested if he didn’t, that is, unless he had been leading one of those normal lives your well-meaning relatives always tell you about, a life with a spouse of the opposite sex and children.
Dennis thought Cliff’s “problem” was a problem for his family. Had they told Cliff, the way families do, that he could change if he wanted to? Had they offered to pay for therapy?
Would they have wanted either Magritte or Clifford’s paintings? I wondered if his mother or his brother would have come to his show, had he lived long enough for the gallery to actually install it.
I thought about the coolness in his paintings, perhaps because he felt apart from his natural family, felt Magritte, of rising son , and his other hem,. Louis and Dennis, were his real family. If he left the paintings to Louis, he must have felt good about the relationship, at least at the time the codicil was written.
I picked up the gallery contract. How much of the post-eighties art world bust of the pay-the-piper nineties was reflected in Clifford Cole’s contract with the Cahill Gallery I didn’t know. I had never read a gallery contract before. I knew that a lot of the SoHo galleries had closed, and the remaining ones were often empty, run by people as desperate as the woman who had followed me around the Dots installation at Cahill earlier in the day. I have always found it amusing when someone tries to talk you into buying a so-called piece of art that costs more than your yearly gross.
There were still some wonderful things to see in the downtown galleries, works like Clifford Cole s that would linger in memory, where the range and ability of the artist actually merited the space his w0 rk occupied. Unfortunately, much of what was 0 n display for eighties prices made me want to call the bunko squad. But there’s no such thing, other than for forgery, in the art world. It’s not a crime to produce derivative, dull, or simply poor “works,” as the contract calls what the artist produces. It’s simply a matter of taste.
Clifford’s first contract was surprisingly short and simple, free of the jargon of wills, mortgages, and divorce documents. The gallery would determine the price, and the artist could not sell comparable works for less. The gallery would receive 50 percent not only of the price of works sold at the exhibition it would install but of any sales made by the artist from his studio that were a direct result of the representation and the exhibition at the Cahill Gallery, and even any nonrelated sales made out of the artist’s studio for the duration of the agreement, which was one year. It was sort of the same deal real estate brokers love home owners to sign, stating that if the owner sells his home during the time of the broker’s contract, even in cases where the broker has done nothing but sit on her ass and never advertised or shown the house, she will still receive 6 percent of the sale price. Nice work if you can get it.
The Cahill Gallery got first pick of all of Cliff’s art, which meant that
Of course, Dennis could dislike Louis for any number of other reasons. It’s not uncommon for people to be jealous of their best friend’s lover. I wondered if Dennis and Cliff had been lovers before Louis came onto the scene. Or even afterward. I checked the date of the codicil, but it turned out the one I had just read was the second. Perhaps when I checked to make sure I had everything ready to be copied I had gotten them out of order. The first of the two codicils was two years old, and left Clifford’s entire artistic estate to Leonard Polski, aka Louis Lane. The Magritte codicil was dated a year and a half ago, five and a half months later.
If Cliff wasn’t accepted by his family, he still kept faith with them financially. He probably knew he had to anyway. His will would be contested if he didn’t, that is, unless he had been leading one of those normal lives your well-meaning relatives always tell you about, a life with a spouse of the opposite sex and children.
Dennis thought Cliff’s “problem” was a problem for his family. Had they told Cliff, the way families do, that he could change if he wanted to? Had they offered to pay for therapy?
Would they have wanted either Magritte or Clifford’s paintings? I wondered if his mother or his brother would have come to his show, had he lived long enough for the gallery to actually install it.
I thought about the coolness in his paintings, perhaps because he felt apart from his natural family, felt Magritte, of rising son , and his other hem,. Louis and Dennis, were his real family. If he left the paintings to Louis, he must have felt good about the relationship, at least at the time the codicil was written.
I picked up the gallery contract. How much of the post-eighties art world bust of the pay-the-piper nineties was reflected in Clifford Cole’s contract with the Cahill Gallery I didn’t know. I had never read a gallery contract before. I knew that a lot of the SoHo galleries had closed, and the remaining ones were often empty, run by people as desperate as the woman who had followed me around the Dots installation at Cahill earlier in the day. I have always found it amusing when someone tries to talk you into buying a so-called piece of art that costs more than your yearly gross.
There were still some wonderful things to see in the downtown galleries, works like Clifford Cole s that would linger in memory, where the range and ability of the artist actually merited the space his w0 rk occupied. Unfortunately, much of what was 0 n display for eighties prices made me want to call the bunko squad. But there’s no such thing, other than for forgery, in the art world. It’s not a crime to produce derivative, dull, or simply poor “works,” as the contract calls what the artist produces. It’s simply a matter of taste.
Clifford’s first contract was surprisingly short and simple, free of the jargon of wills, mortgages, and divorce documents. The gallery would determine the price, and the artist could not sell comparable works for less. The gallery would receive 50 percent not only of the price of works sold at the exhibition it would install but of any sales made by the artist from his studio that were a direct result of the representation and the exhibition at the Cahill Gallery, and even any nonrelated sales made out of the artist’s studio for the duration of the agreement, which was one year. It was sort of the same deal real estate brokers love home owners to sign, stating that if the owner sells his home during the time of the broker’s contract, even in cases where the broker has done nothing but sit on her ass and never advertised or shown the house, she will still receive 6 percent of the sale price. Nice work if you can get it.
The Cahill Gallery got first pick of all of Cliff’s art, which meant that
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