"When bankers get together for dinner, they discuss Art. When artists get together for dinner, they discuss money."
$26.5 million paid for black letters on a white canvas that reads "SELL THE HOUSE SELL THE CAR SELL THE KIDS." Apocalypse Now by Christopher Wool. True story. Who would pay that much? And for what?
That's where it all began. The irony of rich people.
What is the value of Art?
Is it just a luxury? Or something else?
Anais Roark left a promising investment banking career to raise a family and began painting as a hobby. To the professionally accomplished, immigrant women in her family, Anais is wilting, hiding behind her Birkin, bound by golden handcuffs of Upper East Side privilege. At age forty-two, she’s finally ready for her art to meet the world. Maybe. Measuring value in art is complicated. Measuring value in oneself, infinitely more so.
A provocative young art collector, a family crisis and a death test her resilience and understanding of life’s tangled Truths. Anais must choose between two lives, to escape or to stay, and ultimately discern the real value of art and the price of something far more important — her freedom.
An Art Curator described it as EAT, PRAY, ART among PRIMATES OF PARK AVENUE. For fans of NEST and HAUSFRAU. Themes from Walter Isaacson’s LEONARDO DA VINCI and the recent THE STATE OF AFFAIRS: RETHINKING INFIDELITY by Esther Perel are explored.
The interplay of words and pictures tells the story.
The images inspired the writing and then became part of its fabric.
They are interwoven throughout the novel, sometimes clarifying,
sometimes connecting ideas and often illuminating layers of meaning.
What started as a simple, creative exercise became Gallery 33’s soul.
vending machine at yusho, chicago
glasstress, venice biennale
graham foundation, chicago
museum of contemporary art, chicago