Throughout Islamic history, sultans, princes, and court officials have been active art patrons. This impressive candlestick base was commissioned by Zayn al-Din Kitbugha, who served as “saqi,” or cupbearer, at the court of the Mamluk Dynasty in Egypt before ascending the throne in 1294. The large inscription in “thuluth” script around the candlestick’s body is punctuated by roundels featuring a stemmed cup, Kitbugha’s blazon, or heraldic shield. Calligraphy is also a major decorative element. In addition to the large “thuluth” inscription, this piece includes different sizes and styles of Arabic script. Despite its elaborate design, Kitbugha had the candlestick made for use in his household storeroom or pantry. The candlestick’s neck and socket- today in the Museum of Islamic Art, Cairo- already had been removed when Mr. Walters added the piece to his growing collection of Islamic art.

Posting has been a little light lately as I have jumped in the car and just kept driving. I’m about 5 hours south from home and am freezing. I’m in the Australian Capital Territory, in the city of Canberra to see Jackson Pollock’s Blue Poles: Number 11 from 1952 at the National Gallery of Australia. It was bought by the Australian government in 1973 for $2 million USD and created a lot of controversy at the time. If the much smaller and much less impressive No. 5, 1948 painting was sold by David Geffen in 2006 for $140 million, Blue Poles would easily be worth $150 million today.. even in a financial crisis. I rarely ever put a money value on art when I’m in a gallery, but for Blue Poles I’ll make an exception. Also, I find it funny that a city filled with politicians is based around circles. You can drive around and around and not really get anywhere.. just as politicians go around and around and never really get anywhere. See what I mean on Google maps . My next stop may be Melbourne.. then maybe Tasmania.. but I’m taking each day as it comes and seeing where the wind blows me. A big gust of wind could even pick me up and take me to London or New York. You just never know what’s around the corner when you’re a paper bag blowing in the wind .

There’s an interesting article over at the LA Times on art, manufacturing, brands, and people that seem to enjoy being in court. “They may not have realized it, but the folks who snapped up as much as $4-million worth of limited-edition prints by artist Takashi Murakami two years ago at the special Louis Vuitton boutique inside his exhibition at L.A.’s Museum of Contemporary Art apparently were getting nicely mounted handbags — minus the snaps and straps.” LA Times Basically, a collector didn’t like the fact that his Takashi Murakami Louis Vuitton prints were just left over Louis Vuitton material strapped to canvas stretchers. I can’t see a problem with it. Takashi Murakami is like Japan’s Damien Hirst and he doesn’t hide the fact that he’s a branding machine in the business of selling products. The exhibition at the The Museum of Contemporary Art, Los Angeles was called “Copyright Marakami” which should have given the collector some idea of what the artist is all about. You don’t expect a Damien Hirst spot painting to be painted by Damien Hirst.

Artists and galleries seem to be further apart than I thought. The recent art galleries and Internet post created comments that were anti artist or art gallery. A comment by “anonymous” on Starting an Art Gallery (who usually has something controversial to say) said this.. “..here is the KEY.. own your building… this proves your loyalty to art and separates yourself from the others.. so wonderful! then don’t listen to what artists have to say about them having to bear the burden of the costs.. 2 reasons… first. artists (especially abstract painters) are a dime a dozen. second.. it is an artists job to spend money on their lifestyle… so if you were a full time snowboarder, it would cost you equipment, lift tickets,gas to get there, lifestyle clothing, etc..so, being an artist costs, frames, paint, entry fees and The Burden of dealing with art gallery divas like myself.” Ouch.. No wonder artists and art galleries don’t get along. I would hate to be an abstract artist exhibiting with this guy! I would quickly start painting cow turds and tell him it was important to you and that you’re confident the public will buy, buy, buy.. lol. Also, the Australian artist Hazel Dooney replied to the recent Art Gallery and Internet post with the following to say.. “But the power of new media, combined with the accelerating decline of traditional galleries, especially in a drastically deteriorating global economy, is such that even the most persistent and grasping middlemen will lose their grip in the near future. While artists will flourish on the net, only a very few galleries are likely to adapt to it, let alone be able transfer offline success online. As any geek – or record company – can tell you, the web works against any effort to exert control within it. ” Read her full post here . It seems that artists and art galleries live on different planets. Personally, my dealings with art galleries have left a very bad taste in my mouth, so I decided to take a route that allowed me to forgo selling art, but still allow me to comfortably pay the bills. I now hate parting with paintings and I paint what I want, but I guess my storage will run out eventually

This is a section of a doorjamb from the entrance to a temple sanctuary. The depiction of couples reinforces the belief that entering the sanctuary and worshiping there should be a pleasurable, joyous, and rewarding experience. (Here, the sculptor may be testing the limits: note the scratches made on the woman’s back by her lover’s fingernails.)