Posted in June 2008

See more Bert Rodriguez profile clips: Journalists

Here are two more preview samples from the post-production of our feature film documentary profile of conceptual artist Bert Rodriguez.
During the Whitney Biennial show, Bert was interviewed by many journalists from all facets of the media. We covered the media covering Rodriguez for two of the most intriguing articles, a column in The New York Times Metro section and a Time online Guest Blog by a journalist who was also an actual “patient.”
Susan Dominus
Columnist, New York Times Metro Section
Ms. Dominus spoke to us with focus and enthusiasm even though on that very afternoon of March 10 she was very busy with a story The Times broke minutes afterward; she told us it would be something about a prostitution ring and the Governor’s office. In the taxi on the way back uptown, we heard a little more about that on the radio.
Why would a Metro writer devote an entire column to a particular installation at the Whitney Biennial? Because Rodriguez’ piece was as much about New York as it was about therapy, or art.

Blogger, Brooklyn
As a guest blogger for the Time Magazine critic Richard Lacayo, the tireless and intrepid C-Monster reported on her experience as a “patient” and observer of Rodriguez’ installation at the Whitney Biennial. This clip is about one subject to which “real” patients of therapy might relate.

Jump to the Rodriguez clips previously posted, here.
And be on the lookout for more news on Wet Heat project films…

Wet Heat in Miami New Times

This week’s Miami New Times covered Wet Heat in the Art section with a thorough piece by Carlos Suarez de Jesus on our first two “miamiHeights” profiles, plus background on the project. Bert Rodriguez provided some vivid quotes for the article. Take a look at the online version here:

See clips: Bert Rodriguez profile, in production…

From our film profiles on young artists during a career luanch, here are very brief excerpts from preliminary editing of the feature on Bert Rodriguez, including potent and lively commentary from the the world of the artist, the Art World, and beyond.
Bert Rodriguez started 2008 with a “Clearance Sale” that filled half of The Snitzer Gallery booth at ArtLA with hundreds of works from recent shows, spanning back through college, high school and even pre-school, all personally sold by the artist (cash only, he had a lock box) from a folding table under colorful flags and banner. His prices averaged $15 while on the other side of the divider Snitzer sold his current work for more like $15,000. Rodriguez all but purged a lifetime of work with brisk sales in the space of four days.
Lucky purchasers during ArtLA could buy a small stack of Bert Rodriguez original work for under fifty bucks, receive a handwritten receipt (itself some of the only documentation of the show) and upon walking out of the convention center see the value of their purchase soar exponentially: the occasion of this clearance sale was Rodriguez’ acceptance into the 2008 Whitney Biennial.
For Rodriguez, the path to his Whitney installation/performance piece “In the Beginning…” was to put an end to the past at ArtLA. Our documentary chronicles the controlled chaos of ArtLA through the prep and opening of his month-long effort at the Whitney Biennial, two very different but historically important events in the trajectory of this artist.

[ More clips can be seen from the Rodriguez profile here: ]

Bert Rodriguez
ArtLA 2008, Studio Visit Jan-Feb 2008
The artist in action in his ArtLA microcosm of the art market, and at his studio the next month thinking ahead to his Whitney debut.

Vito Acconci
One of Rodriguez’ important influences (although they have never met), Acconci recalls a crossroads moment from his early days as a conceptual artist, then offers our subject some sage advice on the eve of the Whitney Biennial.
Steven Henry Madoff
Contributing Editor, ARTnews
Senior Critic, Yale School of Art
Author, “Pop Art: A Critical History”
Madoff describes Rodriguez’ Whitney Biennial piece with discerning accuracy and insight, here intercut with the artist’s own experience of the first few days of the show.

More clips from this series: click here for excerpts from our interviews of TimeOnline art and architecture guest-blogger C-Monster, and commentary by the New York Times reporter who covered the Whitney show.

"miamiHeights" and "making sh*t up"

Wet Heat has launched its documentary film projects in a big way with two feature-length films: miamiHeights and making sh*t up.

Each film chronicles a national career upswing in the trajectory of a Miami-based contemporary artist, into a new orbit of consequence. The experience is both precarious and exhilarating for artist and spectator alike.

For more info on Wet Heat documentary films and events, visit the web site:

Check our posts to watch the latest clips, see production pics and frame grabs, and get the latest news on events and screening plans.

See clips: Hernan Bas film, in production…

UPDATE NOTE: Miami Premiere Screenings
April 17 2009 at 7:30pm: fully booked, sorry!
April 18 2009 at 2pm: some seats available

The Rubell Family Collection, 95 West 29th Street, Wynwood

Please indicate how many seats are needed.

• • • • • • •

To see excerpts from our Hernan Bas profile, go to this link:

We are nearing completion on principal shooting of our “miamiHeights” feature film profile of Hernan Bas, which started at a milestone year in his timeline– a large-scale, influential exhibition at the Rubell Family Collection during Art Basel Miami Beach 2007. That survey show encompassed a decade of work for an artist who this year just turned 30, moved into an expansive studio in Wynwood to facilitate larger and more diverse work, and finally paused for some time “off” from a juggernaut trajectory.
But as he explained during one of our studio visits, the most intense part of his creative process is researching and conceiving pieces, not executing them.

Here are very brief excerpts from preliminary editing:
Hernan Bas
New Studio Visit June 2008
Hernan Bas qualifying the emotional standard he strives for in his work.

Don & Mera Rubell
Mark Coetzee
The Rubell Family Collection, Miami
The Rubells and RFC Director Mark Coetzee consider the literal and evocative journey aspects of Bas’ life and work, the appeal of which defies marginalization.
Bonnie Clearwater, MoCA North Miami
Eugenie Tsai, Brooklyn Museum
Bonnie Clearwater has worked with Bas for much of his career, and Eugenie Tsai is just getting to know him; in this clip they share observations on Bas’ visual mythology and multi-disciplinary capability.
Harvey Shipley Miller
The Judith Rothschild Foundation
Harvey Shipley Miller embarked on a daring and historic creation of a contemporary drawings collection on behalf of The Judith Rothschild Foundation, and after two years of international effort with curator Andre Schlechtriem, the result is the single largest donation of its kind to The Museum of Modern Art. Among this collection are 8 works by Hernan Bas, who impressed Mr. Miller with the caliber of his work and the authenticity of his commitment, as he observes in this clip.
Ross Bleckner
Artist Ross Bleckner describes the evocative tenor, mood and characters of Bas’ work.
Rosa de la Cruz, Collector Miami
In this clip, seminal Miami collector Rosa de la Cruz, who has been collecting Bas for nearly a decade, defies the conventional approach of coaxing narrative and interpretation from Bas’ work.
Gene Corman, Collector Los Angeles
Collectors Gene and Nan Corman maintain a compelling, important contemporary art collection in their Los Angeles home that includes Richter, Fischl and Peyton. Their recent acquisition of a Bas painting fits in to their sensibility of living with art that engages the viewer in a deeply personal world.

Snitzer, Lehmann: Gallerists
Two of Bas’ gallerists here comment on their goals, and the powerful dynamics of international primary and secondary markets.

Barbara Pollack
Contributing Editor, ARTnews Magazine
Writer, Vanity Fair Magazine
Astute and candid commentary from New York-based writer Barbara Pollack here frames the issue of high prices and the market forces that create them.