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: http://wetheatproject.blogspot.com/2008/06/bert-rodriguez-new-clips-journalists.html ]

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.