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awarenessadventurer ago

OH LOOK, GAGOSIAN HAS HIS OWN IN HOUSE SHIPPING COMPANY SETUP- worldwide 2016 http://www.thegray-market.com/blog/2016/7/24/market-monday-behind-the-candelabra

"To me, that makes the most significant part of the settlement one that Randy Kennedy's Times story only mentions in passing: To insure full compliance going forward, Gagosian "has agreed to set up a new shipping company of its own." True, plenty of galleries already pack/crate works and make local deliveries via their preparators. But the decision to set up a dedicated in-house shipping company would be unprecedented, to my knowledge. More importantly, it would slide a new component into elite galleries' increasingly "full stack" approach to client services. If you thought the high end of the sector was already feeling corporate, the trend lines point us toward a future where its members become fully autonomous, vertically integrated megaliths, with no need to hire out for anything. And by giving Gagosian another nudge in that direction, Schneiderman probably deserves to have his likeness printed on every urinal screen in the art-services sector."

I suspect we will find connections to human & organ trafficking, money laundering and inflated "art" deals of stolen or faked art. coming together. just trying to map this component as i believe it is the key to the pizzgate ring in how they move money and use it for political and sick aims.

MORE ON SHPPING CONTAINERS. HE SEEMS TO FOCUS ON ART DEPENDING UPON WHAT HE IS UP TO (See earlier Gargosian artists moving from Guns, Pills/Drugs, Children, Money and now Shipping Containers. (my observation) you can actually track it.

Interesting little piece on art "using a shipping container as a camera" seriously. you cant make this shit up. http://www.gagosian.com/now/vera-lutter--qa November 20, 2015

"Vera Lutter's "mini retrospective" of photographs opens on November 21st at The Museum of Fine Arts, Houston in Texas. Here, she talks to Gagosian's Derek Blasberg about her MFA Houston exhibition, using a shipping container as a camera, and her place in photography as we enter a digital age."

How did this show in Houston come about? The chief curator of photography at the Museum of Fine Arts in Houston, Malcolm Daniel, was formerly the chief curator of photography at the Met in New York, so I’ve known him for twenty years. We met soon after my graduate show—I attended the School of Visual Arts in New York—in 1994. He had heard about my work but the show was down, so he came to my apartment, because at the time I didn’t have a studio. I guess he liked what he saw because he became a big champion of my work and the Met became one of my greatest supporters. In fact, it was through the Met that I was introduced to Larry Gagosian. So, when Malcolm moved to Houston and had an opening in his programming schedule, he invited me to collaborate with him again, and of course I was elated.

I’m often drawn to your more industrial images, were any of these selected for the show? Yes, there’s an oilrig that I photographed in a German shipyard, and it’s one of my favorite pieces. It’s from 2000 and it’s called Kvaerner Shipyard, Rostock Warnemünde, IX: December 5, 2000. I used to title my works according to the place where they were photographed, but I was forced to stop doing that when I discovered that another photographer was traveling to those locations in an attempt to duplicate my work.

One of your most iconic series, and one of my favorites, is your work from the Pepsi Cola factory. Yes, that’s in the show as well. I photographed these works in 1998, so it’s one of my earliest series. I discovered the Pepsi Cola sign one night when I was out with my friends and we were driving down the east side of Manhattan, and there it was across the river in Long Island City. The factory allowed me to use their roof to set up my equipment for the picture, and then they let me photograph the inside of their factory too, which lead to many more conceptual images, such as Pepsi Cola Interior, XXIII: July 1–31, 2003.

Talk to me a little bit about your process. How do you find a location? Most often things start with an idea in my head, and many times I don’t even know the location. I get an image in my head and then I look for it in the world and for a space to realize it. Sometimes people will make suggestions to me. There’s an image of a massive mining machine in the show, that my mother told me about. She said this would be a great subject for me, so I went and saw it, and she was totally right.

The first “camera obscura” that you ever created was in your apartment. You turned your entire apartment into a camera. How has your technique evolved? Well, I don’t have a studio apartment anymore. That’s the good news! But the process is the same. I still work with a camera obscura, which can be a room, it can be my studio, it can be a cabin I build or a shipping container that I rent. I always take the easiest route. If there’s nothing, I’ll build a little house or rent a shipping container. At the Pepsi Cola bottling factory in Long Island City, it wasn’t possible to crane a shipping container onto the roof, so my friends and I built a little cabin, and that became my camera.