True/False Film Fest 2018: THE PRICE OF EVERYTHING

Where does art exist? If it sounds like a trick question it’s because it is. It begins in the mind of the creator, but from there it can go off in many different directions. How we consume art and the role of the museum and the art collector is called into question in Nathaniel Kahn’s documentary THE PRICE OF EVERYTHING. Instead of approaching the topic with fiery passion, Kahn takes his time to explore the subject from all sides, including dozens of artists, curators, historians, and collectors that are enveloped in the world. Everyone plays a role in the contemporary art world (regardless of your direct involvement) and Kahn calls into question the moral, financial, and creative concerns when art is more than just a means to express oneself.

In his introduction to the film, the director compared it to the work of Robert Altman. This isn’t too far off, as characters and stories are entwined. Almost instantly, the film becomes a fascinating character study that raises many questions, and like any good piece of art, your perspective shifts the more you look at it. We meet artists like famed pop sensation Jeff Koons and on-the-rise Nigerian-born artist Njideka Akunyili Crosby, Sotheby’s buyer Amy Cappellazzo, and private art collector Stefan Edlis. All of these men and women represent aspects of a business that saw a spike in growth when it became in vogue to collect work by Andy Warhol, Robert Rauschenberg, Willem de Kooning, and Jean-Michel Basquiat, just to name a few.

We’d like to think that a painting is simply a means of expressing ideas and feelings, but it’s a lot more than that. Just like athletes have a value attached to their skill and fashion designers have an inflated price attached to a t-shirt with a name on a tag, THE PRICE OF EVERYTHING brazenly explores art as a commodity. How many of these subjects talk with a straight face about the commodity of art is both eye-opening and occasionally soul-wrenching as you hear that in most cases, these artists are getting paid a small percentage for what their art is later sold for. One minute you witness a once famous painter (Larry Poons) in his modest farmhouse-turned-studio slaving away on a canvas and then you are treated to an assembly-line studio where dozens of artist assistants are creating the work for Jeff Koons’ next exhibit. Placing scenes like this back to back elicits both humor and contemplation in ways that are often explored in documentaries.

You walk away from the film with mixed feelings about collectors purchasing art just because it’s in trend. On one hand, it’s providing an artist a cost of living (no matter how small it may be), but on the other hand, in the words of up-and-coming artist Njideka Akunyili Crosby, “I’m thinking about past this moment.” She wants to be remembered for her art long after her newfound popularity fades away. The film shows how the market is always re-evaluating who is underappreciated, which leads to the sickening realization that a dead artist is a great artist. Those that are new to the art world will have so many questions as they watch THE PRICE OF EVERYTHING, but they will spawn so many interesting discussions long after the paint dries.

We now live in a time where visual albums by artists like Beyoncé are a thing. Even though it is an “R&B/Pop” album on the surface, Lemonade by Beyoncé is embedded with profound layers that prompt as many conversations as any art installation that you would find in a museum. However, it was much more readily available for those that don’t have access to a museum or gallery. The rules of art have changed, and as the film suggests, we might be reaching a breaking point. Is art as worthy of an investment as the famous collector Robert Scull moved the market towards in the 70s?

Art is meant to be consumed. How we as viewers, historians, and purchasers “consume” art is not just based on feelings – it’s driven by what individuals tell us. And just like the subjects in front of the camera or me injecting my opinion in this review, the value is being depicted by others. There’s a line in the film where Amy Cappellazzo states, “Great art should be expensive.” THE PRICE OF EVERYTHING isn’t here to necessarily critique this statement, but in subtle ways, it asks the viewer if they find truth in that statement.

“Rabbit” (1986) by Jeff Koons is a sculpture that resembles a mylar rabbit balloon even though it’s made of stainless steel. As the viewer admires the shiny, flawless finish, they realize they aren’t just seeing a playful sculpture of a rabbit – they are seeing a reflection of themselves on its surface. What director Nathaniel Kahn reminds us of by showing all of the intricate parts and players of the art world is that you are also part of this complex industry. In the end, when you view a piece of art, you are also contributing to the discussion. And like most great art (regardless of its price or value), what a fascinating discussion this film inspires.

Overall score: 4 out of 5

THE PRICE OF EVERYTHING will be released through HBO Films later this year