What I Hate About the NY Art Scene: Open Thread
I stand by my general response to this (i.e., the game's not fair, so rather than complain about that, a better use of your time is to set about changing the rules), but I think Preacher's Daughter (PD) makes some very good points and I want to open a thread to hash them out.
Funny how someone who doesn't need to make money from his gallery can say there's no "crying in Art". And the curation I have seen, most recently at Sculpture Center and PS 1 was all about dealers jockying for position (PS 1, which I heard included 9 unknown artists from their famous slide review) and on the other hand artist "resistant to market" (Sculpture Center who seemed to pick from the HOT MFA programs and [d]ealers.
And it's funny how content and smug this "no crying" statement is considering what it really means practically--the mostly white trust fund baby gets to be the artist. and funny how that type has of late been producing shows that overall classified as adolescent. devoid of content.
hmmmm. and as far as the resistant to market business. (sculpture center) Most artists are aware that apparent messiness gives one visibilty and curries the interest of the critics. One artist told me my work was too ready to be collected. something I have been told often-- I have to mess it up, get down with Holland (maybe an earth room that's actually a pile of shit will get his attention), and then crank it back to an object I can sell.
The contemporary art world (ny) is turning my stomach.
E I like you and your blog so much, but give me a break.
In particular, the "Greater New York" exhibition and other efforts like it always seem to generate much more anger than they do a sense of community. We've talked virtually non-stop about that in my gallery since the list came out, but I'm not sure there's anything short of not having such survey shows that could change that. Perhaps the lukewarm reception to the current rendition will lead PS1 to rethink their approach. I don't know.
I want to elaborate on one point here though before I open it up: I had a chat with one of the "hot" Chelsea dealers a few months back, talking about the choices made for "Greater New York" and this dealer was upset about the obvious choice many artists have made to add (as PD puts it) that certain "messiness" to their work that the critics seem to love so much. This dealer (who has an artist considered one of the originators of that trend) couldn't wait for the smoke to clear so that his artist (the "real deal," so to speak) would get the recognition they deserved without the confusion. In other words, all that strategizing and copying of trends to get the critics' attention can affect other artists and/or carry a price. Specifically, if you go that route, dealers will notice. Less scrupulous ones might exploit that, but the good dealers (the ones I assume artists really want to work with/be affiliated with) will see right through it and avoid those artists...and so, in the end, what do such artists accomplish? A few sales, perhaps, but no long-term respect (not even self-respect, IMO).
My advice: Stick with what you're doing. Perfect it. Tastes change. The market will come around if your work's the "real deal."
The thread is open: