Friday, December 15, 2006

Fair Fatigue

The collectors are already saying it. The writers are already saying it. So it hardly behooves the gallerists to pretend they don't understand why. Despite how much I like them personally, I'll join in and admit: there are simply too many art fairs.

Several of our biggest collectors didn't make it to Miami this year, with one reporting, "We just did Frieze, and then went to Shanghai, and that's enough...we're staying home this year."

From the globetrotting Marc Spiegler in The
Art Newspaper:

[F]air fatigue has become a common condition in the art world. The biggest complaint is the sheer number of events that suddenly seem compulsory. “Whenever I hear about another fair starting, it’s almost physically painful to me,” says Munich’s Michaela Neumeister, a senior partner at the auction house Phillips de Pury. “It feels like the art world has become a gypsy circus, running around to fairs. When I entered Art Cologne last month, I suddenly felt I had an art hangover—it seemed like the paintings were all melting into each other in front of my eyes.”
Read the whole thing. Given how The Art Newspaper's daily readership skyrockets during fairs, it's impressive that they're running that piece. Here's another excerpt that I found personally poignant:

Which brings us to the galleries, those who arguably benefit the most from fairs. With the exception of major dealers in London and New York, most galleries would founder without fair sales. That said, fairs remain by far the most expensive way to sell art. A recent Art + Auction calculation estimated the cost of running an 80 sq. m booth during Frieze fair at roughly $100,000 all told—including $1,000 for empty crate storage, $326 for the door to the booth’s storage area, $1,500 for cellphone roaming charges, etc. At Art Basel/Miami Beach, renting a similarly sized booth would cost $10,000 more; at the Armory it would run an extra $20,000. And the toll on the gallery staffs is punishing. First come weeks of preparation then the draining days of booth duty and nights of mandatory socialising, and finally the follow-up work of trying to convert contacts into clients and sales into payments.
But that's the catch. Most of the galleries at our level financially live from fair to fair. We often hear that collectors are not buying in the weeks to months leading up to a major fair for fear that the galleries are holding back their best pieces to have them at the fairs. And it's often true. Dealers feel the pressure to do this in order to get accepted into the bigger fairs. So it becomes a vicious circle.

I'll come clean here. When I started off in the art world, I worked for a works-on-paper gallery that looked at fairs as a way to clear out inventory. You'd install the work as handsomly as possible, and have the supplemental educational materials ready to help sell the work, but you weren't pressuring the artists to come up with the largest etching ever, for example, just for the fair.

To this day, I still resent the application process for many fairs that encourage curated booth submissions. Curating exhibitions is what we do in our gallery. If we're putting that much time and effort into an exhibition, it's nice to have it last more than four days. I get that fairs are the new biennials, and as such the art world wants to see new and bold work there, but biennials last longer than a weekend.


I recently met up again with two artists I've known for a long time who managed to get a booth at one of the fairs in Miami by pretending to have a physical space in some location no one obviously bothered to check. They've done this twice now at different fairs. It's a wonderful project (which I hope you're documenting well, you hear me??), but to a large degree it's being done in earnest by art consultants and others who feel no need to run a physical space when they can bounce from fair to fair and make just as much (probably more) money. That's hardly new (private dealers have done more or less the same for years). What is new is how many fairs there are, permitting the spaceless dealers to operate more or less year-round.

I had a great conversation with a truly brilliant collector of contemporary art in Miami (who I'm trying to convince to do a guest column here...so show him some love [at least anonymously until he agrees]), who expressed frustration with what's happening to collecting. The furious pace at fairs is leading him to increasingly bypass the emerging artists and lean more toward established ones. The irony here, of course, is that it's the galleries showing emerging artists who need the fairs the most to survive.

I'm not at all sure what might help this situation actually. I fantasize about the UN outlawing fairs altogether worldwide (I know...they couldn't...let me fantasize, will ya?), for at least three years, forcing collectors to buy from the gallery exhibitions again...slowing down the whole process, letting dealers concentrate on what's shown in their spaces, rather than calling in for reports of how it's going from airports and hotels. Just for a while (I do love hotels). Perhaps the quality of the exhibitions in the galleries would rise to where the fairs seemed less essential, as well. I don't know.

I do know that collectors are getting tired though. When buying art ceases to be fun (i.e., when it becomes too much like hard work), the odds are it won't continue to attract too many folks outside the speculating set.

43 Comments:

Blogger Tyler said...

But biennials only kinda last longer than a weekend. At most biennials the opening weekend is The Weekend. Even at Venice they do a very, very high percentage of their attendance in the first 10 days.

12/15/2006 10:12:00 AM  
Blogger Edward_ said...

I knew someone would point that out. ;-)

Yes, but you don't have to de-install after the big weekend...and those collectors/viewers who have grown weary of fighting for elbow room at the opening weekends can always go back and see the work later.

What's mostly being lost, of course, is time to contemplate. With some work, that's not a grat loss...with other work, it is.

12/15/2006 10:15:00 AM  
Blogger Edward_ said...

"grat" = "great"

12/15/2006 10:17:00 AM  
Blogger Tyler said...

Who goes back to Guangzhou later?!

12/15/2006 10:24:00 AM  
Blogger Edward_ said...

Who goes back to Guangzhou later?!

Hell, I'd like to go in the first place. Point well taken. Still...there is something lost from the exhibition designed to exist only 4 days, I think. Something gained, as well, surely (I used to organize three-day guerilla-style exhibitions because of the energy the format fostered), but when that becomes the most popular model (and perhaps the only model some folks make time to see), what's lost starts to take on great importance, no?

12/15/2006 11:00:00 AM  
Anonymous Anonymous said...

This is off the current discussion, but wanted to get it off our chests!
While we like collectors to be decisive, this whole notion of "impulse" buys...Look, I was first!...does not do a great service to some of our artists whose work requires a bit more contemplation.
And one thing that drove us crazy last week (which we don't remember as much of in the past) is the "how old is the artist" question. I don't know how many times we were asked that and it was the first thing they asked, not what is the process, what is the bio, etc. If you say anything older than 29 (which our artists are) the "collectors" can't run away fast enough. Very frustrating.
(You know who this poster is Edward, darling!)

12/15/2006 12:01:00 PM  
Blogger Lisa Hunter said...

The fair frenzy reminds me of grand prix auto racing or opera -- where the participants move from city to city, catering to upscale crowds around the world. The difference with art fairs is that the audience is expected to travel too. They don't just sit home and wait for the road show to come to their town.

12/15/2006 01:52:00 PM  
Anonymous bambino said...

We missed you in Miami lisa :)

12/15/2006 02:20:00 PM  
Blogger artist shabaka said...

First it was racism, now it's ageism... a whole lifetime of art wasted and never to be seen. Being born at the "right time" and of the "right extraction".... *sigh*

12/15/2006 05:08:00 PM  
Blogger Chris Ashley said...

Here's a thought that just hit me- art fairs are kind of like the iTunes of the gallery world, not in terms of the buying online model, but in terms of how they remove art from a conventional context that we've come to expect over the last many decaces: the exhibit. Like this: most people have heard someone talk about how in the days of the LP (and I could tell me own stories)- you'd go to the record store to buy a new record when it was released, and you'd take off the shrink wrap, and start with song one on side one, look at the art, read the lyrics, flip the record over, listen to all the songs in order. It was a whole experience. The order of the songs had a structure or flow or narrative- the parts made a larger meaning, a bigger whole. And that was the musician's intention. Gallery exhibitions- good ones- have the same thing going on; the work together is an event with meaning. But that whole record experience is kind of lost now- songs can be loaded and replayed without any original context, without any relationship between other pieces by the same artist. It seems to me that with art fairs there is the possiblity that the exhibition as an event which creates a larger whole gets lost. An artist's work is now isolated from a greater body of the same artist's work, and now is simply another song on somebody's mix tape. Is this a good thing or a bad thing? I don't really know for sure. But my preference is the exhibition, the body of work, the event, and my memory of it. There are probably plenty of people happy with the new model. And of course both ways can co-exist. But I'd hate to see the new model make the old model obsolete.

12/15/2006 05:12:00 PM  
Blogger Stefano Pasquini said...

Chris, I like your iTunes comparison. I think it's a matter of quantity: there are too many fairs with too many artworks, too many galleries, too many artists. Too much of everything. (uhm, no one will complain if there are too many buyers...)
but this is true for everything, from tv channels to car manifacturers... is this really a bad thing? I really don't know. At times I really enjoy quantity (like at Aqua, for example - so many galleries with so much great work!) but it has to go along with quality. One thing is certain: we live in very decadent times...

12/15/2006 08:25:00 PM  
Anonymous Rebel Belle said...

Anon 12:01:11, "how old is the artist?" question" is very depressing.

I can only say that no one owns youth, it is indeed fleeting and we all get bald, wrinkled, and slower. The alternative is not so hot.

It is a very sad commentary on how the art world has merged with the show biz world. Do these collectors really think that twenty year olds make better art than older artists? I would like to know what, if anything, gallerists are doing to counter this crazy idea. The only thing that I am seeing is a lot of galleries jumping on this sad bandwagon and signing up kids because thats what their collectors want.

What are they hoping to buy? Is it some kind of acquisition mania of getting in first when the work is still cheap? Or is it just sexy to buy the work of beautiful looking people?

Props to Ed and others who show work they care about.

I'm making MUCH better work now than when I was thirty.

12/15/2006 09:33:00 PM  
Blogger painterdog said...

This comment has been removed by a blog administrator.

12/16/2006 02:13:00 AM  
Blogger painterdog said...

This comment has been removed by a blog administrator.

12/16/2006 02:14:00 AM  
Blogger painterdog said...

They are all vampires(collectors of YOA,young only artist) trying to hold on to youth, their face lifts and tummy tucks are no longer working,they need to now know that their art is made by the hands of a 20 something.

This is a very sad commentary, as what happens when they(the artist) turns 30?

Its the Peter Pan syndrum, except that instead of the island of lost boys, its the island of lost artist...

12/16/2006 02:15:00 AM  
Blogger Edward_ said...

Not that I disagree with anyone about this here, but let's save this thread for discussion about "fair fatigue" please. We've discussed the ageism before (and will again, I promise)

e_

12/16/2006 09:25:00 AM  
Anonymous Nicholas Knight said...

Here are two groups definitely not suffering from fair fatigue: artists and dealers on the outside, looking to get a piece of the action before it all goes belly up.

12/16/2006 10:31:00 AM  
Anonymous David said...

Edward, I didn't make it to Miami, but I heard anecdotes from friends, including one about things selling so fast that galleries ran out of red dots.

So I've got this business idea I want to run by you. I'm thinking of going next year, and bringing a truckload of red dots to sell to the galleries when they run out. What do you think? I could put ads in the show catalogs, and guarantee fast delivery.

I have another idea for a booth catering to collectors. It would serve martinis and offer touch-up facelifts. Still have to work out the details on that one. I might need some sort of license or something, for the liquor anyway.

12/16/2006 10:33:00 AM  
Anonymous David said...

PS - Have you signed up yet for next year's Art Pittsburgh? It's being organinized by the Warhol Foundation, and I understand the whole fair is going to last just 15 minutes.

12/16/2006 10:50:00 AM  
Anonymous David said...

"organinized"

EW, either you need a spell-checker on your site, or I need to have some coffee before I try typing :)

12/16/2006 10:58:00 AM  
Blogger Edward_ said...

I understand the whole fair is going to last just 15 minutes.

LOL

You better pass out jet-powered gulf carts for the collectors.

12/16/2006 11:13:00 AM  
Anonymous Marc said...

Sorry to come late to this, but to get back to the first few posts (Tyler and Ed's) comparing biennials and fairs: With all due respect to Jerry Saltz's notion that "art fairs are the new biennials", which is accurate in several senses, there remain some fundamental differences.
1) Duration - a lot more people go to Venice after Basel than you think. Including tons and tons of major collectors, artists, curators and dealers. I'd be curious to see a breakdown of Venice's attendance figuress. And the Whitney biennial has a steady flow, I'd bet.
2) Hanging - biennials don't get rehung based on sales. From the standpoint of particularly popular artworks, artfairs last one day, not four.
3)Catalogues - art fair catalogues are a joke from an artistic standpoint, as one would expect. The best one is Frieze's Yearbook and even that is skimpy compared to any biennial's.

12/16/2006 11:18:00 AM  
Blogger hlowe said...

I think the art fairs is a trend, like a burst of flowers in a garden. And Ed, since you are certainly not alone in these thoughts, the fairs will begin to pare down, collectors will buy quality and the strong will survive. I think it is great--- all this flurry and all the exposure of art in the fairs. People are talking about art more than they ever have been.
From an artist's point of view, it stimulates competition and does away with a lot of unneccessary "it's been done before." The ideas are flowing! Wait until it all settles and we'll see what's what.

12/16/2006 12:02:00 PM  
Anonymous David said...

From an artist's point of view, it stimulates competition...

Yes, they compete to see who is the fastest, and who is the youngest.

12/16/2006 12:40:00 PM  
Blogger Edward_ said...

Good points all, Marc. And congrats on the article...it's indepth and has awesome quotes.

There is something exhilarating about the energy it takes to pull off the three-four day exhibition, but you nailed the biggest hole in the "new biennials" argument (i.e., the installations can often last only until the work sells, and few dealers are clever enough to have such a brilliantly modular installation that their booth is as strong one day four as it was on day one).

12/16/2006 01:38:00 PM  
Anonymous Anonymous said...

This "fatigue" article is NONSENSE.

(I think a fair/sponsor is behind this article.)

Miami was a circus for sure but savy collectors and curators knew and know where to go and look. Many didn't waste their time going to some of the fairs, shows or parties. Ask around people...many will tell you so. I was surprised by the Miami Herald,everyday they had an insightfull article about all the activities, very different from the Art Newspaper that became a press release of the big sponsors/galleries/publicists. I don't trust Arnet so I won't go there. And some blogs were plain boring.


BTW:

I just flew back from FL and didn't read any of Artforum's Dairy while away until just now. Any similarities to my previous comment are just that...similar.

mls

12/16/2006 02:08:00 PM  
Blogger Edward_ said...

This "fatigue" article is NONSENSE.

I totally disagree, but to each his/her own.

12/16/2006 02:09:00 PM  
Blogger Tim said...

I think when people say fairs are the new biennial it is not meant to be a favorable comparison. It is the nature of our moment that art is sold and seen in these highly charged commercial environments. A fair does not allow for contemplation or consideration, but encourages snap judgement, celebrity status for artists, me-too attitude in collectors, and a hyperventilation that leads to a sort of panic buying. A perfect atmosphere for charlatans to flourish.

Sounds just like our government. doesn't it? We live in the era of Power Point analysis, typified by Rumsfeld's 'no justification necessary' attitude. Affiliation is the most important qualification for advancement. Loyalty to the party line is a higher calling than ferreting out the truth.

Art often reflects the times in ways unintended by artists. I think the fever pitched, no questions asked no quarter given, art fair driven business is exactly the art world this moment deserves. Let us hope that the new year brings the changes needed to produce a more sane and reasoned collecting practice.

12/16/2006 02:33:00 PM  
Blogger hlowe said...

A fair does not allow for contemplation or consideration, but encourages snap judgement, celebrity status for artists, me-too attitude in collectors, and a hyperventilation that leads to a sort of panic buying. A perfect atmosphere for charlatans to flourish.

Tim, I take your point. I just heard a great lecture about Rothko by David Antin at MOCA with this very idea in mind---the fact that so many people simply walk by a Rothko and see color field paintings, completely missing the artist's intentions.
On the other hand, even though one is bombarded by images at fairs, there is an opportunity to see so much in a few blocks and it is a kind of feast for the eyes.

Also, David, I meant that an artist can see what lots of other artists are thinking--I wasn't referring to the market necessarily.
I guess I am a glutton when it comes to visual stimulation...hah.

12/16/2006 05:27:00 PM  
Anonymous Marc Spiegler said...

To anonymous/MLS: No sponsor or art fair is "behind" that article. The inspiration came via me hearing people from all over the artworld bitch about fairs.

But just for the sake of argument, what possible benefit could either a fair or a fair sponsor see in this article appearing?

12/16/2006 05:38:00 PM  
Anonymous Cedric Caspesyan said...

Tim:
>>>A perfect atmosphere for >>>charlatans to flourish.

I laughed reading this. So true !
More like give me the who's who's that hasn't touched charlatanism in one way or another in this crazy art world.

I think the article and this thread are very hopeful. Now that I learned something new, that some fairs require gallerists to curate their booth (what I think is absolutely silly, hahaha), I came up with an idea:

Why not simply join both the concepts of fair and biennial?
Find a large space, rent it for two months, and asks gallerits to present no more than 1 or 2 artists, but with a proper exhibit.

Than you sort of bypass the geographical problem of never being able to compete face to face with Hauser & Zwirth, while creating an important, global-attractive event that remains fully respectful of art and actually fun to visit, one that's not governed by the all-seeing-eye (and bad taste) of one or two curators, but actually a collaborative effort from gallerists who actually care about making things enjoyable (while still making some money at the end).

Maybe there could be one rule, though: no sale before the last week. People would go mad, prices would go up. The critics at last would have a tangible influence.

I mean, if fairs want to be biennials than just take the extra step and become one.


Cheers,

Cedric Caspesyan
centiment@hotmail.com


(ok, I'll bite at the age thing...I think I've said before but..Well I actually never trust anyone UNDER 30. I have a big prejudice. I always expect these people not know about the world enough to teach me anything. I know..I'm horrible..but obviously the people who ask about age don't look for art but investment...I'm not yet that desperate about making a penny)

12/16/2006 07:10:00 PM  
Anonymous David said...

I just flew back from FL and didn't read any of Artforum's Dairy...

Got milk?

12/16/2006 07:26:00 PM  
Anonymous Anonymous said...

Well, let's bring some history into this:

Venice Biennial or Biennale or whatever...(I don't want to spell check)...until very recently all work at the oldest of them all....the mother...the biennial of all biennials.... in the VB the art was FOR SALE. Yes people. Look it up.

So, I am going back to read all the posts and catch up...I leave you with that for now...

I think somebody is making some comparisons...???

mls


PS...I have seen some amazing works with a wonderfulllll paper label in the back...yep...including the price$$$...(Italian currency sign here...).

12/16/2006 10:17:00 PM  
Anonymous Anonymous said...

Marc:

Read my other posts. The ones when we first started talking about Basel MB and the 14 fairs around it. Go down.

It is about a "brand". Art Basel-MB INC. is a brand. Before I got there I knew already that the corporation and sponsors of BMB had to be worried about all these people piggybacking on their event. I would be. It is marketing 101. Think about it. Who spends the most money to bring these people to Miami and Basel? Who invested the most for years? How can they maximize their profit or clients if they can not control everything. Do you know how many events not related to art happened during the week? Read the Miami Herald, they have a great article about it. Do you know that they were talking about thousands of people attending events not related to BMB but there because of the prestige of the fair? Furhermore, they are fighting for the rich clients attention.

Do you know what Sam Keller said?

Mr. Margulies?

Price gauging at the hotels?

Do you know that Art Basel in Basel is going to have 4 fairs around it?

I don't remember the name of the collector quoted in the Herald, a very rich man, he said that he opened an account with UBS so he could preview the fair and get the best work. (He bought a photograph this year.) How is UBS going to make sure now that all these people open accounts?

They killed the golden goose and it all started in Miami.

Read all the other articles. In my opinion, some people tried to see everything but those are not the smartest, best collectors and curators. The real ones already know that biennials and fairs are not the place to look for the next best work or artist. A relationship with the top dealers is the way to go. Also, curated exhibitions by honest-independent and museum curators as well.

Fatigue is not a good reason to stop going to fairs. Fatigue is the reason to go to one fair only for most people.

mls

12/16/2006 11:12:00 PM  
Anonymous Anonymous said...

One last thing:

I think MBM is going to be sold within 3 years or find a new main sponsor.

I just read that Macbain and/or Chicago Mart are trying to buy The Armory...I said it first somewhere or here about MBM.

The question should be:

Are we going to see 14 fairs again in Miami? If the economy holds or not? I don't know the answer. Maybe somebody should write about that.


mls

12/16/2006 11:22:00 PM  
Anonymous Cedric Caspesyan said...

MLS:
>>>The real ones already know that >>>>biennials and fairs are not >>>>the place to look for the next >>>>best work or artist.


Hmm..ok, I don't agree. The best biennials are commanding works, so it is the place to see artists free themselves from the comfort of galleries.

It's not necessarely the place to see new artists, or that depends on which one we are talking about and who's the curator. It's also not necessarely the place to look for art that is buyer-friendly (I didn't know the art at VB was for sale, that's interesting). There is a lot of onsite works and large installation in Biennials. Who will buy Casino, and where do they store it?

And artists participating in them know that the people are going there to look at the art, while at Basel it's more like...Hurry, hurrry, Do something so great that ONE people will like it FAST and get it the FIRST day (and remain almost the ONLY PERSON who saw it). Frankly I have nooooooo idea why artists are attracted by them. Or they need the money badly, it's a cash cow. The Chapmans (I know I'm annoying) really understand what it's about. Their work was the best response for such an event (paint me a minute-portrait, glorifying (or not so) the ego of your buyer), it will remain a classic.

As far as museums are concerned,
great if they can command new works, but sad if they do it at the expense of retrospectives because these are the only place where we can look back at great art from the past. There's nothing I like better than seeing assembled all the great art from one artist.


By the way, having to wait 5 years for some Documenta is torture.


More cruel than Olympics when you're refused.

Cedric Caspesyan
centiment@hotmail.com

12/17/2006 02:19:00 AM  
Anonymous Anonymous said...

If collectors came up continuously and their first question was age it tells you straight away what kind of collector/fair you are dealing with. If this is the flair of the fair then it's not very serious from an art point of view. I can't image that the world's best galleries are going to lower their standards to drag not ready artists around the globe to art fairs just to please lazy collectors. Yet they do!
This would suggest if collectors continue along this trend, which is likely, art fairs have reached their pinnacle, or galleries have reached theirs.

12/17/2006 07:49:00 AM  
Anonymous Anonymous said...

This is about Documenta: “Every five years, a new director is chosen and the exhibition is reinvented, a concept which to date has been affirmed by the public's interest. The number of visitors has continually risen. More than 650 thousand visitors came to Documenta11.”

It is simply delusional to think that these kinds of numbers do not add up to something as important as the kind of thing that happens in 3 or 4 days at a fair or at the opening. What happens locally is also deeply important. Miami will survive because the cultural infrastructure of that city is being built out of the momentum of this moment. That is why events like this, and like biennials are supported locally.

Whatever happened to the idea that art was for more than just the small, provincial, group of people who can gain access to a good party? How many of you moved to a big city to get away from one form of provincialism? If you only care about the kind of people who will show up at the opening, or at a fair, then you only reinforce your future downward spiral into this new form of global provincialism.

More people are spending money, but the important thing is to get more people looking at art, and this cannot be done with art fairs. it is physically impossible.

As much as I love fairs and these things, the only thing to do if you are tired, is to stop. As an artist, I know that if I am tired of something, that means that it is time to move on to the next thing.

lr

12/17/2006 10:07:00 AM  
Anonymous Joanne Mattera said...

I’ve just spent five days blogging about seven fairs, so maybe I’m too dazed to be commenting here now, but I can’t tear myself away from the keyboard. For 20 years I supported my art life as an editor, working on Madison Ave., largely for women’s magazines (the pay was good and it gave me enough time to paint) until I had enough and made the leap full time into the studio. What I see in the art world now world is a “fashionization” of art that is just getting more intense: the art trends (like fashion moments, which which keep cycling faster and faster), the age thing (will we all have to be size 0, too, if we want to show or sell work?), the celebrity-ification of artists more intense than it has ever been, and now what seems to be an insane ramping up of the art fairs. As I was schlepping from venue to venue, I was thinking how like Fashion Week it was, with a bit of The Academy Awards thrown in, what with the celebrities, the parties, the who-what-where is hot, and the art must-haves this holiday season. Eek.

I attend the fairs. I get to show in them. I blog them. I enjoy them as a welcome break from my solitary work in the studio. Hey, I had a great time in Miami. But when I hear dealers talking about giving up their bricks-and-mortar spaces in favor of a gallery identity and an itinerant reality, that scares me. And what happens when—as with all fashion trends—the art fair trend dies down?

By the way Ed, in the midst of all the hype about sales that permeated the fairs, your wonderful artist Jennifer Dalton shows drawings with amusing and terrifying statistics about artists and the artworld. Most artists need to work an outside job to support themselves, many don’t have health insurance, and if they’re lucky, they’ll make about $30,000 a year from the sale of their work.

Best,
Joanne Mattera
www.joannemattera.blogspot.com

12/18/2006 12:23:00 AM  
Anonymous David said...

Ultimately if MBM wants to survive they're going to have to do what any good fair does - put in some rides. And some games. And sell cotton candy.

Not only would it be more fun, but it would attract younger collectors. Young artists should demand young collectors. I mean who wants their work hanging near someone's shuffleboard court?

12/18/2006 04:29:00 PM  
Blogger Edward_ said...

there is a sort of twisted beauty to insisting collectors who ask for an artist's age prove they're under 40 before they can buy art by artists under 30, but I'll leave that act of suicidal point-making to some other gallery.

12/18/2006 04:33:00 PM  
Anonymous David said...

EW, I wouldn't expect a gallery to make that point. But as an artist whose work isn't being shown at the fairs anyway, I feel like I can say it and have nothing to lose.

Do you know quote by Billy Wilder?

If people aren't coming to see your movies, there's nothing you can do to stop them.

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