Comments on: What Have You Done For Me Lately?

By: Noble

Noble — Wed, 01 Apr 2009 10:45:55 +0000

Good day! The babes are here! This is my best site to visit. I make sure I am alone in case I get too hot. Post your favorite link here.

By: Mark Staff Brandl

Mark Staff Brandl — Tue, 16 Dec 2008 08:11:23 +0000

Excellent comment, Nick. I agree fully — yes EVEN with the “shop” comment. We need people who can see and appreciate and that is not achieved overnight. That would require, esp. when democratic, a real foresight on the part of politicians and educators — and having a lot to do with both, I dispair, frankly. But think we must keep plugging away.

By: Nick Vahlkamp

Nick Vahlkamp — Tue, 16 Dec 2008 05:21:42 +0000

I’m a career art dealer. 30+ years. It makes you old, especially if you’re working in the Midwest. I’m sorry to come to this post so late in the game, because I think it is important: to explore better ways for artist’s to market their works and better ways for dealers to develope collectors. Everything that’s been said is true, but it’s besides the point. Dealers blaming artists: self-infatuated,insecure,demanding, unreasonable,entitled. And Artits blaming Dealers: they’re elitist, leeches,panderers,money grubber control freaks. Both need therapy but neither are the problem. The problem is our generalized pop culture that values instant gratification & mind-numbing entertainment oriented values system that belittles all culture that isn’t fast,cheap and titillating (out of control, you might say). I strongly believe the remedy to an indifferent public, a lack of indigenous collector interest, a dearth of engaged press or media or any sort (reviews or criticism, whichever or whatever) Is education. Art Education. Art appreciation, studio art exposure, Design, I’ll even go a low on the totem pole as high-school “Shop” classes. If people have no idea how things are created, how they go from idea to product, they can’t possible appreciate your work. And I can tell you categorically that most people don’t have a clue.
There is a whole sociology that goes into collecting art and this blog just skims the surface. It isn’t anyone’s fault. Artist’s who think it’s better in Europe would be surprised to find out how few good galleries exist outside the major capital cites. The truth is, Chicago and its plethora of gallerists willing to put their time and effort into their artits make most European cites look that much more impoverished. Check out artnet and see what’s doing in Munich, Lyon, Barcelona (yea, I know it’s very chi-chi, but the galleries are mostly tourist traps selling middle-brow kitsch). As Brandl says, there are exceptions,but few. Things are bad all over, and likely to get worse. But cheer up. We live in a free country. You can say what you want, think what you want, sell what you want. That means little to those who grew up thinking they could make a living as an artist, but for most people around the world,and throughout most of human history, that freedom has been an impossible dream.

By: Mark Staff Brandl

Mark Staff Brandl — Wed, 10 Sep 2008 19:55:38 +0000

Lisa,
Sorry it took so long for me to answer your good request, but I am overworked currently.

I guess I’m more like “between serious galleries” than truly creative with a new alternative-to-galleries-idea. I have several galleries where I show regularly, and importantly have several private dealers who sell my stuff regularly. I have a certain freedom because I get regular curator visits and get into museum group shows a lot. The galleries that have approached me for the last while simply haven’t impressed me. They seem less interested in building a real relationship in terms of building (both our) careers and reps, than in simply getting “my” curators and collectors to come to them. I want someone who, first, I have FIRST found to be a person I like, at least enough to want to work with them, and second, one who will invest in my career (and their own) as much as I do — catalogues, fairs, “haunting” curators, “appreciating” collectors, etc. If you know what I mean. And gallerists who know about and love art as much as I do. I don’t have the time to babysit mediocre minds with little drive. I was impressed by your knowledge and commitment, let me add, so I’m certainly not dissing all galleries. I know several others who impress me too. I’m not (or at least not ONLY) egotistic; I just think you gotta do more than just rent a space. I’m still open for some new galleries, if they fit my small yet serious concerns I wrote above. Unfortunately I see these little met. I guess it is like relationships as you age. I have a wonderful wife and am in love, and have been for some 20 years. If that went sour, heaven forbid, I would not just rush out to anyone interested in me, which is what it appears to me so many artists do. I have seen and had great gallerists — it is getting more and more difficult to be one, though, I think —. I have had terrible ones. I’m going about it slowly. I have many shows, but until some of the gallerists appear to have what I’m seeking, I’m being a bit guarded. Yes, that means I don’t get as much attention as I feel my art deserves, but I get a lot of attention anyway. I suppose I’m kind of like a Cub outfielder, unfortunately. In the majors, but just a wee step above Triple A, in an artworld that (at least at this point in time) wants to push all midcareer artists (especially women) back down into the minors. So perhaps my approach puts me in a precarious position. But if I don’t see someone with strong commitment, strong personal drive, knowledge of art, and a real positive, pushy hutzpah, I don’t see the point in a “serious relationship.” I suspect that will change, but I’m not pushing it, I’m letting it happen. I’m more focused on my work at the moment, and have the luck to have the curator connection (unbelievable, if you know about my articles in both English and German criticizing curator dominance of the artworld — some hate me but a bunch still like me, or at least my art).

I hope I see you in October!

By: Mark Staff Brandl

Mark Staff Brandl — Tue, 02 Sep 2008 07:09:18 +0000

Yeah — oops. I directly translated from German in my mind, without first searching in my dizzy brain for the normal English equivalent. For some reason I was thinking in German then. I like “sugar” as the counterpart better than “carrot” anyway.

By: Christopher

Christopher — Tue, 02 Sep 2008 01:26:14 +0000

Is that the European version of the idiom “Carrot and Stick”? If so that is pretty cool.

I think in the US we forgot what a carrot even looks like some days.

By: Mark Staff Brandl

Mark Staff Brandl — Mon, 01 Sep 2008 18:18:10 +0000

The mob is better organized and knows the value of the sugar as well as the stick.

By: Tony Fitzpatrick

Tony Fitzpatrick — Sat, 09 Aug 2008 17:13:53 +0000

Mr. Winkleman made some very good and salient points– I kind of feel like my comment was taken out of context a bit; because later in the thread, I feel like I stated my case for the gallery models that I do feel are more equitable for artists. i can understand him taking umbrage at the comparisons to the mob…. though knowing what I know about the workings of the art world; I feel, perhaps ,the mob should be more insulted for being compared to the art world.

By: Mark Staff Brandl

Mark Staff Brandl — Fri, 08 Aug 2008 19:09:09 +0000

Here’s a post by a very influential gallerist/blogger, Edward Winkelman, which discusses Lisa’s post and even quotes Tony Fitzpatrick (unnamed, unfortunately!)
40-plus comments too.

http://edwardwinkleman.blogspot.com/2008/08/selling-solo-vs-working-with-gallery.html

By: Mark Staff Brandl

Mark Staff Brandl — Wed, 30 Jul 2008 19:41:03 +0000

What a great phrase, by the way, “Young Artists Vocational Schools of Instant Success.”

One thing that would be nice, Lisa (or Chris H), would be if you would put your name clearly at the top of the post, so it is obvious who and what it is (not a news piece, whatever). Such as “Lisa Boyle: What Have You…” Or in the first line or something. That way I know I would be certain to read them right away.