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This week, the New York Art Fair explosion.
John Waters v. Amanda Browder, Amanda and Tom get kicked out of Armory, Christopher Hudgens on mic. WHAT MORE DO YOU NEED!!!
Amanda and Tom talk to just about everyone, well not really, but they do talk to loads of interesting collectors, gallerists, artists, Europeans, and other assorted folk as they barnstorm the fairs.
And the return of Amanda’s Mom wisecracks, no not really, but this show has an intro guaranteed to piss of Brian and Marc.
Direct download: Bad_at_Sports_Episode_137-NYC_Art_fair_madness.mp3
Operations Manager at Bad at Sports
Christopher Hudgens is the Operations Manager for BaS and works in various other capacities for other organizations in the Chicago Art & Culture scene. Most recently as Business Operations Manager for the Bridge Art Fair and currently an advocate for all things art & technology.
Latest posts by Christopher Hudgens (see all)
- Episode 886: Scott Speh on 20 Years of Western Exhibitions & Chicago Art Scene Reflections - November 29, 2024
- Episode 885: Betsy Odom - November 26, 2024
- Episode 884: Pete and Jake Fagundo - November 12, 2024
I’ll say this for the Mart guys — this year’s Armory was very well run — there weren’t the crazy lines that happened in previous years — which often left the public waiting a half an hour before shelling out their 20 bucks — though this years ticket was a little more expensive– I heard very little bitching about it. Artfairs are weird propositions for me anymore — yeah — I butter my bread there — they’ve been good for me financially , but there is still this other-worldliness about being in the maw of the marketplace — my friend Fred Tomaselli says that being an artist at an art fair is like watching your parents have sex… its just creepy… I seem to remember these things being more fun… I used to love them, before the art started chasing the money as opposed to the other way around.
I saw Amanda there — cracking her gum and looking for trouble.
What I always ask myself at art fairs is ….who dresses these mother-fuckers?
Especially the Hans and Franz crowd , with the orange shoes and the retard haircuts… and really… if you tip the scales at 300 lbs — don’t wear skin-tight clothing — you look like ten pounds of shit in a five pound bag.
and hey Europeans– take a shower– the soap is free– no shit.
And just because your currency is big – shit right now — be a little nicer– no need to be a snotty douchebag AND have fucked -up teeth– talking to you England…
more later…
While we’re bitchin about Euros…, I’d like to say that that shitty-teeth thing always bothers me too. Or when they are super fat, but insist that “everyone knows” that Americans are fat and Europeans are not.
Watch out for the dollar-diving effect. Several countries have tried to “usurp” NYC, and the Germans have repeatedly attempted it with Berlin and are snootily at it again. Many US Americans from outside NYC have commented to me that this is good — but I am deeply experienced in both and let me say that it is NOT progressive, it is primarily a nationalistic anti-Americanism at work, due to their “never having forgiven us for having taken away their God-given right to be the center of the universe” (that last sentence is partially quoted from a German political theorist). A real breakthrough would be multiple centers all respecting and battling each other, which would be real globalism instead of the consensus internationalism that now pretends to be globalism. These “hostile take over” attempts are anything but that.
I think that for the artist art fairs are like watching sausage being made. the parents having sex thing is creepy for sure, but doesn’t communicate how long and fukn boring they are.
Ten cool points to the person who can name the closing music.
I wouldn’t say art fairs are boring. Art shows are just a collection of galleries, so if galleries are boring, then you’re saying that looking at art (commercial art) is boring. Then I would just say that galleries and shows aren’t a good match for you.
For me, my eyes get tired and I get overloaded pretty fast. And yes, Tony, the people irk the shit out of me too. I feel like, “if this is my audience, I don’t want to make art for this market.”
One thing that’s saved my ass a thousand times is sticking ear buds in my ears and blocking out the people. The art mixes with the music to give it a different experience, and it’s a much more personal and private viewing.
Then again, no one knows me, so it’s not like people are trying to talk to me. So for more recognizable people, that wouldn’t work I guess.
Take care all,
Kathryn
Art fairs are like quilts, unlike grad shows, which are like muted afghans.
You get a space, either you’re loud or quiet, in conjuction to your neighbours. But one can’t look at so much without it turning into a pattern. Blech.
When I get overloaded I look for certain german formalist conceptual landscape photographers. It’s like sticking your head in a refridgerator on a hot day. All that gray and green and white. ahhhhhhhhh.
kathryn,
i think that for artists involved in the fairs, they are incredibly boring. not that the art wouldn’t be very interesting in another context. but when you are in town with your gallery for a fair it can be very hard to get your mind off the business that is hopefully at hand. this looming pressure often makes it very hard to enjoy anything, least of which the art, because of preoccupation with one’s solvency for the next quarter or so. i have found that often the only way to get one’s mind off the commercial end of the fair is hit the bar, and after a few days sustained drunkeness i get extremely bored and am itching to get back in the studio.
I agree Tom. Boring and creepy. I always have to take a long shower every day after having spent the day at the Basel Art Fair. I feel like I was just in a really creepy whore house, but I wasn’t a john, I was on the other end of the schtick.
hi BAS, what a fun show….are you gonna post links to all the peeps amanda and tom spoke with? those happy international festival dudes were a trip. also, amanda sounds charmingly wasted and wiped out on her send off at the end.
duncan come back to nyc soon….we wont stay out all night this time. or catch artopolis (i burned all my sheets and blankets).
Well good Tony -perhaps now you can stop demonizing The Mart people -and understand they are businessmen/trade show operators -in need of an art world education. I’ve told them so in person. And you have recently as well I understand,- in a slightly less inflammatory haha! fashion….. They need to hear that going to the same putrid well -for art world legitimacy is the road to ruin. The Kirchners, Snodgrass- ‘The Ren’….these are the people who have lorded over the demise of the previous fair and of the art world here, their best thinking got us to where we are at now, “a receptor city”…..
One can sympathize with their seeking out Kavi Gupta -Kavi knows next to nothing about art -but he is a good and ruthless businessman with the good sense to have reasonably art world/trend conversant people around him to keep his gallery clearly in the ‘hip factor’ ‘whats hot’ arena. Not, that any of this and good art are necessarily related.
What is lacking in The Mart’s approach is a clear forward looking vision of where to take art fairs in the future -obviously the bling and glitz of Miami is going to fade -and clearly the market will at least to some extent, falter- we need to organize around the fair as a community and get them to build a smarter more nuanced construct. A Chicago construct that provides both local, and international access/infrastructure. We need to use them in a way that is symbiotic. I would suggest to you that being involved -attempting to influence and move this thing towards a better end is far more interesting $$$$$$, than picking up your marbles and going home. Glad to see you are hosting a Next after party that saturday night -ending just about the time we sharks burst from the depths below, taking out everything io our paths, with SHARKSTOCK 3!
I’m hosting a party for the Allegoric group — not the Next fair– and I haven’t ‘demonized’ the mart group so much as disagreed with them on a point or two about the ‘Artists Project’….After Armory, I feel better about these guys… my frustration with them I think stems from the fact that they’re not ‘art guys’– they’re business guys– and I probably shouldn’t blame them for that … but the Artists Project has to change — it could be brilliant– Murakami has already made a viable template for this kind of fair — he is about half-way there — this would be good for everyone — even dealers — an artist that could be more proactive in their own career would make the dealers job infinitely easier…
The Allegoric group – exhibiting at the Next fair not to quibble or split plankton or anything……..The Mart people: you demonized them……I’ve had to listen to it for the last year and a half -all the while TRYING to get you, to figure out that, to quote you, “the fact that they’re not ‘art guys’– they’re business guys–”…..where’d you get that from hmmmmmm?
As exasperating as it can be, I have to realize that in the grand scheme of things, its only natural that the great white shark would get frustrated with a whale shark……you guys swim in slow motion! Look, just because you have all those weird, undulating polka dots all over you, wooOOOOoo!…….- the illusion isn’t happening, you swim like you are standing still!
Seriously though -you are of course correct Tony -on the huge opportunity -thus far squandered when it comes to the artist project. On this point, we have always been in complete accord -and I am glad to see you involved where your considerable presence will be I believe, helpful in initiating change -just try and be a little quicker when it comes to coming around to my way of thinking in the future -and save us both a lot of grief …….sheeeeeeesh
-and dont deny I have been saying just this to you since before the first Mart fair- just admit it! Now, lets attempt to get these people to see the potential that we both see.
You see more potential than I do — at this point I kind of feel like an art-fair is an art-fair is an art-fair — and to be honest I’ve been to a lot more of them in the last few years than you have– and in truth — they all seen to be one blurry , market -driven animal. A couple of years ago , I got excited by Takashi Murakami’s idea for Gesai– which came down to artists representing themselves in this setting; being able to set up their own business models– and for once the art-fair model actually being more equitable for artists — instead of being about enriching dealers first and foremost–I also realized this model wasn’t feasible for ALL artists — some are best letting the dealer be their moms and not dealing with these kind of details , and that’s fine. But for those who are under-represented ( which I think is MOST of them) this could be a revolutionary step in the right direction. Consensus( one of your favorite words) is controlled by economics in the art world, or worse– fashion– or far worse, both of these. It seems like we don’t know what is at stake anymore . I don’t blame the Mart guys for this — what I do blame them for is not being able to see their way toward shaking off the models of the last century or two. this is 2008– and we shouldn’t be the economic chattel for dealers anymore — we should be, if we choose, independent contractors, or failing that, at least partners in these enterprises. The whole 50% model — fuck– the MOB doesn’t take 50%. this financial arrangement is feudal in its construction.
If you’re losing me here take this example — and this is indicative of how it works in Chicago:
Your everyday middle-of-the-pack art dealer can represent 15-20 artists, and make a fine living off of their efforts — fine– but how many of those artists can make a living off of the dealer’s efforts?… Who gains in this arrangement?
What passes for representation? How , in this model can it become more equitable for the artist?– the answer is it can’t. In this circumstance– artists don’t really have any power to better their lot and I feel like it’s unfair and the deck is stacked — representation here is a sucker-bet.
Since the internet — the idea of artists repping themselves is possible — and equitable– it also allows the artist to work more effectively with dealers by sending out their own jpegs and making sure their collectors , friends, and other galleries know what is going on with their work– it isn’t that hard– and to the enlightened dealer — one who is open to the idea of a partnership rather than a ‘lordship’– it makes their life easier as well . Murakmi sees this — the Gesai model — with a little more thought — could change the face of how artists are allowed to do business and free themselves of the economic servitude some must now observe . Free your ass and your mind will follow.
When we first spoke to the mart guys — I thought this idea actually had some currency with them — I was encouraged when Chris Kennedy mentioned that he wished artists would also address the issues of human suffering in the world– I don’t think they are bad guys– but I do think they’ve listened WAY too much to art-dealers– and I feel like art-fairs have to be about WAY more than servicing the market. I’ve spent a lot of time in New Orleans in the last year– and the efforts of that creative community have touched me deeply– in the face of furious loss; it is that community that has held the city together– artists, musicians , writers , and community activists all banded together and made a powerful case for their cultural primacy — up here we have everything and nothing matters– down there thy have nothing and everything matters. We could learn much from that city.
macgyver theme song?
I agree that there seems (seemED ?) to be a lot of promise in the Artists’ Project, yet it came to little if anything. That’s why I personally am not involving myself with it this year. Been there. It needs more. They do seem like “nice well-intentioned” people from my talks with them, and I don’t know the Murakami model, but they really need some different approach involving Tony’s, and/or Wesley’s and/or a bunch of the ideas I compiled last year or the like. The dealer-as-pimp model is really dead.
Tony, thanks for this: you at your best and most thoughtful…. which saddens me slightly as I have so much fun riling you up…..but there is nothing here to chomp on! Nothing I do not completely agree with.
You and I have an interesting history in dealing with these issues -starting with The Real Deal Show with Ed Paschke -how outraged our respective dealers were that three artists DARED! do do a show on their own…….it is a feudal situation -mind numbing that artist just acquiesce to this kind of exploitive, one-sided relationship…….
Its day are numbered. Its no accident that you and me, two of the most successful artists here in Chicago are neither represented nor seek to be, with any of the local art dealers- and why would we?
I believe there are some really fine young dealers here… I think if they look at other models in other cities — they’ll be fine .
I take it you are talking about this Tony:
http://www.artnet.com/magazineus/reviews/robinson/robinson9-26-06.asp
That IS pretty hot. Is that the sort of things you were proposing to them?
100 bucks to anyone who stands outside the smelly European’s booth and yells ” Hey…. Yanni… Wash your balls”……..
I kid our smelly allies….
Speaking of Art Fairs, I figured it’d be nice to share.
Here’s a link to Art Chicago/Atropolis passes for next weekend.
Got more than two people? no Problem, just hit refresh on your browser and it’ll change the barcode so you can print a new one.
I might stand outside the Mart and hand these out to people…
http://www.exporeg.com/cgi-bin/art08.cgi
Infinite Passes for All!
Amy, good guess, you are in the neighborhood. It as much of the music used ties into the show, in my own record nerd sort of way.
Escape from New York theme? I don’t know but I would have to guess that knowing how things went.
Funny, Tony!
And I’m going to make a “text piece” a la Lawrence Whiner, I mean Weiner, who the Euros love so much — a huge vinyl-pasted-on-wall text: “If you can afford expensive art, you can afford to fix your teeth too.”
Oh and a Mini-News side note. In response to Richard & Amanda’s concern that Artropolis sounds like a STD the BBC has covered a recent study that can help? I think Tony expressed that this is something many galleries do on a daily basis anyway.
I give you … the sublime… the funny… the Steven Colbert of BAS….Christopher Hudgens…… one funny bastard.
DING DING DING, Give that man a ceeegar! It is indeed the Escape from New York Theme. John Carpenter a man who was so obsessed with micro management he even composed the crappy music for his movies.
Snake Plisken….. I heard you were dead….
Issac Hayes
Escape from New York
i thought maybe you meant that by using a swiss army knife and duct tape you could prevent the art market from exploding into a fiery ball.
Holy Shit. Isaac Hayes was in that movie! I need to rent it again.
There was talk of a sequel. (well, another sequel)
Yeah — Isaac Hayes was the Duke of New York– until Donald Pleasence filled him full of lead… I love ‘Escape from New York’ and a few other John Carpenter movies…. including ‘ They Live’ with Rowdy Roddy Piper….. and Meg Foster who was my milf-crush back then…..
“John Carpenter a man who was so obsessed with micro management he even composed the crappy music for his movies.”
Are you kidding? Have you ever heard the soundtracks from Assault on Precinct 13, Halloween and The Fog? (He let Morricone handle The Thing.]
Those are great great records, filled with creepy electronic menace. At the very least, the production values are far better than the average episode of Badatsports. [runs, ducks, grabs a club with nails sticking out of it].
Marc — I keep forgetting that Carpenter made ‘The Thing’– as good a horror film as has ever been made… and I agree with you about his talents for making music for his films — I think his sound is almost always appropriate to the films– he is a hugely underrated director…. also — where is Benedetto in this conversation?– If you get a chance — see ’30 Days of Night’– the best vampire movie of the last 10 years — it is set in Alaska and at one point a whole mess of vampires attack the whole town at once right out in the street– it is a bloody motherfucker– and immensely scary……
Whatever we suck and don’t make action movies. Maybe we should. Richard could be trapped under a Kiefer painting and Meg and I will try and get him out while everyone else critiques our form, hudgens photographs it for the blog and Andrews works up the soundtrack.
d.
What a bizarrely impassioned defense of John Carpenter, but I’ll find the soundtrack and check it out. I’m not sure how BAS’s production ties into mediocre film music, as unlike John Carpenter we don’t actually make the sound cues on the show, but whatever. Maybe I’ll have Duncan sing all the cues to next weeks show.
John Carpenter is great….The Fog is one of all time favorites. Classic beach town ghost story. Its worth watching just for John Houseman’s brief appearance telling the local legend of a lost boat out at sea. Check this out:
http://www.youtube.com/watch?v=JMQXxRhRS6s
its a short documentary with John Carpenter, David Cronenberg andJon Landis (due to the success of American Werewolf in London at the time this was filmed).
Thanks for the link Coyle. Hearing David Cronenberg talk about anything is always a pleasure.
Tony, I haven’t seen “30 Days of Night” yet but you make it sound pretty great. I’ll make a note to check it out.
Vampire movies and art fairs have a lot in common. Both are populated by frightening black-clad monsters that suck the life’s blood out of everything they touch.
Well said…..
Richard– how many John Carpenter movies have you seen?… When he is on — he is well worth defending– The Thing– The Fog– Halloween (the original)– They Live– he has made some terrific films….
I haven’t seen “30 Days” the movie, but the comic it’s based on (Steve Niles, illustrated by Ben Templesmit) is super dooper scary.
i’d recommend the 70s version of salem’s lot with david soul and james mason for some vampire fun. its like three hours long. really good. i will check out 30 days now for sure too.
Hell, lets see, (pauses to go to IMDB), Wow, I’ve seen a bunch of them. I had no idea he directed a Godzilla movie, and Ghosts of Mars, boy I recall that as a stinker. I’d forgotten about Big Trouble in Little China. I think there needs to be a Kurt Russell film festival, that guy is under appreciated.
The thing is a masterpiece, certainly. Keep in mind I never bashed his film-making, just his laughable (but entertaining) film music.
I heard the 30 days movie did not live up to the comic.
the only movie with more hissing in it than 30 Days was Indiana Jones.
30 Days audiences on the other hand might also have been on par, in my opinion.
Love the vampire-art fair analogy, Marc. But art fairs are decided NOT Carpenteresque. Too “risk free” for that. I can hear Christopher Lee saying “Now they shall know why they are afraid of galleries, now they shall know why they fear the artworld….”
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I’ve never seen the comic– but ’30 Days of Night’ as a movie is really fun and scary– and damned gory in the best way — the vampires are the best since ‘Near Dark’– the Kathryn Bigelow masterpiece from ’87– they don’t fuck around — once they figure out the sun is not coming up anytime soon– they treat the town like one big smorgasbord and kill everybody at once in one blood-slurping bacchanal — then they go skanking around town looking for any pain-in-the-ass innocent bystander types who might have had the brains to fucking hide from them…. Man ,,, it is SO good … with a straight-up creepy performance by Danny Huston as the head vampire. It’s on of those films where you pull for the vampires — the people in the town aren’t very interesting — they are in Alaska– so they’re just kind of ‘frozen hillbillies’ named ‘Homer’ or some shit — so you just want the vampires to put these boring geeks out of their misery …. it’s great.
Brandl – Perhaps art fairs are more Romero-esque than Carpenter-esque? You know, with the slow moving zombies from Dawn of the Dead – except they somehow retain the ability to spend money and use cell phones. Art Chicago shoulda modified the tagline of the original Dawn:
“When there’s no more room in hell, the dead will walk the Merchandise Mart.”
“They Live” is one of the funniest movie of it’s time. I watched it just last month, and it hasn’t lost a thing. Carpenter’s “The Thing” is great too, but “They Live” is a real indictment of modern American culture. The alley fight scene is one of the comedic highlights of the movie.
Chatting with the collectors offered a moment or two of insight. That would make an interesting documentary, in the same vain as say a short about suburban bdsm -soccer moms and their dungeons ?…maybe not everyones cup of vodka.