Skip to main content

What is The Art World?


This is a complex question and it can be answered a number of different ways depending upon who is doing the talking. Ask an artist and they will invariably say: Why all the artists, of course! Ask someone else professional and they will say: Galleries and museums. Ask someone outside its observed boundaries, and they will say: Huh? These responses suggest the differences between many people in answering a question that can be defined variably.

I tend to think of the art world as a complex community of individuals and companies which all fall in line behind the idea of art as a unifying and inspired context. How this results in relationships and power structures is another matter altogether.
Each person in the art world must find the best way to navigate it to the best of their ability and sometimes they need help doing it.

This is where I can be of assistance. In most cases, the situations one needs to surmount are ones I have experienced, or I know someone else who has, and can provide it to others. In either case I can aid them in finding ways to familiarize themselves with the art world, its procedures, its people, and find their way to success.

This can be accomplished in different ways. One of them is to physically show people the lay of the land--to conduct tours of the neighborhoods where galleries and studios are located, and to ensure that people meet the dealers and artists who comprise this community at either ends of the spectrum.  

Comments

Popular posts from this blog

INTO THE LABYRINTH: VIDEO ART BY GRACIELA CASSEL

Art grounds us in an experience that achieves the imprimatur of truth by combining appearances with layers of artifice. Nowhere is this more evident in an art form such as film that relies heavily upon the senses. Graciela Cassel’s films explore the phenomenological dimensions of urban space: the labyrinth of structures both physical and ephemeral. A city presents itself as a massive and endless procession of edifices either near or far, of streets either pristine or decrepit, and of an endless train of strangers who may, in any given circumstance, emerge from anonymity into intimacy with us. Every distance and every dimension of city life offers up myriad possibilities for future experience. This is why they are easy to romanticize, and why they also contribute to a mythology of creative means. Each of her films begins with a central motif, either a real object or place, or some sensory experience that she is attempting to replicate or synthesize. The situation of spectatorship begi…

A BEAUTIFUL NOISE / THE ART WORK OF AMY SANDS

The art of Amy Sands presents models by which we may interpret the primordial structures and charismatic energy around us. A certain approach to artistic creation belies a felicitous understanding of what is most essential, misunderstood, or obscured in nature, and redirects it to our aesthetic comprehension. Printmaking is about process, and each of the names that are given to the types of prints carry with them the association we have to a particular process and its resulting product, which carries with it the aura of action that preceded it. Yet complexity can enter into the welter of intentions that aid in the conceptualization of these works. If the artist has ideas about her final product that carry over from other creative disciplines, such as sculpture or lace making, then the proliferation of stylistic motifs will dominate the work’s appeal, and will diverge from the assumption of traditional print making practices. This sort of dynamic is actively present in Sands’ work, and…

SHADOWBOXING WITH TITANS: THE WORK OF DANIEL SEWELL

The contemporary artist, given a particular education and overall attitude toward what is considered historically important today, may struggle to communicate in terms that challenge them formally while at the same time addressing the need for a creative language. They may find themselves reacting to the scene overall or to specific artists who are lauded as the paradigmatic models for ‘quality’. In this situation, one expects to compete not for a position of mastery, or to produce a new generational legacy, but only to hold onto whatever degree of notoriety is bestowed upon them. Although genius is still a prized quality, it has become a quantifiable commodity, and not the ambiguous measure of idiosyncrasy that it once was. It becomes necessary for the artist of vision to look back upon art history for cues as to how to express oneself. In the case of Daniel Sewell, he chose Cubism as a creative language to reinvigorate a contemporary dialogue on form, esthetics, and the uses of hist…