I don't hate art dealers anymore
A. R. Carreno
and contempt for art dealers. It seemed to me that no matter how artful a
talk they could talk, most of the time they just didn't know what they were
talking about and that their main occupation was simply wheeling and
dealing. (Duh!) And it didn't add to my respect for them that many art
dealers see themselves as "executive producers," with the vision to discover
art in the doodles of the "idiot savants" populating the studios of the
nation, and to infuse confidence in the heads of the meek, and, most
importantly, to decide who gets to play in the great art game (although this
may very well be true.)
But now I realize that none of that is their fault and I am at peace. It's
just the way our whole social system is set up -- it's nobody's fault that
some artists don't get recognition. People with money, who have worked hard
all their lives to make it, got rich by consciously or unconsciously making
the choice during their formation years to devote all their energy to the
pursuit of their particular dreams, and let's face it, in the real world few
endeavors require proficiency in art. So most of the time, regular people do
not need to be conversant with art styles and the like to live a full and
enjoyable life. The engrossing power of art is already built-in in
everything that surrounds us, from the colors we choose for our clothes to
the shapes we prefer for our furniture; passed down to us through the
generations; because art is what we humans do before we begin to
*understand*.
On the other hand, people with money cannot be blamed or denigrated for not
"understanding" art, nor can they for the most part be expected to have
discerning tastes. But they can spot an investment when they see one. And
this is where the art dealer comes in. The art dealer is an interface
between the investing public and those, whose occupation is to flesh out
their vision of their own inner world, the artists. However, there is an
oversupply of artists in the world today, which gives the art dealers the
upper hand in their relationship with artists. And so, since they are only
human, art dealers are bound to make mistakes, and as a result, many people
who should actually be working in a bank or something are getting one-man
shows, while others with powerful ideas languish and die. Maybe this is as
well --another manifestation of the law of the jungle?-- who knows. In any
case, the problem is this: While it's good to have as many engineering or
medical schools as possible, the same cannot be said of art schools.
Electric Nachos
Biljo White wrote in message <20041022142634.781$g...@newsreader.com>...
>You miss the important point that most art dealers are dishonest. I
>conclude this from decades in the art world and many relationships with
>dealers, as well as seeing what has happened to other artists.
That's why it is imperative that everybody (artists and patrons) head on
over to artbusiness.com and buy Alan's books.
Noumenon
> For the longest time I had foolishly harbored strong feelings of suspicion
> and contempt for art dealers.
Maybe you ought to keep that way.
Many of them are quite lousy people.
Not only that they are lazy for the most part. As you wrote, there is an
excess of artists so art dealers are defiled by this abundance and
prefer to pick only those artists that already are quite marketable, so
that very little effort is required to make sales.
THey do not want to invest neither money nor time, to promote, to work
with artists seriously, they do not want to wait.
Practically they do so little, but want so much, that nowadays they are
nothing but impudent parasites.
On top of that, despite the fact that they live on easy sales of what
artists create, they contrive to treat most artists like shit. You come
to some freaking fat-arsed pompous sack of a dealer and he'd look at you
as if you are a dirty beggar who came to plead for some change.
Many even require that an artist should be successful and well-known
already, have sales, etc. before applying.
Gosh. But who will need those bloodsucking dealers then? Get known, get
some recognition and good sales, then come to them? Sure. So that they
can increase your own profits by 2-5%, but fleece you for much more?
Boost sales of your art to fill their pockets and endanger your art to
be over-priced in year or two, so that it might be out of sale range
altogether.
Besides, lately most of art dealers are quite different type of people.
New generation of very particular freaks - very lazy, quite greedy,
pushy schmoozers with iron grip for profit, but with very little care
for art (or artists), with lack of culture and shocking ignorance (not
only in art).
Most of them can go and peddle vitamins, used cars or sell securities -
with the same success, no difference whatsoever.
Weaving the Conundrum
-=| NOUMENON |=-
Electric Nachos
"I'm an artist," you say. "I spend my life making art, slaving away,
compelled to express myself for all the world to see and judge. The results
of my efforts sap every last ounce of my strength, so here I am, a spent
amoebic blob, splayed out, surrounded by product, and ready to make money.
But no, something stands in my way, and its name is art dealer. I can sell
my own art, thank you. I don't need you and your gallery to take half of
every dollar that my life's calling entitles me to."
Of course you don't. You've got the perfect space to show your art, right?
It's a great location, convenient, with plenty of parking, and it's near
other retail establishments where people who to buy art tend to congregate,
dine out, entertain themselves, or shop for goods and services. Your space
is sparse, expansive, well appointed, designed and lit, and when you show
your art there, it looks about as good as it's ever going to look, outside
of maybe The Louvre.
You're comfortable around people who buy art; you're well connected, you
socialize with art buyers, and participate in activities and belong to
groups and organizations that they belong to. You know how art buyers think,
how much they know about art, and how to talk to them about art in language
they can understand. You are an interpreter who takes complex concepts, raw
emotion, or sensitive subjects, and makes them palatable to those who might
otherwise shy away.
You're at ease talking about art and money; you know how to price your art
within the context of its market, and can explain your prices to anyone who
asks without unnerving them. You sense when someone is on the verge of
purchase, ready to buy, and you know exactly what to say and when to say it
in order to turn the deal, reveal the checkbook, and accept the remuneration
that your art so justly deserves. As for the occasional parasites,
blabbermouths, energy drains, poseurs, time wasters, know it alls, and
deadbeats who hover about the art scene-- you see them coming and blow them
off with ease.
Just like art dealers, you evaluate all kinds of art by all kinds of artists
all the time. You continually talk about art, interact with artists, study
and learn about art, read about art, decide what art is good or better or
best, figure out what pieces to show, and how most effectively to display
them. You carefully analyze every detail of every piece of art before it
leaves your studio. You make continual art-to-art comparisons, and use your
extensive knowledge and overview of the local, regional, national,
international or whatever art realm you travel in to assure that your art
not only satisfies your high personal standards, but can also withstand
public scrutiny.
You believe in your art to such an extent that you spend thousands or tens
of thousands, sometimes hundreds of thousands of dollars per month to go
public with your convictions, and to persuade others that your vision is a
valid one. That vision attracts a wide range of contacts from throughout the
art community, and energizes them to such an extent that they reward you
financially, with profit, allowing you to continue to put forth what you
believe to be among the most worthwhile works of art being produced today.
Art critics, curators, influential collectors, and others in positions of
power in the art world talk, write, gossip, trash, love, hate, sabotage, and
otherwise opine on your art nonstop and in every way imaginable. These
people don't bother you. In fact, they respect you because they know you'll
prevail against anyone who tries to take you down.
"O.K., so maybe art dealers deserve commissions," you concede. "Fifteen
percent."
http://www.artbusiness.com/dealer2.html
Noumenon wrote in message <41792213...@Concentric.Net>...
Noumenon
> http://www.artbusiness.com/dealer2.html
That would be a lost speech to defend bright image of
ideal examplary art-dealers that, unfortunatelly, are all extinct.
Maybe only few REAL ONES left here and there.
In New York, or in Europe (some places).
But the rest.... are much closer to what I have described in
previous message.
Stinky morass.
Noumenon
Stinky morass.
Weaving the Conundrum
-=| NOUMENON |=-
Electric Nachos
Noumenon wrote in message <417E2A20...@Concentric.Net>...
Electric Nachos
Dan Fox wrote in message <20041026104558.580$l...@newsreader.com>...
>Thanks for posting the link, Gerl -- but Noumenon and Biljo are right.
>There are damned few honest dealers any more. The flaw in the
>'artbusiness' link is that the writer naively thinks that getting legal
>safeguards, such as contracts and consignment agreements, will protect you
>from dealers. Nothing could be farther from the truth. Dealers routinely
>violate these agreements, and getting anything out of them in court is
>nearly impossible. Remember: artists are in the business of making art.
>Dealers are in the business of making money, and for them that means
>knowing how to lie, cheat, and steal from artists, collectors, their
>landlord, and everyone else. They are professionals at this.
>
>Here is the problem: we can't do without them, and they know it. It's a
>dilemma that has no real resolution.
>
>Dan
>
My confusion arises from the perspective that an art dealer sells his or her
*reputation* more than he or she sells artwork - and the moment that
reputation is damaged through the very things that you mention - the
opportunity to make money is zero to none. How can a dishonorable dealer
continue to make money in a field that is based on measurable quality?
(Measurable quality being the provenance records that follow artwork.) How
can a dishonorable dealer continue to make money in a field that (sooner or
later) verifies these records to assess the (real) monetary value of art?
Electric Nachos
Dan Fox wrote in message <20041026203508.236$x...@newsreader.com>...
>"Electric Nachos" <aint_...@chew.foo> wrote:
>>
>> My confusion arises from the perspective that an art dealer sells his or
>> her *reputation* more than he or she sells artwork - and the moment that
>> reputation is damaged through the very things that you mention - the
>> opportunity to make money is zero to none. How can a dishonorable dealer
>> continue to make money in a field that is based on measurable quality?
>> (Measurable quality being the provenance records that follow artwork.)
>> How can a dishonorable dealer continue to make money in a field that
>> (sooner or later) verifies these records to assess the (real) monetary
>> value of art?
>
>effect whatsoever on a gallery's rep.
<whimper> But... but.. but... <g>
Seriously tho - can you give an example of how a gallery would "screw over"
an artist? Are you talking about price gouging? -- or rather... commission
gouging? Maybe they force artists into exclusive rights? I dunno.
>In fact, being an asshole sleazebag
>can help if it gets you publicity: Tony Shafrazi, a highly successful New
>York dealer, got the financing to start his gallery as a result of such
>publicity. He defaced Picasso's Guernica when it was at MOMA. The fact
>that this made his fortune should give you an indication of what honest
>people are up against in this business. Collectors want what they want.
>How the dealer gets it for them is irrelevant.
>
>I have a feeling that other businesses are the same; I just know more about
>the art world.
You know, although I *hate* to admit it, I was just as enthralled to learn
about the history behind a particular forgery (featured on a television
show), as I would have been about its original. I am ashamed.
PBS show... "History Detectives" or something like that.
Ah well. What can I say, except now I may have to re-arrange my whole damn
flowchart! Lol
O Ransen
>Here is the problem: we can't do without them, and they know it.
Internet canake it easier for small businesses to get to their
clients, maybe artists should think of that aspect too...?
Anybody here actually selling their work on Internet? pointers?
Experiences?
Unique and easy to use graphics programs
http://www.ransen.com
Electric Nachos
O Ransen wrote in message ...
>On 26 Oct 2004 14:45:58 GMT, danf...@NOSPAMyahoo.com(Dan Fox) wrote:
>
>>Here is the problem: we can't do without them, and they know it.
>
>Internet canake it easier for small businesses to get to their
>clients, maybe artists should think of that aspect too...?
>
>Anybody here actually selling their work on Internet?
I think the question is, "Who hasn't?".
>pointers?
>Experiences?
It really isn't that different from what you do with ransen.com.
1. Make website
2. Promote website
3. Sell stuff - then
4. Mail stuff
Electric Nachos
Dan Fox wrote in message <20041027184830.676$F...@newsreader.com>...
>"Electric Nachos" <aint_...@chew.foo> wrote:
>>
>> Seriously tho - can you give an example of how a gallery would "screw
>> over" an artist? Are you talking about price gouging? -- or rather...
>> commission gouging? Maybe they force artists into exclusive rights? I
>> dunno.
>
>screw artists. Illegal methods?
>
>Let me count the ways!
>
>Happened to friends of mine:
>
>-- Gallery sells work without telling artist, suing them is costly and the
>outcome is questionable.
>
>--Gallery owes artist money and goes bankrupt, artist loses work and money.
>
>-- Gallery owner takes $5,000 owed an artist and takes his girlfriend to
>Italy for a month. Refuses to pay; attorney says forget suing - the guy
>has no assets.
>
>-- Gallery has a big show for a name artist who lives in Ireland. Artist
>never sees money or work again. Gallery closes, owner disappears.
>
>Happened to me: Gallery owner disappears entirely, with some of my work
>and that of others (including William Burroughs), phone cut off, house
>deserted, etc. I have a legal consignment sheet for the work: I might as
>well use it for toilet paper. (still bitter as you can see)
>
>The name galleries in NYC pull scams that cost artists, estates, etc., six
>and seven figures.
>
>I'm getting depressed just talking about it. I wish it weren't this way,
>Gerl, but it is essential to see things as they really are. I guess.
Dan - I had NO idea it went that far. I am very sorry this happened to you
and your friends, but really - and honestly - kudos to you for restraining
the desire to kill. Although I guess it's hard to kill someone you can't
find...
Oh Good Lord - look what you have me saying!!!!
I'm just very sorry. Just very sorry indeed. But thank you for these
examples. Blunt theft would have never entered my mind.
Wow.
Electric Nachos
your website - Will that make you smile?
Dan Fox wrote in message <20041027184830.676$F...@newsreader.com>...
O Ransen
<aint_...@chew.foo> wrote:
>>Anybody here actually selling their work on Internet?
>
>I think the question is, "Who hasn't?".
Me.
>>pointers?
>>Experiences?
>
>It really isn't that different from what you do with ransen.com.
>
>1. Make website
>2. Promote website
>3. Sell stuff - then
>4. Mail stuff
But I sell software. Are there any successfully living without
galleries by selling on the internet?
Electric Nachos
O Ransen wrote in message ...
><aint_...@chew.foo> wrote:
>
>
>>>Anybody here actually selling their work on Internet?
>>
>>I think the question is, "Who hasn't?".
>
>Me.
Why not?
>>>pointers?
>>>Experiences?
>>
>>It really isn't that different from what you do with ransen.com.
>>
>>1. Make website
>>2. Promote website
>>3. Sell stuff - then
>>4. Mail stuff
>
>But I sell software. Are there any successfully living without
>galleries by selling on the internet?
I *almost* think that's a no-no. At least, that's what I've been told. Fox
can explain why, better than I.
Electric Nachos
Alison A Raimes wrote in message ...
>Odd friends, Fox has. They clearly weren't taught business acumen.
>
>What Fox says is absolute nonsense. When the gallery accepts your
>work, you enter into a legally binding contract - very few galleries
>default on this contract - in UK no one would get away with it, though
>I realise the USA has a totally scummy approach to artists which is
>probably why there are so few good ones there. But the consigment note
>acts as a pink slip. If the gallery sells or steals your work you have
>recompense through the courts. If they had a gallery, then they were
>registered as a business - either unincorporated or incorporated (most
>likely the latter to prevent personal liablity in the face of
>bankruptcy)- and you can easily trace them. If they have gone bankrupt
>or into liquidation, you contact the official receiver and make your
>claim using the consignment note. If the work has been seized as an
>asset of the company, you can immediately make claim to it. If it is
>missing, you can file a report with the OR and he will take legal
>action, usually involving the police, to recover the work. That work
>is not the property of the gallery.
I think the point that Fox was making is that dealers **can be** scam
artists... as in they've perfected the "art" of the perfect scam. Now if you
were the sort of person to "scam" someone this way (which I'm not saying you
are -), what better way is there to "get-rich quick?"
First - register your business under a false name. Getting 2 or 3 identities
in this country is ridiculously easy - Just ask an illegal immigrant.
Next - rent a building - again, under a false name. In fact, the more false
identities you can get - the harder it will be to track you down.
Then - get an artist to sign a contract and arrange for a showing on a
specific date. Make sure this artist is easily intimidated, uneducated, and
happy as hell that someone pretends to like his or her artwork.
Next - hype up the showing and lie your ass off about the value of the
art/artist while inviting as many CEOs (and the like) to a showing 1 or 2
days BEFORE the date you agreed upon with the artist.
On the date of the "secret" show - sell the art - cash in - pack up - and
leave the country with over a hundred grand.
If you're stupid enough to stay in the country, move - and move often -
scamming even more gullible artists along the way.
If you're dumb enough to get sued - hire an expensive lawyer who is willing
to falsify even more documents (you can afford to do that now) and deny
signing any silly contract while claiming that the artist gave you the
artwork as a gift.
This is not an issue for the police to handle. It IS an issue for serious
artists to educate themselves about and take appropriate measures to prevent
it from happening to them.
How?
At the very least, document your artwork with photographs and copyright
notices. Do investigative work before approaching a gallery (through the
Better Business Bureau, or, just spy on their asses for a good 2 months).
Take witnesses along with you to a gallery when you sign a contract. READ
the damn thing. Hire a lawyer and make it known that you have a lawyer who
will review the contract. Participate in setting up the gallery show right
up to the actual event.
Be aggressive. In essence, galleries can be looked upon as employees - so if
you're "hiring," and want to protect your "product," it sounds like you'd
better do a damn good job in -evaluating- that employee first, and do the
proper background check!
>Jeez, this group passes on so much crappy information through 'my
>friend says'.
>
>Alison A Raimes
>http://raimes.com
Electric Nachos
Electric Nachos wrote in message <10oajuj...@corp.supernews.com>...
>If you're dumb enough to get sued - hire an expensive lawyer who is willing
>to falsify even more documents (you can afford to do that now) and deny
>signing any silly contract while claiming that the artist gave you the
>artwork as a gift.
I forgot - make sure your lawyer can dig up some embarrasing dirt about the
artist suing you - this will surely disqualify any credibility the artist
had concerning your signature. This style of rebuttal is rather popular now
in the U.S. Humiliate your opponent - win the case!