When Edward Winkleman weighed in on Saltz vs Heiss, he wrote, “Perhaps a smart show about the current art market would require too much analysis (a CPA and a hedge fund manager might have to curate it) to be visually interesting or pleasing.” This aside got me thinking in two directions. First, that one of my favorite (conceptually speaking) recent shows, “Leftovers: A Selection Of My Unsold Pieces From The Private Galleries I Work With,” focused upon this very topic. Bulgarian artist Nedko Solakov had Mirjam Varadinis – the curator for a planned Kunsthaus Zurich show of his drawings – instead visit all his dealers and select the 2005 exhibition’s content from among their unsold Solakovs.
Solakov asked all the dealers for an explaination of why those works had not sold and posted their texts alongside their gallery’s “leftovers.” My favorite? Brussels dealer Erna Hecey, whose list revealed the haphazard traige of the supposedly rational art market: “The works are too expensive. The works are not expensive enough… The world is not ready for this work. This work comes a bit late… The works have not been presented enough. The work has been shown too often and everywhere… Mars was conjuncting in Pluto at the time of the show.” Naturally, the simple fact that these works were slated to be shown in a major cultural institution suddenly stirred interest among collectors. But Solakov pulled pieces out of the show if they sold before it opened, and scrawled an explanation in the gap left behind.
Second point: I’ve amassed many images of artworks created as counterpoints or commentary on the current market, which I use to illustrate my speeches about the artworld. I’m going to dump some prime examples in here for examination/discussion. A note to Artworld Salon readers: Send along images of works on this theme (ideally 494 pixels wide JPGs @ 72dpi) and I’ll update our premiere Artworld Salon “exhibition.”
William Powhida, Detail from Wall of Shame, 2007
(From his upcoming Schroeder Romero gallery show)
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