New term alert: China fatigue. The Telegraph’s Art sales: Rampant market, rising fatigue used the phrase “China Fatigue” in two quite different ways: 1) The Chinese churning out of tired but highly saleable work, e.g. “Tate’s Simon Groom believes that the rampant market may have produced what he calls ‘China fatigue,’ encouraging artists to make saleable pastiches rather than ‘genuinely good, creatively interesting art’. 2) The seemingly inevitable state when the current high demand for Chinese ConArt falters, e.g. “Over the next 12 days, contemporary Chinese art will be auctioned in Paris, London and Hong Kong. No one doubts that the speculation will continue, but some will be watching out for signs of China fatigue.” I’d propose another, synthetic, definition: 3) The market condition arising when demand for Chinese ConArt finally flags, because people tire of endlessly seeing similar pieces.
Tech Gone Wrong: “Synthetic Performances,” in which classical pieces of performance art – Joseph Beuys’ “7000 Oaks,” Valie Export’s “Tapp und Tastkino,” Vito Acconci’s “Seedbed,” Chris Burden’s “Shoot” – are recreated in Second Life, the newest machinima platform. An odd project made even odder by the gym-bot physical culture in Second Life – Burden and Acconci look like buffed-out surfer dudes and Export is working a Daisy Duke/Pris look. (See also at Art Review Blog, via Ed_W.)
Those who can’t make, sell? While there are some New York dealers who are also active artists (Guild & Greyshkul ‘s three founders – Sara Van Der Beek, Johannes Van Der Beek, Anya Kielar – all had shows at other very solid galleries in the last year), apparently Chelsea and LA are larded with artiste manqué dealers. The Kantor/Feuer Window gallery (literally a window on 10th avenue, open 24/7) will be featuring the work of 20-plus such dealers starting today. Those include heavy-hitters and hot young names such as Roland Augustine, John Cheim, Zach Feuer, Continue reading “Clippings swept from the salon floor, #2”
Long before I wrote about the artworld, I covered Chicago’s City Hall, an institution legendary for its corruption. Given that environment, reporters paid a lot of attention to avoiding the appearance of being co-opted by politicians. Some would even refuse to touch the food at political breakfasts. I always thought that was taking it too far – would anyone really think I’d been “bought” for two stale donuts and a lukewarm coffee? Likewise in the artworld, every journalist and critic has to fashion their own ethical code. That said, there are apparently indefensible cases, and Seattle’s weekly, The Stranger, detailed one extensively last week in “Critical Mess” (via Friday’s ArtsJournal newsfeed).
It’s a huge piece, worth reading in its entirety, but here’s the basic gist: The city’s most powerful critic, Matthew Kangas, rampantly exploited his position to build an art collection by getting artworks as “gifts” from artists. Kangas says he never asked any artists for pieces, claiming they gave them freely. But the article’s author, Jen Graves, reports: “Last week, nine artists went on record with The Stranger saying that Kangas [asked] directly for art or implied he should be given art before or after he wrote reviews of their work.” Two confounding examples from the Continue reading “Ruthless in Seattle?”
I had an interesting but dispiriting conversation recently with a curator arranging an exhibition for a hot artist. The curator was trying to work some edgy writing from a young author into the catalog to give it intellectual flair, but the artist and the dealer kept insisting on corralling bigger names “ i.e. people who write for the right magazines. At first I encouraged the curator to fight for that text’s inclusion. But then I broke down and said, “Maybe it’s better to choose another battle. Because in the end most people will just judge the catalog on the names of the writers anyway – they’re not going to read the essays.” The curator agreed, albeit with a bitter laugh.Bouncy Castle Midi Ferme
What purpose does a catalog serve today? In the old days, as I understand it, catalogs were the way in which those who missed the show could get Continue reading “Exhibition catalogs: Time for a rethink?”
On the New York Times Year in Review page for Art, Holland Cotter takes a tour d’horizon of the artworld, “When Art Stayed Too Long At the Fair,” and laments.
Once, we might have turned to contemporary art for alternative energy. But in 2006, it just complacently provided blasts of commercial triumphalism. The art fair matured into a kind of joke, a revenge on everything 1990s, with parties replacing politics and skill valued over ideas… But what’s the point of kvetching? Art has always been attracted to money, and vice versa. And it has almost always been a servant to the elite, an advertisement for the status quo. Every so often art forcefully and collectively proposes alternative models — but 2006, at least as played out in New York, was not such a time… So maybe we should stop pestering art to be some Utopian undertaking, some zone for alternative thoughts and forms, and just enjoy it for the high-energy, no-impact game of trivial pursuit it has become.
Following that logic, everyone who chose the arts over more lucrative (or, certainly, more predictably lucrative) professions is essentially wasting their time entertaining fashionistas and churning out tchotchkes until the next crash. I’m hoping Cotter’s playing devil’s advocate and trying to provoke a debate. Because if he’s a) serious and b) correct in his analysis then the artworld’s fucked. At least for now. Thoughts?