Lessons I learned working at an art gallery
181–190 of 200 posts
Re: Lessons I learned working at an art gallery
#182Earlier quoted context omitted.
I read this as "answer within the hour when preparing an exhibition". If you are in full swing to get an exhibition up and running and this is the time you decide to throw yourself into deep focus work, you are probably hard to work with. I would also assume if some artist told the author "look I know we open on Tuesday, but this Friday we have my kid's birthday so from 4 to 8 I won't be easy to reach", this would pr…
How long does setting up an exhibition take, and what kind of hours are you expecting? 4-8 are workday hours? And what kind of question needs to be answered that fast, but wasn't important enough to be asked several days earlier? My feeling is that there should be very few such questions, few enough that each artist can safely take half a day if they get one.
It's crunch time for the artist, and what exactly is involved will depend upon the show. This is the time when the artist's concept for the show meets physical reality, and since things involve the physical world, there are all sorts of things that can go wrong.
At this point the artist is essentially a project manager. They are coordinating with other people to fulfill their own vision. If those other people need a question answered before they can proceed, then those people are going to be blocked until the responds.
It's simply not polite to let people sit on their asses for a half day waiting for a response.
Re: Lessons I learned working at an art gallery
#183Earlier quoted context omitted.
that isn't money laundering though. I wonder that too fwiw, what's the exact mechanism with this banana NFT-purchase by which elicit money (from who (?)) is now being laundered as legal income (of who (?)). How does the process work?
Again, I have no clue whether this banana falls into this category, but generically and hyper-simplified: you have dirty money in a high-scrutiny jurisdiction, you buy a piece of art for $10MM, you move that piece of art to a more permissive jurisdiction and sell it for $8MM. That buyer gets a good deal and you just mostly cleaned $10MM for 20% in one transaction, which you can then layer into its now-local (permissi…
How does the sale take place? Cash? So when the seller deposits the cash, no one asks where it came from?
Re: Lessons I learned working at an art gallery
#184Earlier quoted context omitted.
Again, I have no clue whether this banana falls into this category, but generically and hyper-simplified: you have dirty money in a high-scrutiny jurisdiction, you buy a piece of art for $10MM, you move that piece of art to a more permissive jurisdiction and sell it for $8MM. That buyer gets a good deal and you just mostly cleaned $10MM for 20% in one transaction, which you can then layer into its now-local (permissi…
> you have dirty money in a high-scrutiny jurisdiction, you buy a piece of art for $10M How does the sale take place? Cash? So when the seller deposits the cash, no one asks where it came from?
Obviously it attracts some attention (we’re here talking about it), but a whole lot less than a wire transfer of $10MM out of the country which would trigger SARs at several levels.
Re: Lessons I learned working at an art gallery
#185Earlier quoted context omitted.
> Is art really about craft anymore? It never was, but it is still important as it always has been. > There's certainly an element of it but it's gotten very meta and abstract these days. Art is about many things. I agree that a lot of art can be esoteric nowadays, mostly because its in conversation with specific things, so it can feel like an inside joke, or a private conversation you are not privy to. If I make an…
Thanks for the thoughtful reply. I think you've addressed to some degree what I was trying to think around. That art may be difficult to evaluate in its time. Monet may have been a counter culture artist in his time but today he has a somewhat universal appeal. Is that cultural? Are we now primed to like Monet because people have told us to like Monet? No doubt in his time there were factions, those who pandered to t…
The counter culture of his time was only because France had tried to make art be controlled from the top down. Part of the enlightenment was related to the idea that you could find "truth" in all forms through discovery like in science. So Aesthetics and language also became Prescriptive, where a central authority says what is right (just like science academy says what is right in science).
English for example is a non prescriptive language and there is no central authority, so english dictionaries describe how english is used not how english should be. France still has an academy of writers who says how French SHOULD be.
In the arts however the Salon failed, because art is not prescriptive and there is no right way to do art. Some people might work tirelessly to make a 200ft tall painting of virgin mary, and some might make a tiny postcard of a boat in their hometown and you cannot tell which one will move you from that description alone.
> So then what will be remembered from our time?
One of the main drivers of quality is influence. Its hard to tell what is good art when seeing it, but in 10 years when everything either looks like that or rejects that or responds to it in some way then that was good art. Bad art is forgotten.
So what will be remembered from our time is easy to know because things like the internet have accelarated cycles. People now get tired and move on to the next thing much faster.
So when people come back to hyper-pop, early, internet aesthetics almost 14 years later you know that it was good art (see 100 gecs, charli xcx, sophie). When more bands start being mysterious, adding lore through internet channels, adding metal and noise influences into hiphop you can tell Death Grips was good art.
In more traditional art you have an entire wave of artists now who are hyper sensible, honest and earnest. This is a rejection of artist like Koons or Hockney with their hyper capitalist "it sells" attitude that dominated post Warhol. That means those were good artist if everyone know wants to not be like them.
What wont be rememebred would be the awful graffitis facebook paid to have in their offices, or the Beeple NFT art that sold for millions at auction. Because it moved no one, it means nothing and it largely for headlines to move stock prices and nothing else. No one even hates that art, its just completely ignored as irrelevant.
Re: Lessons I learned working at an art gallery
#186Re: Lessons I learned working at an art gallery
#187This is something a lot of people don't appreciate about a modern constitutional monarchy with a functioning democracy: The modern role of royalty.
In the US, (I'm American,) we don't have events like this. Why? Elected officials (the President, a governor, mayor, ect,) has to perform these roles. They can't do these as often because they (elected officials) are busy running the country / state / city, trying to get reelected, or helping someone else get reelected.
When these events happen in the US, they are always inherently political. You always have an opinion of the leader. Even when event isn't supposed to be political, there's always a remark or an attempt to schmooze to get you to vote some way.
In this case, my understanding is that the King's primary role is an apolitical (because he's not elected) representation of the government and culture. We (in the US) simply don't have this. We get movie stars and Donald Trump.
I'm not trying to say that one form of government is better than the other: There are always people who are power hungry seeking power, and there are always people who are wealth hungry trying to manipulate the system. What I'm trying to do is point out that Henrik's system (constitutional monarchy) has its own advantages.
Re: Lessons I learned working at an art gallery
#188I suspect Henrik missed the more important part of that lesson: Sometimes you have no choice but to work with someone who's difficult.
Why? To be quite frank, finding someone to work with is difficult, too. As Henrik states:
> I was the only person who applied for the job at the gallery
I suspect that, if the gallery chose to fire the artists that Henrik didn't like working with, there would be no art to show; and thus no gallery.
The way to solve that would be for Henrik to be more involved in choosing the artists; and for the gallery to cast a wider net when searching for artists. That implies a sense of exclusivity that may or may not be part of the gallery's core mission.
Re: Lessons I learned working at an art gallery
#189Earlier quoted context omitted.
How long does setting up an exhibition take, and what kind of hours are you expecting? 4-8 are workday hours? And what kind of question needs to be answered that fast, but wasn't important enough to be asked several days earlier? My feeling is that there should be very few such questions, few enough that each artist can safely take half a day if they get one.
Setting up an exhibition can take many days, and the hours can be extreme. There is limited time between when the previous show goes down, and when the next show goes up. It's crunch time for the artist, and what exactly is involved will depend upon the show. This is the time when the artist's concept for the show meets physical reality, and since things involve the physical world, there are all sorts of things that…
This is where I'm not seeing it. It sounds like the gallery employee we're talking about is working with several artists at once. Which gives them plenty of things to do.
And if the hours are long, then 4 of them are significantly less than half a day.
Re: Lessons I learned working at an art gallery
#190Earlier quoted context omitted.
The guy that bought it is not an artist, he was just trying to distract from some good-old-fashioned corruption: https://popular.info/p/a-chinese-national-charged-with-fraud Based on the coverage of his purchase it seems like he succeeded.
A con artist is a kind of artist, right?