Saturday, August 12, 2017
Adam Conover is Right...
Here's the article by Brian Boucher, posted a couple of days ago on Artnet:
It's funny to see Artnet running to the rescue of the high end art market after this episode of Adam Ruins Everthing on TruTV every Tuesday 10/9C: https://www.youtube.com/watch?v=NSdbASDdwU4
I could run circles around how Brian Boucher and Artnet responded to Conover in the article, but I'll briefly dissect the 5th Conover art market right wronged by Boucher:
5. You Can Buy Art on the Street That's Just as Good as What You Could Buy in a Gallery. But Those
Artists "Aren't Allowed to Succeed."
This statement is absolutely true, and the response by Artnet makes the statement even truer because of the absurdity of Artnet's rebuttle.
You can also find gold nuggets in a riverbed, but considering the time it takes to find the right riverbed and learn the techniques for locating the gold, years of your life could have passed by. Galleries are businesses run by specialists whose primary value proposition is that they know who good artists are, have relationships with them, and can cut through the chaff to get the cream of the cream.
What? Artnet confused me with this paragraph. What does finding gold in a riverbed have to do with finding great art? Oh, it's the techniques for locating the gold and great art that have the same thing in common, huh? (By the way, I always thought the saying was "The cream of the crop, not "The cream of the cream," but whatever).
And how do Galleries know who the "good" artists are? Are they combing the streets door to door to find the good art? And by what standards do "The specialists" know the good are from the bad art?
Yes, the art world, like many businesses that serve the one percent, runs on nepotism and connections. But these art dealers (and curators) are also constantly on the lookout for undiscovered talent. The clubbiness of the art market is more often the result of laziness or lack of resources than a nefarious pyramid scheme; tastemakers often fall back on their existing networks rather than taking the considerably more difficult path of looking beyond them. That said, true talent is rare, and sometimes takes a long time to be properly recognized, either by museums or the art market. Jean-Michel Basquiat started out as a graffiti writer, and now his works can sell at auction for upward of $110 million. Why wouldn’t dealers create a million art stars from thin air, if they were such skilled manipulators?
What is a "tastemaker?" What "existing networks" are they falling back on? True talent is rare? Compared to what? Fake talent?
Oh, and that's why Basquiat's painting are selling upwards of $110 million now. After his death, some genius realized that he had "true talent." And "true talent is so rare, that nobody figured out he had "true talent" while he was alive. Now it makes sense to me... not.
Obviously, not a lot of time was put into writing this article, right Boucher? Or is your average reader a dumbshit?
Please, don't get me started.
This is why the art market needs to be bypassed completely when selling important artwork. If you take the control out of the hands of the shot callers, what happens? That's right, they loose their control.
That's why I'm offering Pierre, the only documented spirit in a painting, on my own website and without the help of art dealers who don't have my best interests at heart, but theirs.
Mark my words. I'm going to completely destroy the high end art market, single handed. How will I do it?
consistently exposing what a farce it is. I'm gonna pick out the shot callers, one by one, and eliminate their power with the truth and with my pen.
Remember the old saying, "The pen is mightier than the sword."
By the way, according to Boucher and Artnet, it might take a thousand years after I'm dead before a genius realizes I had a "true talent."
Don't get me started.
"Pierre" Could you be the genius who realizes I have "true talent?"... please, give me a break.
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