RafaelFajardo
August 2015
How many containers per year leave active service in Maersk Line? 50,000–60,000 each year, and more in the coming years.
How many containers per year leave active service in Maersk Line? 50,000–60,000 each year, and more in the coming years.
The great debate: why galleries could take even more money from their artists
The great debate: why galleries could take even more money from their artists
Article presents many views of the tension between artists, gallerists, collectors, and the market the create together.
The great debate: why galleries could take even more money from their artists
The great debate: why galleries could take even more money from their artists
Article presents many views of the tension between artists, gallerists, collectors, and the market the create together.
It has been painful recently to watch intelligent, sensitive people in the arts from different racial, ethnic and gender backgrounds tear each other apart over the lack of diversity in a system that is oriented around the tastes and preferences of the (very white, very male, very rich) ruling class in the US.
It has been painful recently to watch intelligent, sensitive people in the arts from different racial, ethnic and gender backgrounds tear each other apart over the lack of diversity in a system that is oriented around the tastes and preferences of the (very white, very male, very rich) ruling class in the US.
In 2005, I already knew about this narrow MFA-to-market pipeline. I was in an anti-art fair at Parker’s Box in Williamsburg, wh ere I met a performance artist. He confided that he was the only person in his MFA cohort at Columbia who didn’t sell work in a recent open studio. He was the only one who wasn’t making paintings. I don’t know what happened to him and I haven’t heard much about his career. I wonder if he wasn’t good enough or if he chose the wrong programme or, more worryingly, if the narrow tracks of selectivity already determine the kind of art that makes it into galleries and museums. They tend to lead to the same places.
In 2005, I already knew about this narrow MFA-to-market pipeline. I was in an anti-art fair at Parker’s Box in Williamsburg, wh ere I met a performance artist. He confided that he was the only person in his MFA cohort at Columbia who didn’t sell work in a recent open studio. He was the only one who wasn’t making paintings. I don’t know what happened to him and I haven’t heard much about his career. I wonder if he wasn’t good enough or if he chose the wrong programme or, more worryingly, if the narrow tracks of selectivity already determine the kind of art that makes it into galleries and museums. They tend to lead to the same places.
