Hi Roy:
I think this conversation has been going on since the beginning of Rhizome.
I guess you have to play the game in order to get the prize.
Without going commercial the only way to do it is to get in with the
independent, nonprofit directors and museum curators. Sending Marisa and
Lauren flowers, candy or tickets to Radiohead may or may not help but I bet
it would make them smile. Which is good for Rhizome and will keep them
working as hard as they can for the cause and effect of us all.
There are definitely people trying to raise attention for NMA.
What about Postmasters? http://www.postmastersart.com/ . One of the first.
Bitforms gallery http://www.bitforms.com seems to be pretty successful at it
and they even opened up a gallery in Korea last year. Sara Tecchia is doing
her best as well. http://www.saratecchia.com/ (Represents G.H and Chrisine)
All in New York alone.
Problem is the numbers are low and only so many artists can be properly
represented by the more visionary galleries. Most art dealers have a hard
time selling anything but painting, sculpture and photos. Video is still a
hard sell for most dealers, interactive work even more so. Slowly but surely
the collectors are being educated.
Anyone know if there is a list of commercial international galleries that
are strong supporters of new media and interactive art?
Curating NMA and video at an alternative commercial art fair is at least a
step forward. The response from visitors and the galleries at Scope New York
last spring for Marisa's All Systems Go, Perpetual Art Machine and the
Cinema-Scope program in general was amazing and a lot of people said it was
by far one of the best shows out of all the art fairs going on in town over
the art spectacle weekend. A couple artists even got museum shows out of it
in Europe others hooked up with some pretty good galleries. But again most
dealers are afraid of it because they don't know much about it. A key to the
issue over all is better education of the public and to start breaking down
doors by force if necessary.
The poet only has his words and they need to be published.
Make a product, object, print, painting based on, a certificate stating that
because this idea cannot be bought or sold you can only buy the certificate.
In the big picture just keep making art for the fun of it and have a day job
if that makes life easier.
Cheers,
Lee
On 9/11/06 8:29 PM, "Roy Pardi" <[email protected]> wrote:
> At 3:09 AM +0000 9/11/06, Alexis Turner wrote:
>> Soooo…in other words, art is an SUV?
>>
>> In that case, Charlie probably had it right on the mark when he said it was
>> useless. After all, what is the point of money and status (as illustrated in
>> Rob's message), if not to spend it on useless things? The very FACT that you
>> can spend it on useless things is what signifies how very, very wealthy
>> you are.
>> -Alexis
>
> Interesting discussion that has only teetered a bit over the line at times.
> To add something to the mix that has only been referenced indirectly: what
> about the impact of MONEY (or lack thereof) on NMA since there is little or
> nothing that can be bought and sold (there are exceptions of course but
> speaking in general). We have a market driven culture - both high + low -
> and the money generated by cultural production is news and fuels further
> consumption: film revenues are reported as if we all owned stock in
> production companies, auction prices are reported as benchmarks of an
> artist's worth and influence curatorial choices for museum exhibits, often
> underwritten by collectors of those artists.
>
> That's a thumbnail sketch but no doubt recognizable. I'd be interested to
> hear what people think about the commodification quotient of NMA and it's
> impact on audience.
>
> –Roy
Money + Audience, or how I sold my soul for 2 dollars
-
Type: discussion