ditto above. an obvious overview of the state of "art for profit" from the mind of someone who is living it(at least as a voyeur). everything discussed above, "is" and should be realized, experienced or at least contemplated by any artist who has left the safety net of academia to join the rat race of contemporary markets predominantly in l.a and n.y over the past thirty yrs. and yes, it's only gotten worse as time marches on. anyone want to write a book about the failures of artist with good ideas and work with far more merit than a lot of what hangs on the walls of boone, pace or gladstone?(not that they don't rep amazing work as well) i thought i had a good idea(so did faculty, dealers, etc.) skipped grad school in order to move to new york and push it because i felt like it was more a matter of timing than refinement and maturation(regarding the work). what happened next? well, a combination of typical, atypical, comic and tragic events. at the very least i became confused, dizzy and discouraged with art world politics and inner workings which had everything to do with everything, except the art. then i got sick. why? no money for a proper work space with ventilation, so i sucked on and absorbed voc's, resins and metal dust 24/7 in order to selfishly pursue my work. at least everyone knew i was passionate or stupid. now, three yrs. after leaving new york and regaining my health i consider what to do with my "has been or what could have been" art career and is it still worth it? sadly, i still think that it is.
© 2013 The L Magazine
Website powered by Foundation